"We transcribe a lot of music and we hand it out to people and then experiment with it, like we’re looking for this to be a little faster, and it just becomes the songs, so, I mean it’s not one person but it collectively comes alive together as a group."
"You just have to get out there and really pester people and not be afraid of being annoying, and that kind of goes hand in hand with sticking up for yourself as an artist and demanding to be paid."
"Wait, Pete, when did you start playing?" "1995." "When were you guys born?" "1997."
"So, this is a bold statement, but I am going to change the music industry."
In Sirens, it’s clear that Jaar is frustrated by the way that power is misused, and that nobody is doing anything about it.
Eric Axelman doesn’t appear to be an artist willing to be trapped in a box.
We talked to some performers from Gigs on the Grass.
"I like the word dream pop, but I don’t know what it means, but I like it."
The annual Brown Folk Festival took place on April 22nd and 23rd this year at the Pembroke Field House and Lincoln Field, both on Brown’s campus. Amidst early, rainy weather on Saturday, the sun came out to shine on a series of exciting yet soothing performances. B-Side interviewed four of the many groups who performed and discovered that most of them rarely locate themselves solely in the folk genre.
During both days of Spring Weekend, when the phrase “how are you” was converted to “what are you on/how drunk are you,” there was something gorgeous about the madness of the occasion. It was mesmerizing to see all these students who had gone through the college transition process by nourishing their sense of responsibility sweep aside that precious trait in the name of Dionysian debauchery for an arbitrary April weekend. I felt compelled to join in it, to not question why there was a couch in the middle of Wriston Quad or why Natural Lights were freckling the entirety of Brown’s campus; it was a celebration of our home, a way to feel a tangible bond with our mutual environment when it usually exists intangibly.
It was a wild weekend.
I really love writing and performing music, even if I don’t get to do it quite as much as I want to. And it’s been frustrating at times for me to perform music and do it, just ‘cause I didn’t start playing and writing till really late. And I taught myself how to play, so I’m not great technique-wise all the time, I just learn by looking up chords and listening to songs and trying to figure it out for myself. But it’s something that I love to do, and I’m looking forward to doing it for a long time and hopefully getting somewhere with it.
Fresh from Coffee Haus.
I came in here not as a music major and I was not intending to play much music. I was trying to do something else. Until I conceded to music after I realized that it was the only thing I cared about, my whole dynamic changed at school, and I liked it more. I met so many more people and people who I shared interests with. I really credit the Brown music scene with making me a happy person, but also I drained myself doing it.
With acrobatic stage maneuvers, back-and-forths between the two lead guitars, and belted out blues vocals, Sons of Providence is certainly defined by the ferocity of their performances. “[Performing] is the best part, especially because these guys have been writing for a long time, and I’ve just joined. So to be able to take the songs onstage is super fun,” shares Abeyaratne.
Through this project, Austin has found a way to combat a variety of societal problems, from the negative stereotypes associated with black men to the discrepancies in test scores and educational resources between low income and high income communities. With his reworking of old and new school hip hop into an educational setting, he has begun to highlight the advanced thought needed to orchestrate a successful hip hop song, contradicting the problematic criminalization of black men and rappers.
“I wanted to capture a moment in time. This project is about the experiences that come from leaving home to achieve your goals. With this comes trials and tribulations, love found and love lost, and somewhere along the way you mess around and find out you started knowing yourself. But the craziest feeling is going home, where you can finally see how much has actually changed since you’ve been gone."
Once upon a time, many months ago, B-Side Magazine's founders had a dream: to expose Brown and RISD students to the musical talent of their fellow classmates.
That dream has become a reality, and B-Side is proud to present a new afternoon music series. Stop by The Underground this Saturday between 12 and 5 pm for B-Side Magazine's first Coffee Haus! Unwind with a cup of fresh coffee, relaxing tunes, and an amazing lineup of student musicians. The Underground Coffee Co. will be serving up coffee!
“I usually improvise the lyrics along with the melody when I'm first writing. It usually comes out as gibberish, as word salad. Then I listen and figure out the meter and rewrite my improvised scratch lyrics based around a lyrical hook I find interesting, one that might serve as the ‘thesis’ of the song. Also, girls and stuff. I write a lot of songs about girls.”
These performers live for audience energy and reactions. It’s not about them - it’s about making the other people in the room want to move and laugh and smile and feel every emotion that the music can stir in them.
Dubbed “Brown’s premier Spanish-speaking rapper” during his freshman year, Sebastián – now a sophomore – would be boricua even if he had been born in another galaxy.
Image courtesy of Sebastián Otero
Back in April, Caroline told us that they were “in the process of taking down all of [their] old stuff”....They’ve been successful at this: my multiple attempts to look for their previous EP proved fruitless. Despite this reinvention, SAVIOUR stays true to the core identity of the band, giving us a glimpse into their shared universe while also serving as a re-introduction to the band’s musical essence.
“Happy families are all alike. Every sad family slays.” –Leo Tolstoy
Railway is sound art that combines the personal creativity of Tristan Rodman ‘15.5 and the influence of visual and interactive audio formats online. This kind of indie, 8o’s synth pop is music made for moments in transit, so turn up Railway’s most recent EP, Synecdoche, on headphones while riding a moving vehicle for optimal experience.
Sean Evan Scott '16 sings in the Brown Necessities and creates music influenced by artists like Shy GIrls, Drake, and the Weekend.
Stolen Jars is often compared to groups that experiment with spastic and fragmented riffs – a technique called hocket – like The Dirty Projectors, Dan Deacon, and Animal Collective.