Lauren Drapeau – Editor-in-Chief:
I’m reverting back to my roots for this one. “Understand” by Greer has been stuck in my head lately and despite seeing them perform live back in 2022, my sentimentality toward the lead singer continues to thrive. The strong electric guitar paired with his smooth voice and the emotion with each lyric takes me directly back to that tightly cramped bar venue in Washington D.C. with X’s on my hands.
Nathan Robillard – Managing Editor:
Fall is simultaneously one of the most academically hectic times of the year and one of the most aesthetically relaxing times of the year in nature. In an attempt to tap into the relaxing autumn weather and de-stress through an intense midterm period, I have relapsed into my June Zach Bryan obsession, most recently becoming hooked on “Oak Island.” It’s super basic, but the simplistic nature of his music calms my mind in a way that few other artists can. His music gives me 15 minutes of peace during my scenic backroad commute to school – a perfect vibe to precede a hectic day.
Maia Hembruff – News Editor:
I have been embarking on a multitude of runs this fine October, as per usual during the fall months. I frequently play country music during these journeys, in particular Tyler Childers, my favorite country artist. “Charleston Girl” is probably one of the top songs I discovered this year. Childers’ rich southern accent combined with the song’s frustrated lyrics of his longing to leave West Virginia gives me the itch to pack up my bags and Irish exit from society entirely. Thank you Tyler.
Ellie Sennhenn – News Editor:
To quote my younger brother: “It’s Elliott Smith season!” I stocked up on chai, brought out the fall-scented candles section of Homegoods and tuned my guitar to Open D; the deep autumn season can officially commence. Speaking of my guitar, Elliott Smith’s third studio album, “Either/Or,” was the first section of songs I learned how to play, specifically the songs “Ballad Of Big Nothing” and “Say Yes.” They remind me of crisp morning trail runs, the way my car windows open to an orange-red blur on RI-108 and that familiar twinge of my guitar’s stubborn B string. If the fall semester had a soundtrack, Elliott Smith would undoubtedly make the list.
Ryan Pelillo – Arts & Entertainment Editor:
One of my go-to genres for long study sessions has always been jazz fusion. Props to “Mario Kart” for that one. I find the upbeat tempo and sporadic nature to keep the gears in my head churning so I can “lock-in.” That’s why I’m giving this month’s pick to CASIOPEA, specifically their self-titled album. Japanese chord progressions are very refreshing to my western music-accustomed ears. I’m a huge fan of guitarist Issei Noro and could listen to him play forever.
Zack Petrick – Sports Editor:
Somehow, someway, Lenny Kravitz’s “Fly Away” had become a song I streamed a lot in October. Why? I honestly do not know, I believe it’s because the new release “Fly” with Kravitz and rapper Quavo was suggested on my Spotify one day. Growing up, this song was a favorite during the winter while I was skiing, so it was nice to relive those old days and listen to a banger from 1998.
Aidan Cahill – Photo Editor: If I had to use one or two genres to describe Ween to you, I just couldn’t do it. Their sound is so eclectic, and constantly changing, even across singular albums. While their most famous work may be “Ocean Man,” partially for the silly nature of the song, Ween is an incredibly talented act. This month, their album “Quebec” has been on repeat, with “Transdermal Celebration” taking the top spot on my personal charts this month. The song, like much of their work, takes an experimental approach to rock music, borrowing cues from psychedelic and alternative rock alongside other genres, producing a distinct sound not quite like any other song on the album, yet still unquestionably Ween.
Owen Tierney – Newscast Editor:
For some misguided reason, when I was growing up I never paid much attention to live music. Whether recorded or in-person performance, this sect of music paraphernalia never appealed to me until I attended the Musicians Guild concerts here at URI. From there, my interest exploded. Where before I derided the lack of fidelity and accuracy compared to studio recordings, I now relish musicians putting on a great show — fidelity be damned. One such show, from way back in 1974, has been on repeat for the past two weeks: B.B. King & Bobby Bland’s “Together for the First Time…Live .” This whole album is two musically talented old heads lamenting the hardships of being black in the United States, but also taking jabs at each other’s taste in ladies, plus a healthy heaping of forgetting the lyrics to their own songs. It’s a blues record at heart, filled with sleazy guitar licks, call-and-response lyrics and cacophonous trumpets. It’s brimming with humor and heart. My particular favorite, “Everybody Wants to Know Why I Sing the Blues,” is a real highlight. It has an energy that is so infectious that I won’t even describe it further. Just go give it a listen, and you’ll see what I mean.
Sully Cummins – Production Manager:
This month a bunch of cool music came out. Two of my favorite artists, Bon Iver and Mk.gee, each released some new stuff and I love all of it. Bon Iver has been one of my favorite artists since I was 15, and his music makes me feel a way that almost no other music has done. I discovered Mk.gee in the spring, and have been listening to him a ton ever since. He gives me that same feeling that Bon Iver’s music does and I absolutely cherish it. It makes sense too! Here’s a little story time… another one of my favorite artists, Dijon, opened for Bon Iver at a show a couple of years ago. This gave him a big break, and garnered attention for his then recent album, “Absolutely.” Mk.gee actually produced that album, which is insane to me. Mk.gee’s new single, “ROCKMAN,” has been on repeat for me since it came out. I feel like we are witnessing the rise of Mk.gee, so if you haven’t done so yet, definitely check him out.