The namesake of the band, Kacy and Clayton, first took the stage with only a guitar and some microphones. The first few acoustic songs reminded me of a slightly-less folky version of the now-extinct Civil Wars. Kacy’s riff-filled melodies were paired beautifully with Clayton’s harmony and rhythm guitar.

Their style was very relaxed and informal, which was good for the music, though less good for their interactions with the audience between songs. Clayton asked the audience for a sewing kit for his new shirt, which already had a couple buttons pop off–unfortunately for the shirt, the audience was complete crickets.

Luckily, the band was unfazed by the lack of energy, and pulled two more band members up to the stage. The drummer and bassist were middle-aged, cool guys with beards and berets. I don’t remember the bassist’s name, but thanks to Clayton’s introduction I do remember that he hasn’t had a single cavity in his life. This goofy fact helped the audience engage slightly more, and the full band put on a lively set.

I’m not an avid fan of country, but I could definitely respect both bands’ talent. Plus, there’s just something about live music that’s always enjoyable.

Next, a man with a guitar and a harmonica took the stage–lead man of Blitzen Trapper, Eric Earley. He informed the crowd that this show would have a lot of story-telling, which he said “scares the **** out of [him] ‘cuz [he] doesn’t like talking.” I’m glad the show was more intimate, because it allowed me to really engage with each song.

I especially liked the songs “Furr” and “Across the River.” Almost all of the audience members sang along to Furr, which happens to be one of the band’s oldest and most successful songs. I really connected to the story for Across the River. Earley told a story from his high school days, when his friend Kyle’s dog jumped in a river. Despite the current, the boys jumped in after the pup. Soon enough, Kyle and his dog were back on shore while Earley was swiftly moving downstream. Thankfully, he didn’t die and wrote a sweet, nostalgic song instead.

Halfway through the set, the show had an abrupt stop by request of The Mill. A man fell off a bar stool and lost consciousness, so an ambulance had to be called. The band took the time as a smoke break and didn’t let it affect the energy of the show in any way.

After the band was back in their place, the rest of the show was a really diverse mix of Blitzen Trapper songs and covers. Each song seemed to be extremely nostalgic to the band and a majority of the audience. It was cool to witness people getting so into the music, but as a 20-year old I didn’t quite connect to the show in the same way.

I probably won’t listen to Blitzen Trapper often, but I’m definitely glad I had the opportunity to see them live. Plus I bonded with the keyboardist over our curly locks, so that was cool.

The post Concert Review: Blitzen Trapper @ The Mill 9/20/16 appeared first on KRUI Radio.

The thumb piano, also known as a Mbira or Kalimba, is an African lamellaphone. What’s a lamellaphone, you ask? Well, a lamellaphone is a part of the idiophone family, but applies specifically to when sound is created by plucking a series of thin metal strips attached at one end.

There are over a dozen variations of the Mbira known throughout Africa (including sansu, okeme, ubo, and karimba) but it is simpler to refer to the family of instruments as thumb pianos.

Thumb pianos are central to African music; they are often present at social events such as weddings, funerals, and important religious ceremonies. Below is an example of a family ensemble playing traditional Mbira music.

Thumb pianos can be made out of any sort of metal or hard wood keys attached to a resonator. Traditional thumb pianos have iron keys and are attached to a large wooden bowl or gourd. Other possible materials to make keys are bamboo or metal scraps like springs or bicycle spikes. The length of the keys accounts for the pitch of the note, and the size of the resonator creates the volume and resonance of the music. Here are some creative examples of thumb pianos; my personal favorite is the sea turtle!

After many centuries of use in African countries, the popularity of thumb pianos spread to other countries with the rise of globalization. Ethnomusicologist Hugh Tracey  played a big part in growing popularity of thumb pianos by exporting them from South Africa in the 1950s. He has been credited with popularity of the Kalimba thumb piano especially.

The shift from religious purposes to entertainment purposes occurred in Western countries. Now, thumb pianos are used for non-traditional music. In this example, it is used as the feature instrument in a performance in Munich, Germany.

