Not Posting Enough

You would think with everything going on, I would be posting more. There's so much to process. It's utterly surreal.

The History of Q101 with JVO

Last week, something took place, which reminded me why I love radio. 101WKQX's morning show did a 34 hour radioathon to raise money for Chicago music venues. The cause was great, but the content was even better. Hosts Brian, Ali, and Justin were able to break the "modern radio rules", and go old school with the broadcast. Talking segments were substantial and entertaining, deep cuts were played, and you never knew who was going to call in.

It was awesome! It had the vibe that anything could happen, and if you turned your radio off, you would miss something important. It made me I feel nostalgic about old school radio, specifically old Q101. So I went to my bookcase and starting thumbing through James VanOsdol's book on Q101 'We Appreciate Your Enthusiasm: The Oral History of Q101.'

It's a great book, and if you are any bit curious about the history of one of Chicago's most infamous radio stations, it's a must read. The book also lead to one of my all-time favorite interviews, James VanOsdol known on-air as JVO. Growing up, JVO was my favorite DJ, so talking to him was a BIG deal for me. Listening back to this interview makes me smile. 

I've included it here. *

Looking Glass Podcast · The History Of Q101 with JVO

*Soundcloud appears to be down and won't let me embed the file. Once this issue is fixed, I'll embed.
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Moby's Seventeenth Album 'All Visible Objects' is a Career Reflection

Over his 30 year plus music career, Moby has evolved from a techno dance master to an alternative pop hit maker to an Avant-Guard tone poem composer.  With his new album ‘All Visible Objects’, he takes all of these musical styles and genres and puts them together on a single record.

The album can be divided into two parts. The first part is very disco-y dance pop heavy with tracks like Morning Side, Refuge, or Power is Taken. In fact, any of these new songs would fit perfectly alongside his earlier work like My Beautiful Blue Sky, Drop a Beat, or Electricity. (All of these tracks can be found on his self-titled debut and sophomore follow-up ‘Ambient’.) It’s safe to say, this first part will have you reminiscing for early 90s techno.

The second part of the album consists of the final four songs, and is more in line with his later, more melodic albums ‘Wait for Me’, ‘Destroyed’, or ‘Innocents’. Rich in melody and clocking in at a whopping 33 minutes 19 seconds, these final songs illustrated Moby’s skill at composing beautiful and haunting songs.

So, the question, does this album work? In all openness, I don’t know. I think ‘All Visible Objects’ would best be served by picking one musical style and sticking to it. The changes in genres can be very jarring, due to how different they are. For example, the opening track Morning Side is followed by a melodic song My Only Love, which is then followed by a massive dance song Refuge. The dancing themes go through the rest of the album until the final four tracks. I should mention, in full disclosure, I do prefer Moby’s latter, more melodic work. So the second part of this album is what I will be going back to in the future.

But, if you are looking for an album that could serve as a retrospect of Moby’s entire career, capturing his musical evolution, this might just be the album for you. There isn’t a “standout” single, but taken as a whole, you’ll get a great view of Moby’s career.

'Esmé Patterson Channels Ray Bradbury on Latest Album ‘There Will Come Soft Rains’

So I wrote an album review for WXAV.com. I think it turned out pretty good. I hope you enjoy it and listen to the album.

‘There Will Come Soft Rains’ isn’t just a short story in Ray Bradbury’s seminal work The Martian Chronicles; it’s also the title and inspiration of Esmé Patterson’s fourth solo album released in March of 2020.

I first heard of Patterson a few years ago when she and William Elliott Whitmore participated in the ‘Play Each Other’s Songs’ series. I was immediately taken by Patterson’s cover of ‘Not Feeling Pain Anymore’. Her vocal performance on the song is utterly beautiful. There’s a strength to her voice that is yet underlined by a vulnerability that creates this balance that immediately connections the listener to her.

Needless to say, that strength and vulnerability carry over to ‘There Will Come Soft Rains’, as it does not disappoint in its catchiness, hooks, lyrical content, and overall beauty. Patterson’s vocals sound almost angelic on ‘Light in Your Window’. There’s a longing in this song that is so relatable. Add to that an incredible 80s sounding synth keyboard, and you have pure perfection. For me, this is the standout track of the album.

In addition to a cool 80s pop vibe on ‘Light in Your Window’ and ‘Shelby Tell Me Everything’, she is able to achieve a funky blues vibe on ‘Out The Door’, an indie alternative vibe on almost like the Black Keys on ‘Sleeping Around’, and an almost singer/songwriter style on ‘Take It Easy’. You could almost say, there’s a little bit of everything on ‘There Will Come Soft Rains’.

On an album description sheet sent to WXAV, Patterson describes the songs as the album as: “…echo[ing] the surrender of starting over and failing and starting over again many times. I was hoping to convey the bittersweet peace of letting go alongside the courage to start again, being swallowed by fear and pain and coming out the other side stronger.” I couldn’t agree more.

If you are looking for an album of great indie-pop music with deeply personal lyrics, look no further than ‘There Will Come Soft Rains’. It’s one of my favorite albums of 2020. Also, read Bradbury’s short story. It’s incredible too.