A collaboration between the Englert Theater and Little Village Magazine, Witching Hour “welcomes artists and thinkers to push the boundaries of their respected crafts.” With classical music traditionally being a sit-and-listen type of performance, Chromic Duo provided a refreshing take by centering their performance around audience interaction. 

The duo’s staple toy pianos and audio mixers sat onstage as audience members trickled in before the show. Accompanying the instruments was a poster board with the question “What identity do you hold?” Post-It notes and golf pencils were passed out to audience members to write down their answers. 

Known for their playful performances and inspired by self-discovery, Chromic Duo played compositions of nostalgic sounds. The music encouraged listeners to either escape or embrace their identities. 

The first composition resembled a song chosen for a film’s ending sequence. Music swelled in crescendos of hopefulness, adding clarity to uncertainty. The hazy pink stage lighting incorporated with the uplifting soundscape transported me to a state of ease, reminding me of the carefree child that I once was. And that’s what was so compelling about Chromic Duo’s show— you got to decide the story that fit the composition and let it take you closer or further away from your identity. 

After two more compositions, Chromic Duo performed “Homecoming,” their fourth and final piece of the night. Inspired by their Asian-American identities, the piece delved into the violence towards Asian-Americans amid the 2020 pandemic. The piece included snippets of spoken interviews and poems, along with an augmented reality experience.

Audience members scanned a QR code at the beginning of the show, leading them to a scenery of floating lanterns. Although each person in the audience had their own interpretation of the performance, we were all brought back together through the shared AR experience. 

Chromic Duo’s performance was a one-of-a-kind experience that allowed audience members to experience a new form of classical music performance— something we don’t get that often. 

Follow Chromic Duo on their musical journey via their instagram, @chromic_duo.

The post Witching Hour: Chromic Duo reinvents classical music performances appeared first on KRUI Radio.

Chromic Duo is made up of Asian-American composers Dorothy Chan and Lucy Yao. The two artists are third-culture-kids and create sounds that describe the road to self-discovery. In their bio, the phrase “inspired by the small wonders of the everyday” encapsulates their inspiration for the music-making process.

In an interview with Little Village Magazine, Yao stated “A toy piano… might be something that you think is just for a kid to learn. But then when you start to look a little bit deeper, you notice that the toy piano actually has this beautiful character and all these different toy pianos are characters in themselves.” A sense of playfulness is at the heart of Chromic Duo’s pursuit to connect with those trying to find a sense of belonging.

Chromic Duo is no stranger to new modes of storytelling and delightfully integrate sound and visuals in their 2020 YouTube video entitled “Chromic Nightbloom.” The piece demonstrates multidimensional art and music production. Live generated visuals of pastel skies move cautiously along with the melancholic plucking of piano strings. Then, the mood changes to a more lighthearted composition and transports you to a tranquil dimension. Chromic Duo’s ability to reimagine everyday musical instruments will have you smiling and reminiscing on childhood curiosity and creativity.

The musical duo will bring their soundscapes to the Englert Theatre’s annual Witching Hour festival. Chromic Duo performs at the James Theater in Iowa City on October 21st at 7:30 P.M.

The post Witching Hour preview: Chromic Duo’s playful soundscapes appeared first on KRUI Radio.

I first saw Counterfeit Madison— the moniker for artist Sharon Udoh— at last year’s Mission Creek Festival, where I was dazzled by her no-holds-barred performance style. Udoh connects with music in way that is fascinating to watch, giving her entire self over to the rhythms and melodies with intense vigor.

Udoh took the stage with a beaming smile, and quickly took a seat at the lone Steinway grand piano that was positioned at center stage. She began the night with an alluring rendition of “Strange Fruit,” a song made famous by Nina Simone as well as Billie Holiday. Udoh’s vocal range is exceedingly similar to Simone’s, with rich, low notes and a powerful belt.