Almost all of the other instruments I’ve written about have been either large, insanely expensive, or difficult to find. Thumb pianos are the exact opposite! There are many tutorials on Youtube on how to make your own thumb piano. Thumb pianos are usually set to polyphonic scales, but there are many different tuning systems to choose from.

If you’re not the crafty type, they can also be purchased for $10 and up online, depending on the quality and size you’d like.

Another perk to thumb pianos is that they can actually be found in both popular and obscure modern indie music! Earth, Wind, and Fire have a jazzy little tune with the creative title “Kalimba Story” and a couple others on their Spirit album. Thumb piano can be heard clearly in Bjork’s Africa-inspired track “Earth Intruders.” Jens Lemken’s cover of “A Little Lost” uses a combination of beautiful idiophones. It’s actually really easy to find modern, enjoyable music with thumb pianos!

The always-inventive Imogen Heap incorporates thumb pianos in my favorite new find, “Glittering Clouds (Locusts).”

The post What’s That Sound?: Thumb Piano appeared first on KRUI Radio.

Though I generally try to be as close to the stage as possible, I decided to sit up in the balcony which was designed by UK based specialists. The bird’s eye perspective was a nice change, and I welcomed the personal space of a seat rather than a sweaty mosh pit. This show pulled the biggest crowd of any I attended. It wasn’t hard to find a seat when the doors first opened, but practically every seat was filled by the time Kurt Vile and the Violators came on.

The backdrop on the stage was created by crinkly tan fabric, or at least that’s my best guess; when hit by different lighting effects, it looked a bit like a Colorado mountainside. The varied lighting throughout the show created some really awesome visual moments. I also noticed how balanced the band sound was, which was impressive in such a large venue.

Purling Hiss usually performs as a three-man band, but for this tour the lead man Mike Polizze worked alone. With the help of a looping pedal, he created the set with three instruments and many distortion pedals. Purposeful feedback made for some unique, white noise-style music–as someone programmed to wince at feedback, it took a very open mind to enjoy some of the squeakiest moments. The amp was cranked up incredibly loud; his performance was the highest volume I’d encountered all week.

Before changing instruments between songs, Polizze would record a short riff and let the looping pedal create a transition. The repeating clips reminded me of the phenomenon of repeating words over and over until it takes on a new meaning; strange, but artistic. Everyone sat through the set, which included songs like “Run From the City” and “My, My, My” from Purling Hiss’ new album.

Polizze either wasn’t very invested in the Iowa City show, or sensed that everyone was anxious to hear the headliner, so he nonchalantly added, “all right, I’ll get this over with” and shortly left the stage.

Kurt Vile & the Violators sauntered onto the stage with red solo cups in hand. Vile used the microphone for strange “yip” and growling noises over trippy synthesizer, so I really didn’t understand what was going on. Everyone was still sitting through the first song, which definitely created a low-energy vibe. Vile picked up on this and said dryly, “oh please, just make yourself comfortable.” The floor crowd then stood and people filled the pit.

Vile was a very quirky performer, but I really enjoyed the laid-back, chill vibe of the music. He kept his long, brown curly hair in front of his face for most of the show, somewhat like Sia, but with a 80’s grunge twist. I was excited to notice a whammy bar in real life for the first time, rather than just in Guitar Hero.

As soon as Vile finished each song, he would practically jump rope out of his guitar strap, hold it out, and switch with the tech guy into a new instrument. I was very impressed by Vile’s guitar technique; his vocals weren’t anything crazy special, but he was a solid, honest performer sounding almost exactly like his recordings.

My favorite moment of the concert was during a long instrumental break: the lights were flashing between many different effects, the crowd was moving and grooving, and you could just feel the performer’s passion in their music–it was the kind of moment I wish I could live in forever.

After the encore set, Vile gave a subtle wave and walked off. See you next year, Mission Creek.

The post Mission Creek: Kurt Vile & The Violators @ The Englert Theatre 4/10/16 appeared first on KRUI Radio.

Most of the tables were enjoying dinner when I arrived, so I decided to order some nachos; they were awesome. As a vegetarian, it was lovely having a wide selection of menu items for once! The organic, vegan nachos were delightfully flavorful and fresh. I also appreciated the mason jars used for water glasses. No surprise that Trumpet Blossom was featured for one of the Mission Creek dinners!

