Coming off of Akron/Family’s album Akron/Family, “How Do I Know” contemplates existential confusion with complete calm, almost as if the answer to their question “How do I know why I’m alive?” is in the line “Comb my hair with your hand.”

-Elizabeth Coscia

I’ll be the first to admit, I like their sound. They come off as edgy, melodic punk even if their uniqueness sounds like it was engineered straight out of the studio. Lacking in that rawness quality you can never quite put your finger on when you hear it, The Photo Atlas sound a bit over mixed by the production studio.

Stuck In a Honeytrap exclusively features fast-paced guitar driven tracks, a little melodic indie punch, and wailing punk style vocals. These elements do combine to form a somewhat unique and interesting sound, which is fun to listen to, for maybe ten minutes. But the album is a lot longer than that. At nine tracks and around forty minutes, Stuck In A Honeytrap is actually too exclusive in capturing The Photo Atlas’ unique sound. The entire album pretty much sounds like one, drawn out forty-minute song, instead of nine individual songs each deserving your attention.

Lyrically, The Photo Atlas sounds bland and amateur. With lines like “She was in the corner of my eye, she was dancing somewhere between all these lies,” there’s not much substance or anything that would really resound deeply with listeners.

The Photo Atlas produced a decently over-mixed sophomore LP. They’re sound is interesting, but they’re content and variety is certainly lacking. Stuck In A Honeytrap would be one of those insignificant albums you put on in the background as you bob your head while doing mindless errands around the house.

Rating: 4.5/10

-Michelle Zhou, co-host of The Thieves of Indie-Uh, Mondays 3-4pm

Pitch correction is nothing new—most songs which feature vocals are pitch-corrected to a certain level. T-Pain, Akon, Lil Wayne threw Auto-Tune into the pop landscape in the mid 2000’s. Kanye took it to its artistic apogee with 2008’s 808’s and Heartbreak. Jay-Z claimed to have killed it in 2009. T-Pain hasn’t been of pop importance since he and Taylor Swift parodied “Love Story” for the 2009 CMT awards.

In January of this year, Village Voice writer Rob Harvilla penned a column on Future, an Atlanta rapper/singer/Auto-tune connoisseur with Dungeon Family roots in which he wrote “[Future] uses Auto-Tune the way Picasso used nude women, the way Obama uses drones. The Edward to Ke$ha’s Bella. Baffling, polarizing, inhuman, repulsive, delightful.” Harvilla wrote the article in response to Future’s major label debut Pluto released in April of last year. “Pluto” received general acclaim from critics, and spawned the radio hits “Same Damn Time,” and “Turn On the Lights.” Pluto, above all, was fun, and on it, Future is extremely likable, not in the auteur seriousness of Kendrick Lamar or the over the top aesthetic of A$AP Rocky, but in the way he twists and gargles and burps his voice through love and triumph.

It is difficult to look at his January mixtape, F.B.G., without comparing it to Pluto. Pluto’s charm was the way it made an Auto-Tuned voice, soaked in syrup and on the verge of croaking from prodigious amounts of marijuana smoke, sound soul-baringly human. With many rap artists, the line between a capital-A album and a mixtape are easy to draw. Cohesion and artistic statement aren’t of a mixtape’s concern. Beats are taken from other artists, topics bounce off the walls, and there is no through-line. But with Future, it’s difficult to mark this distinction because his through-line is his voice. His songs bounce from drug-soaked ballads to Waka-style chants to Auto-Tuning R. Kelly. What his themes lack in nuance, he makes up for in pure energy and charisma. Quite simply, all things equal, each of his songs would suck if anyone but Future were on them.

And this is what keeps F.B.G. from being as exciting and enjoyable as Pluto. FBG features 18 guests, all of whom (besides for Drake) are not nearly as charismatic as Future. Of the 70 minutes of F.B.G., Future’s voice appears for just over half of it.

And yet, when he is there, Future is as unmistakable as ever. Instead of the tight balance found on Pluto, F.B.G. is raw (as one would expect on a mixtape) and features Future sounding more and more alien. On “Karate Chop” and “Back At It,” he raps only in halting 2 syllable outbursts. It is both interesting and almost laughably silly—like one of his Freebandz cronies bet him he couldn’t record a song in which his flow never lasts for longer than a second. “Ceelo” has Future’s at its most unusual. And yes, he compares himself to Avatar.

It’s hard to fault Future for FBG. It is a mixtape, and most of its shortcomings can be faulted to his Freebandz crew. The production is terrific, especially for a mixtape, each working the aggression of Lex Luger inspired productions, mixing in horns, strings, and synths. When paired with big name guests, like Drake on “Fo Real,” Future performs admirably. But alongside his less talented and charismatic partners, one is left pining for more Future. One can bemoan the lack of more hazy ballads (the Mike WiLL Made It penned “Bitches Love Me” features Future only as a hook singer, which he does admirably) or the complete dearth of lyrical assonance, but FBG’s status as a mixtape, and the immediate mixtape following the immensely enjoyable Pluto makes its shortcomings forgivable.