Udoh explained her connection to Simone in its entirety in an interview with Little Village, discussing how the two had similar upbringings and relationships with music. Both women trained in classical piano, both grew up going to a pentecostal-adjacent church, and both took stage names, among several other commonalities. In a break between songs, Udoh told the crowd of the moment when she first discovered Simone’s music.

“When I was 29 years old, working in a bakery in Columbus, Ohio, we would take turns playing music over the speakers,” Udoh said. “I heard this voice that was rich and deep, and I was like ‘oh what’s this?’ I didn’t want to tell anybody I didn’t know who it was, because I was embarrassed. So I was icing cupcakes, and I put down the icing bag, and I shimmied over to the computer. I looked and I saw a video of this woman, this androgynous woman, with a short haircut and dark skin and a broad nose, playing the piano classically and singing, and I was just like, what?!”

The performance featured covers of Simone classics like “Feeling Good,” “I Put a Spell On You,” and “Young, Gifted, & Black,” among others. All of Udoh’s covers of Simone’s music are available on her website, recorded when she first began the project in 2016 of connecting her own experiences with life and music with Simone. Between songs, Udoh spoke to the audience about the history and songs of Simone, and how her legacy is still extremely important in the current cultural moment.

“Nina craved the prime-time television spotlight of people like Aretha and Gladys Night, and she felt like she was being punished for her politics,” Udoh said. “Few people on this earth were able to live as honestly as she lived because they were afraid. Nina prompted people, black people specifically, by asking them to have some self questions: Who am I? Where do I come from? Do I like me? Why do I like me? How would this country be different if we asked ourselves those questions?”

Simone, who passed away in 2003, was exceedingly known for her ardent advocacy of equality for people of all races, particularly during the civil rights movement in the 1960s. This focus is prevalent in much of her music, particularly after the 1963 16th Street Baptist Church bombing in Birmingham, Alabama. This act of white supremacist terrorism caused the death of four young black girls, and injuries to 20 others, prompting Simone’s release of “Mississippi Goddam” in the following year. The song was so contentious that many of the white-run radio stations of the time refused to play it, some even returning Simone’s record to her broken in half.

Performing more somber covers of “Mississippi Goddam” and “Brown Baby,” Udoh brought a focus to the conflicts Simone’s music confronts. Unfortunately, our country is still facing much of the racial issues it was grappling with during Simone’s heyday, with increasing police violence and mass shootings. In a rousing final conversation with the audience, Udoh questioned why the U.S. continues to facilitate the destruction of minorities, connecting today’s issues back to Simone with a quote on the concept of freedom.

“Why is a black body such a perceived danger for a police officer?” Udoh asked the crowd. “Is that why they shoot us when we’re unarmed? Americans, Americans who are we? What’s all this fear? Nina once said: “I’ll tell you what freedom is, no fear!” Land of the free and home of the brave, we like to say. When and how, will we begin to make America land of the free and home of the brave for black and brown folk?”

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1.) Piece Of Your Heart

“Piece Of Your Heart” is the first single that MP dropped in anticipation for this album, and I gotta say that I love it. As I mentioned before, I wasn’t the hugest fan of their last two albums, but this song actually has me looking forward to their new album. It feels reminiscent of early Mayday, which as you’ll be able to tell soon, is my favorite era of MP (thus far). The lyricism is similar to their “A Lesson in Romantics” days, something I didn’t know I wanted to hear again. The instrumentation has been cleaned up since their last album (which IMO was a failed attempt at trying to “get back to the roots” of pop punk) and from what I’ve heard of the new album, it sounds like it will flow smoothly.

2.) I Swear This Time I Mean It

If there’s one thing that MP is really good at, it’s sappy ballads. This song, from their sophomore album “Anywhere But Here,” features an acoustic guitar paired with soft vocals from lead singer Derek Sanders. The tempo is pretty slow, almost as if Sanders is singing a lullaby. The song slowly builds, the music crescendoing from the slow tempo to fit smoothly with his gentle voice. Tbh, I could totally listen to this on repeat until I fall asleep. His voice is so soothing.