Paul Metzger took the stage and played a 12-string banjo for about 45 minutes–without stopping. He used many of his own creative techniques to pull interesting sounds out of the instrument. The timbre he created was often similar to a sitar, especially when he used a violin bow.

Since the set was straight music on a simple, intimate stage, the focus was entirely on the music. Metzger had raw, innovative talent; I’ve never seen anything like his banjo technique. During extremely dissonant notes, he would often shake his head quickly back and forth so that his beard would dance with the music. It was easy to tell how passionate he was in his free-form playing.

Since it was such a serious, focused performance, there was not a word spoken during his entire set. The only other sounds were occasional clinks from the bar or rustling of chairs. Overall, people were intently focused on Metzger’s rapid fingers. He thanked the audience with a quick word, and left the stage.

After a short intermission (where I could finish my crunchy snack with disrupting my neighbors), Glenn Jones took his place center-stage. Right off the bat he showed his incredible technique on acoustic guitar. As someone in the beginning stages of learning guitar, I was completely blown away.

When Jones switched to banjo, he explained that he had been scared of Appalachian-style playing rules for so long that he had not attempted banjo; after watching Paul Metzger awhile back, he decided to get a banjo and “do whatever the hell [he] wanted with it.”

However, he also remarked that banjo is not a well-loved instrument. While looking for a banjo mute on tour, a man in a Michigan music store said, “I think a sledgehammer is the best mute for a banjo.” That man should’ve heard Jones’ performance; I bet he’d change his mind.

An emotional moment during the performance came about with a song called Mother’s Day. Jones revealed his disgust for “Hallmark Holidays” created to take advantage of consumers, but Mother’s Day is now a mournful reminder of his mother’s passing. He was writing the song when he got the call that she had passed, so he knew that particular song “would always be evocative of that moment.”

Jones complimented the Mission Creek sound tech, saying this was one of the best shows of the tour. The show was mellow, but I was incredibly impressed by both of the performers’ talent.

One of Jones’ last songs was a banjo piece, dedicated to Paul Metzger. After Metzger’s set, he sat in the booth directly in front of me, so I snapped a cute picture to highlight their friendship. It was a good show with expressive, pure music–now I’m going to go practice guitar so that maybe one day I can be half as good as Glenn Jones.

The post Mission Creek: Glenn Jones @ Trumpet Blossom 4/8/16 appeared first on KRUI Radio.

The stage was already set up for the opener, Everything Everything. Red and magenta stage lights were embellished by billowing smoke pouring off the stage. I could already tell this was going to be a much different concert experience than last night at The Mill.

Of the people who showed up early, there was no single “type.” Most people chose to sit near the front; all ages and all styles. For example, on one side of me was a polished young girl reading a novel, while the man on the other side had dreads, ruffled tie-die clothes, and a mysterious large bag in his lap.

When the mysterious bag man noticed me writing notes, he said, “oh, I hope you didn’t catch me talking baby talk!” Um, no? I was confused. Turns out, there was a cat sitting in the bag on his lap. A CAT. I’m all for therapy pets, but I never expected to enjoy an alternative rock concert in the company of a feline friend. Luckily he never let the cat out of the bag (ba-dum-tsss). Oh, Iowa City–never change.

The lights dimmed, and Everything Everything made their dramatic entrance to the stage. My first reaction to their matching tan outfits was basically this: so this is what would happen if Kanye West’s fashion line and Sgt. Pepper’s Lonely Hearts Club Band had a baby. Their music had similarly unique flair.

The British rock band kept high energy despite the small, mostly sitting crowd. At one point between songs, the lead man remarked, “Silence? This show is much different from the rest of the tour. PLEASE clap.” I was already clapping, but other people seemed to take the hint to loosen up. A small crowd rushed to the front and starting dancing in the pit. I couldn’t help but wonder how the cat was doing with all the loud, flashy stimuli.

So far everything (everything, ha) about the show had me feeling kind of, well, weird. I can definitely respect Everything Everything’s performance, but they are not a band I would enjoy listening to regularly. It was fun to dance along to the synth and feel the thundering bass in my chest, but I wasn’t overly fascinated. And it drove me crazy that the drummer couldn’t keep a steady beat.