Pluto was no doubt meticulously crafted, and it sounds and feels like it was slaved over. FBG sounds like something Future and his friends knocked out in a few late nights. If Pluto is Future’s Les Demoiselles d’Avignon, FBG is a rough sketch made at 27 rue de Fleurus—nothing of note in the grand oeuvre, but something interesting to look at, if only because of the weight of the author’s name.

-Tim Tsai, host of Slow Jamz with Sweaty Bettyz, Thursdays from 9-10

With it’s catchy riffs and pounding chorus, “Pilot Light” is sure to keep you listening for more, transitioning into the respite of the song, “Torches,” before slamming into their signature scream-my-discontent-in-your-face power songs. I am glad to report they did not lose any of that punk rock razor-blade edge during their Mariachi-filled hiatus. If anything, they picked up a few tips and tricks about how to successfully break-up an album and ensure it is anything but monotonous. The Bronx has been around since 2002, but they draw their inspiration from 80’s California punk bands, which is a vibe you can feel pulsating through this whole album.

The Bronx IV is sure to keep you on your toes, banging your head to the beat and screaming along the whole way through. If punk isn’t your poison, then you won’t be impressed, but if you enjoy the throat-burning sensation of the genre, then sip on this album.

Rating: 6/10

-Kristen Trivelli, host of Get Grungy, Wednesdays from 2-3pm

While masked, slightly, by the energy and passion on stage and in the audience, the performance still seemed very much a therapeutic thing for ZZ, as she shared with us little fragments of her personal life, as when she introduced the touching ballad “Last Love Song,” “At this point in the show, I’m going to play you a couple of my more personal songs, when I am being my most vulnerable, so that you can get to know me better.”

If there was a single part of the show that demonstrated the hurt and pain that motivated ZZ’s songs, it was in “Charlie Ain’t Home.” ZZ introduced this song as “her answer to Etta James’s song ‘Waiting For Charlie (To Come Home)’,” the original being a song about wanting to reconcile, now a song that oozes deep-seated feelings of betrayal like the “Golden honey drippin’ from this house.” As ZZ played through these and the rest of her own songs, one could hear that she is past the pain in which she wrote these songs, but there is a definite feeling that each time she plays the songs, she gets a bit stronger and more defiant.

Now I might be ostracized for this, but I felt that the strongest moment of the concert was ZZ’s cover of delta blues giant, Sun House’s “Grinnin’ In Your Face.” This is not to say that her original material was not good, it was all fantastically performed, but this song has particular elevated meaning for me. Admittedly, part of the reason for my opinion is what I learned after the concert, when he guitarist told me that the original version was done A capella. ZZ performed the song in such a classic blues style, that I am blown away by how original it really was. From ZZ’s delivery, to the classic Chicago sound of the slide guitar, to the good old foot stomping rhythm, all the elements were there that made it a great blues track. It shows the remarkable musicianship and creativity in the band, as they add an original and authentic sound to a classic blues track.

There is another thing, the fun that ZZ and her band had on stage was something to aspire to. The interplay and chemistry between the four musicians on stage is what really allowed ZZ’s music to come alive in Bulldog Alley. This energy and chemistry also let the audience know that this was going to be a great show.

I’ve seen bands perform that seem to be having a good time on stage, but it also looks like they are just going through the motions, and the audience’s half-hearted participation in the concert experience reflected that. With ZZ, as soon as she stepped on stage, the energy skyrocketed up, and did not come down until long after the lights had been brought up. The band sounded quite tight together, and they all exchanged in each other’s enjoyment of the evening, which was simply the joy of performing.

One of the reasons why I loved ZZ herself, in particular, was her general presentation. With ZZ standing at the front of the stage playing her guitar, she embodied the legend of the classic bluesman.The bluesman mythos is the idea in the blues that one man, alone with his guitar, cantake on the world. ZZ, with her look, her voice, and her lyrics, proves that the bluesman lives in 2012 America, and she embodies the legend in extremely well (she also reflects the presence of one of her heroes, Robert Johnson, [pictured on the right] with the bluesman image).

The one complaint I have with the concert is that there was way too much ambient noise, or to rephrase in a less-diplomatic way; concert goers needed to learn to keep their mouths shut. In particular, when ZZ was playing “Last Love Song,” which was supposed to be a symbol of her trusting us with her vulnerability, I could barely hear her due to the drone of people talking in the audience. Perhaps this is just due to the smallness of the venue, but I am more concerned that it was due to people seeming to be indifferent to the fact that ZZ was putting her heart on a silver platter for us. While, yes a concert is a social situation, to me it seemed quite rude that people were making idle conversation while a woman poured her heart out and gave us an extremely powerful performance, both musically and emotionally.

Overall: a fantastic and intimate concert with great music, great energy, and great stories, only slightly soured by people chatting. I, for one, definitely look forward to the next opportunity I get to see ZZ Ward and her band.