3.) Kids In Love

“Kids In Love” is another track from their sophomore album, and it’s also the first song I ever heard by the band; I was in 7th grade and thought that I was so in love with the guy I dated that year *cringe*. For as cringey as that is, it felt so applicable at the time – “We were just kids in love / the summer was full of mistakes we wouldn’t learn from.” Despite the memories of my first puppy love, this song feels timeless to me. The instrumentation stays interesting during the entirety of the song, and the lyricism doesn’t feel like it was directed at 13 year olds.

4.) When I Get Home You’re So Dead

This song hails off of their first and most celebrated album, “A Lesson In Romantics.” At the time, Derek Sanders was a co-vocalist with Jason Lancaster, who ended up leaving the band and joining Go Radio (before they broke up and he went solo). This break up song is so 2007 – not sappy and sad, but savage AF. The lyrics basically allude to the fact that the girl is a cheating whore and she won’t ever change. One thing I love about the lyrics is that it doesn’t sound cheesy AF, like some songs I’ve heard calling out ex-girlfriends for being whores. Instrumentally, the guitars sound angry, which helps the direction of this song channel the angsty side of pop punk.

5.) Three Cheers for Five Years

Eeeeeek, this song is so sad. This song was written by drummer Jake Bundrick, who found out that his girlfriend of five years cheated on him (and she told him on their anniversary, nonetheless). This piano ballad features a back-and-forth vocal trade off between Sanders and Lancaster, with vocals sometimes overlapping each other, but in my opinion showcasing the conflicting thoughts of a break up and how to deal with the news of your S/O cheating on you. I love that MP are able to tell stories of break ups in completely polar-opposite ways (see choice 4). The twinkling piano, the switching vocals, the overlapping of thoughts – they all culminate into a song that brings out emotion I didn’t even know I had.

6.) Still Breathing

“Still Breathing” starts off with a somber-sounding guitar, the chord blending seamlessly with Sanders’ vocals. Drums subtly come in throughout the verse and eventually build up into the chorus, which isn’t anything mind-blowing, but isn’t overly simple and boring either. I don’t really know what draws me to this song, but I enjoy it nonetheless.

7.) Just Say You’re Not Into It

Let me tell ya, this EP was *~amazing~*. This song follows the hearts of a conflicted relationship, where the two are fighting, however they want to forget about it for the night and “bring their hearts back home.” I love the way the song starts off, with the lyrics “In a show of hands / who has ever said these words before? / And in a show of hearts on the floor / who has ever meant them more?” I thought that line was just cleverly crafted and didn’t even need to be explained for it to be understood. That right there my friends, is good lyricism.

8.) I’d Hate To Be You When People Find Out What This Song Is About

Long live the days of long song titles – can we bring that back please? I heard some rumors that “Sunnyland” will have more long titles – yay! Anyway, back to this song. The main reason I love this song so much is because you can hear so much emotion in both of the vocalists voices, but especially Lancaster’s when he jumps into the chorus. I honestly don’t really know what this song is about, who it’s about, what’s going on, but it makes me feel. It’s the weirdest thing – but hey, that’s what music does to ya. Also, with the guitar solos and the way that the song builds, the song flows together so smoothly and makes me want to throw down.

9.) Terrible Things

Okay sorry, we’re going to get sad again. But this song is just. so. beautiful. The narrator, a father, is telling the story of the father and mother – when they first met, when he proposed, and when she told him she’s sick. I mean, shit. Paired with the somber piano, this song is so sad and evokes so many emotions. The father is telling the son “So don’t fall in love / there’s just too much to lose.” and “Now son / I’m only telling you this / because life can do terrible things.” This song is basically a Nicholas Sparks book summed up in four minutes.