The Englert was an awesome venue for this show! I really loved all the different light effects. The colors changed seamlessly during or between songs, and the lights really helped the bands create bad-ass stage presence.

While waiting for the headliner to take the stage, I found a spot in the front row next to krui.fm‘s lovely editor-in-chief, Alex Restrepo! She’s a busy lady, so I felt honored to experience a concert with her before she graduates from the University this spring. Several other KRUI directors and staff members were at the show, so I could tell it was going to be a good one. And boy, was it!

The Joy Formidable took the stage; the rocking trio Ritzy Bryan, Rhydian Dafydd, and Matt Thomas united in Wales in 2007. I was amazed at the power and volume the three of them made. After one especially extreme guitar riff by Ritzy, an audience member exclaimed, “Face melting!!” She thanked him by blowing a kiss; that with her elegant accent made her adorably hardcore!

The band had fun with a varied set list, playing Ostrich from their first EP as well as Passerby, a song from their newly released album. Passerby’s message is to make your own way in life, no matter if it’s not what others expect of you. I usually couldn’t make out the lyrics over the deafening cymbals and electric guitar, but I wouldn’t have wanted it any other way.

Matt, the drummer, liked to interact with the audience with widened eyes and a waggling tongue. Other than the drumset, he played a huge gong and delicate wind chimes throughout the show. I lost track of the number of drumsticks he went through; chips of drumstick were flying all around. Rhydian would occasionally “assist” Matt by flicking or even kicking the little splash cymbal. Little playful moments like that made me smile and get even more into the music.

When the band first left the stage, the entire crowd screamed for an encore. They came back with beers and played a fairly long encore set. Even the “balcony party for two” that Ritzy giggled about continued to dance until the very end. I loved seeing The Joy Formidable, and I’m excited to see what else Mission Creek 2016 has in store!

The post Mission Creek: The Joy Formidable @ Englert Theatre 4/7/16 appeared first on KRUI Radio.

I could tell right away that Deer Tick has a faithful and well-established fan base. The wait staff stayed busy delivering drinks and various snacks and then more drinks. The Mill created a cool vibe with dim lighting and blaring jazz fusion.

As I sipped my tap water I noticed how every square inch of the stage was full of instruments and sound equipment. Not only that, but there were two massive travel cases off to the side with at least a dozen string instruments. But I’ll come back to that later.

The first opener, Nadalands, came on when everyone was still getting settled in the venue. Acoustic Nadalands was John Lindenbaum, from Ft. Collins, Colorado. He played a 12-string guitar and sang a dozen of his wailing, lyrically smart songs. His sensitive persona was created in part by a cheeky Sloth tee and his intensely expressive eyebrows.

His voice reminded me a bit of early Ben Folds, though not as clearly articulated. Each song sounded somewhat alike, with story-telling lyrics and repeated “oohs.” The bar crowd talked over his set, but that did not stop Nadalands from belting his heart out to the back of the room. My favorite lyric inspired a quiet chuckle from the crowd with, “They’ll put posters of our faces on dorm room walls in private colleges…Don’t be afraid, cause we’re all gonna [bleeping] die someday.”

By the time Ryley Walker came on stage, the place was packed with people; most of them extremely intoxicated. Ryley Walker’s acoustic guitar was supported by a slammin’ upright bassist. Halfway through their first song, the crowd felt comfortable enough to congregate toward the stage.

Walker’s chops were incredible, and he’s not half-bad to look at either! The crowd definitely picked up on the duo’s energy and began to groove with the music. A common technique they used was repeating a riff over and over until the built-up tension exploded into the next part of the song. It was a folksy version of waiting for the bass to drop in dub-step.

I overheard a guy behind me complaining, “The Mill is the worst venue for an acoustic set ever because them people [at the bar] just won’t even shut the [bleep] up.” He and his friend carried on their conversation right nearby the stage for the rest of Walker’s set. Oh, the irony.

Walker had a relaxed confidence about him, and he repeatedly interacted with the crowd. He borrowed a audience member’s phone to shine a light on his pedal before a song, and also yelled back to a drunk screamer-type. He described the inspiration of his song Roundabout as “bars with mozzarella sticks and rednecks.” I really enjoyed his set and would highly recommend going to one of his shows!