Photos by Kirill Makarenko

 - Jackson Sinnenberg, host of Sinn 6:66, a classic rock show that airs Fridays at 8pm

Nevertheless, WGTB is excited to announce that we’ve been featured on mtvU’s College Radio Countdown! Go check us out on mtvu.com. You can also see our mugs airing all up on those TVs at Yates for the rest of the weeks along with our top 10 countdown to help you bust through those last ten flights on the stairmaster.

But wait, there’s more! If you can’t get enough of us, our favorite locals, lesser-knowns and friends of the station will be featured all week on mtvU’s tumblr. You might even see us on Instagram.

BONUS: example quality MTV programming circa 1994.

ZZ Ward

“. . . sexy, shimmering electro-pop with plenty of nightclub swagger”- USA Today
Esquire describes her as a “salty blues singer” with a “smoky rasp”.
Her debut album made it to #15 on iTunes the day after its release

Also Presenting:

Snughie
Tate Tucker

ZZ Ward is coming to Georgetown.  Be sure to come out for one of the biggest concerts that WGTB has hosten in years and be ready to fall in love with the undeniably talented tunes of this fantastic up-and-comer.

Event Details
This Saturday, November 1oth
Doors open 8:00pm
Bulldog Alley
Tickets are $3 beforehand and $5 at the door

Ticket Sales:
Red Square: 12:00pm-3:00pm Wed-Fri
Lau 2 (outside Midnight): 9:00pm-12:00am Tues-Wed
Outside Leo’s: 11:45am-2:00pm Wed-Fri
MSB: 9:00pm-12:00am Tues-Wed

Check out our awesome promotional video by our very own Brett Treacy, staring the WGTB Exec. Board

October means pumpkins, sweaters, and… midterms. Whether you are cramming formulas and theories into your head or cramming beers down your throat to blow off steam, throw on the playlist of the week and life just might be a little more tolerable. Deadmau5 has a new song about the possibility of being served coffee (something that should excite us all!) and Detroit’s Danny Brown has collaborated with Purity Ring to produce a remix worthy of a study break.

1. “Plumage”- Menomena
2. “Belispeak II”- Purity Ring feat. Danny Brown
3.“There Might Be Coffee”- deadmau5
4.“Smalltalk” (Four Tet Remix)- Ultraísta
5. “Adorn” (Remix)- Miguel feat. Diddy and French Montana
6. “Ode to Viceroy”- Mac DeMarco
7. “Pilgrim”- Mø

Some Awesome Upcoming Shows:

• Oct. 12- 9:30 Club- Silversun Pickups
• Oct. 14- Black Cat- Tilly and the Wall
• Oct. 18- DC9- Holy Ghost Tent Revival
• Oct. 21- Rock n’ Roll Hotel- Langhorne Slim & the Law
• Oct. 22- 9:30 Club- Cat Power
• Oct. 22- DC9- Sea Wolf
• Oct. 23- Rock n’ Roll Hotel- Milo Greene
• Oct. 24- Rock n’ Roll Hotel- Titus Andronicus 
• Oct. 24- 9:30 Club- Miike Snow
• Oct. 25- 9:30 Club- Sharon Van Etten
• Oct. 26- Black Cat- AC Newman
• Oct. 27- Black Cat- Yellow Ostrich
• Oct. 29- Black Cat- Bear in Heaven
• Oct. 30- Black Cat- Heartless Bastards
• Nov. 1- 9:30 Club- Dr. Dog

Also, check out WGTB’s Review of the Week about Grizzly Bear’s recently released “Shields”.

On Sunday, Sydney and Allie of WGTB had the chance to chat with DC-area band Drop Electric.

The group, formed in 2008 in the midst of tragedy, has grown to create a rich, cinematic sound that’s captured the attention of music critics in Washington and beyond.

In the past few months, Drop Electric have released an EP, received mad props from NPR’s Bob Boilen, and have signed with a management company with some big plans in the works for the big screen.

Though rising stars of the experimental rock scene, fame hasn’t yet gone to the heads of members Sho, Ramtin, and Kristina. They gave us one of the best “WGTB” meanings we’d heard in a long time, as well as some bloopers to boot.

Be sure to check out the full interview below. Drop Electric will be playing at the 9:30 Club THIS SATURDAY, September 22. They’ll also be at St. Stephen’s Church playing a benefit show on October 6.

WGTB Interview: Drop Electric from WGTB Georgetown Radio on Vimeo.

Filmed and Edited: Sydney Browning

Song: Empire Trashed by Drop Electric

If you’ve been keeping an eye on the blog in the past month, you’ve already heard a bit about rising sophomore Peter Fanone. He stopped by the WGTB studio in early May to talk a little bit about his newest single, “Friends For Now.” But he also took a break from studying on a sunny Saturday afternoon during finals to serenade us and the rest of the front lawn with two original songs. Take a listen after the jump, and keep an ear out for more from Peter in the fall.

A/V + Editing: Catherine DeGennaro