10.) One Of Them Will Destroy The Other

This song is one of the songs I actually like from their 2015 album, “Black Lines.” I love how raw this song sounds, in terms of instrumentals and in vocals. Sanders experiments with some more screaming, a change that really shook up their discography since Lancaster left the band. Some fans were disappointed, citing that MP is a band they go to for more sappy, heartfelt songs, not heavier music. However, I thought this was one track that actually did a good job of capturing that raw, stripped down sound that they were looking to do for the album. I don’t think it completely worked out for them – I saw them live shortly after this album was released and they played 3 songs out of a 20 song show from this album. That being said, the songs they did play were the good ones, so I wasn’t too disappointed.

So there you have it! I’m really excited to hear what their album will sound like, and of course, I will see them live at Warped this summer.

Check out my blog where I write more music related content, and follow my music Twitter to hear constant updates on everything music related!

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I arrived around 6:45, with 15 minutes to spare before the opening act, Tyondai Braxton. I patiently waited until the house lights dimmed down at 7 and Tyondai came out. Tyondai, a tall and tanned man with a curly afro, gave a shy wave and headed to his safe haven that was his equipment. A single laptop, a keyboard, and tons of cables sat in front of him as he towered over it. Red and white lights shone down on him as he started to play.

Silence hung in the air for a brief moment as he stared down at the table in front of him. The music started up, a slow beat at first. It sounded like the bass that builds up the anticipation in a movie, or like the sound of an airplane when it fires up.

More futuristic sounds were crescendoed in soon after, and the bass kept building up. He stared down with determined eyes at the table, bobbing his head to the music. To me, it kind of sounded like a never ending EDM ringtone that kept changing beats. I was able to identify some more unpleasant sounds, like tires squeaking on cement, or when people drag their feet on the ground, or high pitched ringing. At one point I could even feel myself cringing and my toes curling.

It sounded almost as if it wants to be like catchy club music, but it’s too quirky to be with its incorporation of maracas and bird chirping. It was easy to tell that Tyondai must take a lot of inspiration from his environment, considering the sounds he’s able to produce are familiar and identifiable. The music always mellowed out, going into a lull before transitioning into another song, making it an hour straight that he played for.

He bobbed his head, occasionally looking up at his laptop but never looking at the crowd. When he bobbed his head, he was looking straight down at the table as if the audience wasn’t even there. I looked over the crowd to see people sitting with their hands propping up their faces, and some people relaxing. I felt slightly awkward just sitting there and watching him, considering I’ve never been to a show where the musician never did any talking. But he was doing his thing, which made me feel less awkward and more comfortable to be there.

It was almost abruptly that his music faded and a yellow light was cast upon him at 7:57 pm. He gave his hand up in a wave and said “Thank you,” as the audience clapped. He walked off the stage before shortly returning to help clear his things.

The wait for Dawn of Midi was roughly a half hour, which wasn’t too bad. The trio based in Brooklyn walked on stage, waving at the audience before taking their places behind a grand piano, a cello, and drums. The red and white lights along with some fog were back for them. They tuned their instruments, and after a while that turned into them playing their songs.

Dawn of Midi has a lot more of an acoustic vibe to their music as opposed to Tyondai. They take a lot more of their rhythmic structures from North and West African folk traditions, making the vibe in the room calm and mellow. Their music stayed consistent, never really  building to much or having any huge bass drops like Tyondai. It sounded more like a film score, something that you could just sit back and enjoy. It felt more organized than Tyondai, who had random sounds here and there. In my opinion, it was a lot more enjoyable for me to listen to Dawn of Midi for their relaxed tones.

A keyboard solo takes off as the cellist shakes his hand off. The drummer bows his head down and keeps time by bobbing his leg up and down.

After a while, it was kind of boring to watch. That was when I looked behind me and saw that a lot of people had rested their eyes. Again, I felt awkward: is that normal at shows like this? Or is that rude? To the people’s defense, the music could put me right to sleep. It was a beautiful sound and very lulling. I decided to close my eyes too and let the music take me to a different place.