The energy in the room escalated as Deer Tick came on stage. Everyone had vied for their best spot possible; there were justified complaints directed toward last-minute budgers. The Rhode Island alternative rock band consists of lead man John McCauley, guitarist Ian O’Neil, bassist Chris Ryan, drummer Dennis Ryan and keyboard player Rob Crowell.

From my vantage point (2nd row, but only 5’3″) I could only see John, Dennis, and Ian. Keyboards and bass held their own as a solid rhythm section all night. The three in front traded off lead vocals; John sang the most, and has the most unique grit quality I’ve ever heard.

The band started with a tribute to Merle Haggard, a legendary country singer who passed away the day of the concert. There was a slight hiccup because Ian forgot about a last-minute key change, but once they started over, they played a beautiful cover of Today I Started Loving You Again.

John brought the mood back up by telling a memory he had from a previous concert at The Mill: naked crowd surfing. He promised that would not happen again, however. The reasons they wanted to tour again were to practice new music they’ve been working on, and also for the money (jklol). I was incredibly impressed by their musicality and overall composure as a band.

Almost every song, John or Ian would have a new instrument brought to them; John also utilized a banjo, mandolin, flute, and piano. Flute?! Yeah, that was my reaction too. Rob on keyboards also switched around instruments, including a saxophone feature. Despite all this, I was most impressed by the drummer, Dennis.

Now, I’m probably biased because I’m a percussionist and have tons of drummer friends and family members, but Dennis seemed like someone I’d really want to make music with. He was the main harmonizer, but he also gained huge support from the crowd during his lead vocal tracks. One of my favorite moments of the entire show was a cute moment I shared with Dennis: after one of his two solo songs, we locked eyes and shared a classic “sup” nod and chuckle. S’cool.

Inbetween songs early on in the track, John was really upset about not being able to hear himself. Steam was practically coming out of his ears. Band and audience members alike tried to console him, but the only fix was whiskey and time with the exuberant crowd. Eventually he joked, “Okay, sorry, I’m back. I like music because it can take bad feelings and turn them into good feelings. Thanks for being part of my medicine.” I’m thankful for creative, talented bands for making awesome music!

I’ll always remember Deer Tick at The Mill as my very first concert in Iowa City. Here’s to many more!

The post Mission Creek: Deer Tick @ The Mill 4/6/16 appeared first on KRUI Radio.

Givers is best described as modern indie island or Afro-pop. The band formed in 2008 in response to displacement from Hurricane Katrina. Members Tiffany Lamson and Taylor Guarisco were forced to leave their freshmen year at the University of New Orleans and return to their hometown of Lafayette, Louisiana. The duo began to jam together and encouraged high school friends Kirby Campbell, Josh LeBlanc, and Will Henderson to join in. When they signed their record deal with Glassnote Records, Henderson was replaced by Nick Stephan. Alas, Givers is born.

The band gelled from the start and found success from their 2010 album In Light. The group has performed at Coachella, Lollapalooza, New Orleans Jazz Fest, and will be at Bonnaroo this year. Their album New Kingdom was released November 13th of this year. Several upcoming shows are listed on their website.

I was initially drawn to the album because of the sweet cover art. The visual art is very compatible with the idea of a “new kingdom” created by the record. If you buy the physical album, the lyric insert includes several more fascinating photos of the band wearing outfits and accessories made of aluminum tarps. Check it out if you can!

1. Intro
The intro is just a quick 60-second instrumental that sets the tone for the record. I could take it or leave it.

2. Bermuda
The complex rhythms, overlapping percussion, and electronic keyboards right at the beginning are a common attribute of Givers’ sound. I really can’t make out the lyrics at all, but it’s a catchy tune nonetheless. This song is far from boring with its many musically interesting components.

3. Remember
So much of this album is just fun to listen to. The album keeps me entertained on long, boring bus rides across campus. The vocals are slightly better enunciated for “Remember,” but the rhythm and overall “feel” is obviously the focus for all of their music.

