Deltron 3030 is a reaction of ingredients, the result that occurs when the environment is just suited for righteousness. A passionate multi-genre producer, a DJ that doesn’t sleep without a vinyl player, and a rapper may or may not have a use for inhaling. The boys teamed up and made something out of the ordinary, a space odyssey: easily one of the most definitive records in the past two decades. 

You can still feel the waves of their debut release from seventeen years ago, as it was the first science-fiction hip-hop effort ever, essentially one of the first concept albums in the genre at all. 

The most consistent band working wants to move forward, even at the risk of a misstep or two. That’s not to say they haven’t changed; their past five albums, recorded with their current lineup, have each sustained a coherent, self-contained aesthetic. The incendiary explosiveness of "Jane Doe," the rotted gouging of "You Fail Me," the straight assault of "No Heroes," the knotted melodicism of "Axe to Fall," the chiseled cuts of "All We Love We Leave Behind."

There’s not much of a “progression," per se, but that last album was notably the saddest-sounding in the catalog. The lean directness, a sort of plea to get across not only fury but the voice containing it. The rhythm barreled forward as guitars shot downward like an arrow volley, or torrents of stinging rain.

Chicago rapper Fatimah Nyeema Warner AKA Noname stopped by the 505's very own Launchpad last Wednesday to give what potentially could have been a truly stunning performance. Unfortunately, it was not all that I had personally hoped for. A Noname song requires presence and space, a physical room for the songs to breathe perhaps, and Launchpad has a very small cube of a room where her music felt muddy and like white noise at times.

I don’t blame the sound on Noname or her band as, watching her NPR Tiny Desk performance and a few festival performances, she sounds as good as studio recordings - if not better.

The main issue with modern gaming culture resides within its connotation as a juvenile pastime for preteens who enjoy shooting each other online, ad infinitum, whipping vulgar language and racist slurs like a United States president-elect.

To see past this rather horrible first impression of gaming is to see the most immersive artform in existence. That’s not an overstatement. The audience is being given the controls to fire-start monumental moments of visual art, music, writing, and filmmaking. A multimodal experience. If done correctly, gaming brings out the best in many forms of art and, in turn, is extraordinarily immersive.

Good game design implies good music. It’s what accounts for those footsteps in the grass or the soft-humming of a spaceship’s engine in neutral. A dynamic world demands the appropriate amount of aural animation to define it, and some musicians have formed some unparalleled works of sound in the past few years.

Celebrating Radiohead's "In Rainbows" 10th Anniversary

Talk to any music fan about Radiohead, and chances are they will be familiar with OK Computer and Kid A, and possibly even Pablo Honey (strictly for its inclusion of “Creep”). They might even be a Radiohead obsessive, and will want to debate how the subtle nuances of “The National Anthem” make Thom Yorke the greatest musical genius to ever live; they probably even dream of drinking Thom’s tears as he performs in hopes that they may attain some of that genius.

Personally, while I consider myself a music fanatic, something about Radiohead has always felt impenetrable. After hearing the near-universal acclaim this band receives, I am left befuddled as to why I am unable to feel the same way. I can barely tolerate beloved records such as Kid A and Hail to the Thief. These albums, known for their experimentation, seem to be totally lacking in any quality that could make a song enjoyable.

It is for this reason that I am stunned by how much I love In Rainbows, which turns ten years old this year.

Sex and Relationships Issue: Five songs that sum up every stage in a relationship

As any respectable rom-com will tell you, relationships and music were made for each other. With every moment of your emotional adventure there is a song crafted to fit your exact mood, whether you find yourself in the loving embrace of your partner or neck deep in a tub of depression ice cream.

Here’s a list of songs for all the highs and lows that come with love — hopefully you can use these for any emotional situation you find yourself in.

Review: "Take Me Apart" by Kelela

Kelela is, above all, concerned with maintaining dignity within movement. In interviews, and an editorial piece published by Resident Advisor, she has been outspoken about the constraints and compromises of working as a black woman within a music industry controlled in large part by white men under late capitalism. 

Part of that process has been walking the line between using different influences — “I don't see my sound inherent in one type of beat,” she explained to the Fader — without compromising her blackness, and in turn without being tokenized, marginalized, extracted from. 

Column: Top 10 Acts of Austin City Limits 2017

Since 2002, Austin City Limits has been providing the southwest with top-tier live music between rock, hip-hop, and electronic music. Fifteen years later, the sentiment in which ACL was founded upon remains the same: congregate music lovers and turn the volume up to eleven.

Weekend 2 at Austin City Limits featured 114 bands and 36 hours of incredible music. Here’s a ranking of the best shows at this years' music festival.

Alex Lahey's Take on Pop-Punk Revival

It’s hard to read music news publications without running into articles discussing “the death of rock and roll.” This endless stream of pieces come again as genres like pop and hip-hop dominate the current musical landscape. As much as I detest hearing purely speculative news like this, I cannot help but agree with this sentiment.

There are numerous reasons why rock’s popularity has dipped, but one primary reason is the lack of relatability the genre has with younger music fans. Rock is a genre obsessed with its past, and many of the most popular rock bands have been around for at least a decade (The Killers, Fall Out Boy, Red Hot Chili Peppers, etc.). Today’s rock musicians rarely seem to focus on the problems facing young people: the demographic that ultimately determines what is popular.

Q&A with The Polish Ambassador and Ayla Nereo

David Sugalski donned the pseudonym of “The Polish Ambassador” by mixing and scratching records together in his free time, one of which included a skit of two show hosts making fun of a fictional representation of the European diplomat. Since his start in Boulder back around 2007, Sugalski has gone on to release a wide array of funk, hip-hop, breakbeat, EDM and glitch, as well as form his own label, Jumpsuit Records — a reference to his snazzy work attire when dropping beats on stage. 

You may be familiar with his songs “Superpowers” and “Let the Rhythm Just”, both of which utilize powerful melodic hooks to decorate the sonic environment. The label is a force of nature in advocating the use of green energy, using their platform to form non-profits and raise awareness for all things sustainable.

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