I felt relaxed and at ease as the music flowed through my body. I opened my eyes again and this time focused on the pianist, who had his eyes closed and was bobbing his head from side to side. Each of the musicians seemed to be in a trance, and it was inspiring to see them perform a different style of music.

Their time came to leave and I felt more relaxed than when I had gotten there. The chilly air hit my face as I left The Englert, and I didn’t even flinch.

Would I listen to their music in my down time? Probably as background noise when I study. But would I like to see them again? No, probably not. As much as I enjoyed their music, it wasn’t a concert that I felt had a lot of stage presence. With their type of music, there is no desire to see them live as there is for my favorite bands. Nonetheless, I appreciated their music.

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This song had me hooked from the very beginning when you first hear Sam Harris’s almost angelic voice belt out “Hold, Hold on, Hold on to me” while is brother Casey Harris is softly playing piano in the background. The powerful lyrics are really what makes this song so great; they are very moving and so heartfelt. The piano is soon joined by hard drum beats that just hook into you even deeper . Having both the piano and drums was definitely a great choice. It makes for a well-rounded track. Harris’s soulful voice kept me enthralled the whole time, and the sad vibe is perfect for when you are down in the dumps. It hits you right in the feels, especially when he sings, “Daddy, I’m alone. Cause this house don’t feel like home”.

“Unsteady” is one of those songs I could listen on repeat for hours when I’m in one of those moods because of  it’s all over melancholy tone. X Ambassadors debut album VHS is full of incredible songs that are less slow, and sad compared to “Unsteady”. The whole album is available on iTunes, you can also check out the track below.

The post Track of the Week: “Unsteady” By X Ambassadors appeared first on KRUI Radio.

I simply saw the title of Okay Kaya’s “I’m Stupid But I Love You” and my stomach lurched. The title honestly explains the foolishness in falling into unrequited love. A listen and a read of the lyrics of this week’s Track of the Week, left me feeling incredibly connected with her sweet song of heartbreak.

As a fairly new artist based in New York, with Norwegian origins, Okay Kaya has been featured on a number of websites for the waves she’s making in music news. She has a few singles that have made it to Youtube, including “Clenched Teeth” and “Damn, Gravity” in which Okay Kaya serenades us about heartache, much like “I’m Stupid But I Love You.”

This somber track begins with piano chords that resonate and pair well with Okay Kaya’s high and sweet voice.

The song is instrumentally calming and creates a sad atmosphere that perfects the lyrics. This simplicity settles in the background and provides an important position for the lyrics at the forefront.

Okay Kaya poetically discusses the popular topic of heartbreak in an honest way that bares her soul and its insecurities. This lyrical poetry allows for a relation between Okay Kaya and the listener, including myself.

The lyrics (some of which are italicized above) are relevant for nearly everyone at one point, if not multiple, in their lives.

She somehow captures the sinking feeling of unrequited love that honestly tears open those old wounds without being overly sweet. It is my assumption that nearly everyone feels the same punch in the gut, heart, or whichever symbolically hurts the most after hearing this authentic track.

Check out the innovative video for Okay Kaya’s “I’m Stupid But I Love You”:

Main feature photo via: NME.com

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Eventually, Valgeir Sigurdsson himself came out on stage followed by Nadia Sirota, a violist with whom he collaborated for the show. Sigurdsson, an Icelandic musician and composer, pumped mixed beats on his Mac while Nadia played her viola. For a number of songs, Valgeir also played the piano.

Songs such as “A Crumbling” from Sigurdsson’s most recent album, Architecture of Loss, were played throughout the course of the evening. The music was phenomenal; the notes were intense and sharp while equally clear and poignant. Emotion flooded through every song the duo played. Nadia’s facial expressions were fantastic and the energy in each tune seemed to be consistently building. Following the final song, the audience insisted upon an encore. Valgeir and Nadia came back on stage to play two songs: “Tristan Da Cunha” and “Past Tundra.”

Valgeir Sigurdsson’s album, Architecture of Loss, was released last September and Nadia Sirota’s album Baroque was released on March 18.

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