4. Sure Thang
It’s a “Sure Thang” that this song makes me want to take a vacation to this New Kingdom they speak of. The experimental static noises and rudimentary snare drum contrast nicely with island vibes created by the keyboard and vocal harmonies.

5. Mother Of Love
“Who will guide you baby? You’ll find it’s the Mother of Love.” I’m still trying to figure out what this song means. It sounds so cool that I get distracted from the lyrics to enjoy the overall experience. She repeats many things about reaching out to grasp it, keep asking questions, and other motivational cues. So many of us are searching for love; not just romantic, but through our family, friends, and passions as well. Givers encourages you to keep searching.

6. Growls
“Growls” does not stick out for me on this album. None of the elements are noteworthy in comparison to the rest of the tracks. The best parts are the many transitions from melody to electronic dance grooves, but it gets repetitive.

7. Blinking
Lamson and Guarisco’s vocals are so clear in this track; it’s a noticeable distinction from the mumbles in “Growls” and “Bermuda.” Even though parts of the song are slow and dreamlike, there is an ever-present pulsing in the background to keep the groove going. It’s fun to pay attention to the rise and fall of the backbeat to anticipate the “drop.”

8. Record High, Record Low
This is the first single from the album, and also my favorite track. We previewed “Record High, Record Low” during a Writers’ Room show (every Sunday 12pm-1pm on 89.7FM!) and everyone seemed to enjoy its laid-back, merry quality. Someone mentioned that this song sets the scene for a leisurely bike ride along a California boardwalk. You get extra points if you can make it through the entire audio music video watching the ground shift back and forth.

9. Sleeper Hold
I don’t know what it is about this song, but it just fades into the background for me. The simpler parts are more interesting because it’s uncommon in other tracks, but the songs all kind of start to sound the same to me at this point of the album.

10. Shaky But True
When I first had to clear this album for air using FCC rules, I really thought the f-word was used multiple times. Once I checked the lyric sheet, I realized she’s just singing “If I could look through it” artistically. Could be on purpose, but probably isn’t. Either way, it’s the only thing I can focus on while the song plays.

11. Wishing Well
Bad song to listen to if you have a headache, but great for roller-blading or other 90’s themed cardio activities. All members of the band play percussion at some point, which makes sense because it NEVER ENDS. New Kingdom definitely encourages dancing.

12. Layback
This follows Givers’ template of alternating male/female vocals, rhythmic groove, and electronic keyboards. Just adding whispers and syncopation really helps Layback stand out as a unique component of the album. However, I do find myself adjusting the volume up and down quite a bit; they often start wailing after softer moments and vice versa. Also: WHAT ARE THEY SAYING? I’d be lost without a lyric sheet. It’s so weird how some songs have clear vocals while others are completely muddled. 

13. Lightning
Ooh, something different! This song is vastly distinct from the rest of the album. It is much more mellow; almost dark. I’m surprised that the band chose to end on a slow note, but it does act as a cool down from the dance party. If you set a workout to this album, now would be the time to stretch. Overall the band is talented, groovy, and I will probably listen to this album many times.

Grade: B

Listen to the full album here:

The post Album Review: “New Kingdom” by Givers appeared first on KRUI Radio.

The cimbalom is a hammered dulcimer from Central-Eastern Europe, particularly Hungary. About 125 steel and copper strings are stretched across a trapezoidal box and struck by two beaters, producing treble or bass tones. The instrument stands on four legs and has a dampening pedal. Cimbalom beaters curve upward and are wrapped in either soft or hard leather for desired timbre.

The cimbalom was invented by Jozsef Schunda in 1870. The instrument gained popularity in Budapest and was eventually named the national instrument of Hungary. A smaller, portable version of the cimbalom can be attached to its player’s shoulders.

This traditional cimbalom performance is given by the Szalai Hungarian Gypsy Band. The instrument creates a really nice ambiance for tuning out distractions. The cimbalom’s sound is a mashup of piano and harp, which is incredibly soothing to listen to. This solo starts slow and relaxed and seamlessly crescendos to a wild ending.

Related: Digital piano reviews.

The next video I stumbled upon makes me want to travel to Hungary. Imagine strolling downtown only to run into a talented duo such as this one! If things don’t work out in my future career, perhaps I’ll instead master the cimbalom and become a street musician. Not only that, they play each song memorized and without any sort of rhythm section–what talent! The speed with which this man can move his hands is incredibly impressive.

The last little ditty they play could be the background music of a Tom & Jerry cartoon.

Unfortunately, I really struggled finding the cimbalom in alternative/indie music, let alone any other genre. But WHY? It could have something to do with them selling for $3,999 plus shipping from custom cimbalom shops. *Sigh*, a girl can dream.

If you want to get your hands on any of KRUI’s goodies, email krui@uiowa.edu.  We will do mail orders (as long as you pay for shipping for which we recommend to find more info about the best company here).

Imagine my excitement when I discovered this (crappy video quality) performance by the Blue Man Group! If you enjoy music and wit and haven’t seen Blue Man Group live, go to one of their shows pronto! I may need to go again just in case they still feature my new favorite instrument: the cimbalom. I highly doubt Jozsef Schunda thought his precious invention would be paired with PVC pipes and sound so freaking cool, especially since plastic wasn’t invented yet.

Now that you’re fully informed about the cimbalom, notice the difference between the hard mallets used by the Blue Man Group and the lighter, curved mallets used by traditional performers! Blue Man Group had it right to make the cimbalom a star of their show; I think it should be pulled from behind the scenes in movie soundtracks and used more often in modern music. Hear that, indie pop/rock bands of the world? Save up and make awesome Hungarian dulcimer music, it’ll be totally worth it!

The post What’s That Sound?: Cimbalom appeared first on KRUI Radio.

In the midst of the holiday season, I thought it was appropriate to pick a semi-festive instrument for December’s installment.

Have you ever learned how to make a sound by running your finger along the rim of a wine glass? As a kid, I was pretty impressed with a few of my relatives who could work together to make a sort of song. The glass armonica is a large scale, mechanical method of playing the rims of many wine glasses.

Benjamin Franklin invented the glass armonica in 1761 after attending a glass harp concert performance in England. The glass harp is an arrangement of wine glasses filled with various amounts of water. The more water in the glass, the lower the tone.

Franklin was enthralled by the sound of the glass harp, but thought the tuning process and the effort it took to move from glass to glass was far too cumbersome. Therefore, he came up with a better system with practically the same sound: the glass armonica.

Glass bowls are arranged on an iron spindle; accidentals (or, the black keys of a piano) are generally rimmed in gold. The size of bowls range from a shot glass (highest tone) to a moderate mixing bowl (lowest tone). The spindle is attached to a foot pedal to allow the operator to spin the glass. Players must keep their fingers wet to produce sound, so they place small bowls of water between them and the instrument for frequent re-wetting.

The word “armonica” is inspired by the Italian word “armonia,” meaning harmony. Franklin named the glass armonica before the well-known mouth organ “harmonica” was invented in Germany in 1821. Although glass armonica is the intended name, it is also known as glass harmonica, bowl organ, and hydrocrystalophone.

The glass armonica was never a widely used instrument, although it gained enough popularity to interest composers Mozart and Beethoven. Each composer wrote pieces specifically for the glass armonica. Below is an excerpt of Mozart’s Adagio and Rondo played by French artist Thomas Bloch.

Since there was no good way to amplify the instrument in the 18th century, popularity declined as symphony orchestras and concert halls became prominent in the world of music. Beyond the practical reasons for leaving the glass armonica behind, there were rumors that the instrument was dangerous to one’s health.

Some believed that players contracted lead poisoning from the coating of the glass bowls. Others were afraid that the instrument’s timbre caused nerve damage. In 1798, a man named Friedrich Rochlitz wrote, “[the glass armonica] plunges the player into a nagging depression and hence into a dark and melancholy mood, that it is an apt method for slow self-annihilation.”
To this day, there are only ten or twelve skilled glass armonica players in the world. The notes are laid out similar to a piano, but the technique is much more challenging. The instruments are also rare, so they are not widely available for people to use.

Personally, I find that this version of Dance of the Sugar Plum Fairy from “The Nutcracker” puts me in the opposite of a dark and melancholy mood. And William Zeitler, a modern glass armonica player, seems perfectly happy in his Ben Franklin-impersonator garb. Take that, Friedrich Rochlitz.

If you happen to have a wide array of wine glasses and glass dishes at your holiday gatherings, try making your own version of a glass armonica! If not, just add Dance of the Sugar Plum Fairy to your holiday playlist.

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The band was put together by Johnny Irion, who has previously released five folk albums with his wife Sarah Lee Guthrie. Irion got together a group of fellow musicians, and his producer friend Tim Bluhm, to create a “rocking alter-ego.” Other band members include Nate Modisette (bass), Erich Riedl (drums), Anders Bergstrom (guitar), and Brett Long (piano). The group meshed well from the beginning, and despite most of them having day jobs, decided to form a new band.

U.S. Elevator recorded their album live without headphones “until [they] got the right take.” A friend of Irion’s recorded them in a Santa Barbara cabin with a 1,000-pound 24-track Studer A-80 tape machine, which apparently is pretty vintage and awesome. The album has a very authentic, original feel.

1./11. Pierre Lafond/Pierre Lafond Re-Mix
The album is framed by Pierre Lafond and Pierre Lafond Re-Mix. I appreciate a good intro/outro as much as the next person. Unfortunately, this approach only works if one listens to the album from the beginning to the end. They are both instrumentals, which allow the listener to “get in the zone” as well as get ready to return to the real world when the album ends. I like the creative idea, but I’m afraid most people who listen to the album will not get the full effect because of shuffled playlists.

2. Can I Make it Up To You?
Call and response from the lead singer to the other band members is a classic ’60s-’70s rock technique. Right away, I am attracted by the mellow groove created with ease. It’s certainly easy to picture a group guys sitting around a house jamming out.

3. Community Service
There must be a story behind this song; the fun vibe makes me wish I knew it. However, the lyrics are superior to the music for this song. The pulsating, simple chord progression is not especially inventive.

4. Cry For Help
For this one, I actually prefer the music more than the vocals. The repeated guitar riff is catchy and well-supported by the rhythm section. The singer’s cry for help is slightly whiny, which is not apparent in most of the other songs.

5. Dangerous Love
Dangerous Love was the first single released, and I think that was a great choice. The song encompasses everything good about the band: solid music, smart lyrics, and a clear sixties/seventies feel. We all know the many ways that love can be dangerous. This song describes the conflict between taking risks and being cautious with a loved one.

6. Momma-Cito Blues
Momma-Cito Blues is similar to Cry For Help, but is slightly more interesting. There is reference to Santa Barbara Babes, which helps establish the band’s natural setting. Near the end, there is a unique, spontaneous wailing from Johnny that I wouldn’t expect him to be able to replicate. Momma-Cito Blues also fades out completely with about 30 seconds left and then comes back in with an instrumental encore. Strange, but I like it.

7. Where the Rubber Meets the Road
As the title implies, Where the Rubber Meets the Road is a good song for cruising along the highway. The parallel intervals of the guitar contrast nicely with the basic rock beat and supportive piano chords. The slight vibrato imperfections are beneficial to creating a meaningful vocal performance. There is a dreamlike feeling created by this song, like pondering memories from long ago.

8. Wall of Grief
Wall of Grief is my favorite song from the album. I can see it being applicable to any and all situations dealing with loss. Music helps us over, and under, and through the wall of grief. The band shows off their bluesy, soulful chops throughout the track. I can’t get enough of the harmonies or the guitar solo near the end.

9. Sleep Ain’t Nothin But Death’s Brother
Catchy title, eh? I thought so too. The premise of the song is clever, but I do not feel like they executed it very well. I think it was a case of coming up with a witty quip but not having enough of an idea to form a whole song. Instead of trying to make a well-rounded song, they repeated the chorus more times than necessary. There was also an especially twangy vibe which does not fit the rest of the album.

10. Pineapple Express
The recording of Pineapple Express sounds the most live of them all, but that isn’t a bad thing. I get a bit lost in the lyrics of this song. I wouldn’t mind riding the Pineapple Express they describe. The song is fuel for contemplation.
Grade: B

Listen to U.S. Elevator

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