Artist Focus

Kalispell Helps Me Find Home

Artist Focus, Music and Healing, TS10

 

Eau Claire is home. That may sound like an insignificant little statement. But, for me, it means much.

I grew up in a different place with different people. During my childhood years, my family moved about ten times. We were almost always in the same city (Chesapeake, Virginia), but it seemed as though we were always restless. In such an atmosphere, it was hard to ever feel truly at home. Along with the constant movement, I was an isolated kid, up to so many things my folks never knew of. I was very much alone and seldom, if ever, felt the warmth and connection that home is about. My sense of home was really, really broken.

When I moved to Eau Claire in 2005, it didn’t take long for me to hate it. I’m serious. I literally hated Eau Claire. My false sense of home rejected what I experienced here. And then, I slowly began seeing the good things here. I began connecting with some people, especially through Valleybrook Church, that loved me, spoke truth to me, and helped me to start discovering the warmth, security, and safety of home.

Local music has played a large role in this healing process. In 2012, I heard Kalispell, Shane Leonard’s project, play at the Volume One Sounds Like Summer concert series at Phoenix Park. Leonard’s music was so rich, so emotive, so warm. At the time, I did some freelance writing for the Visit Eau Claire blog and I knew I needed to write something about Leonard and Kalispell. I met with Shane at Racy D’lene’s Coffee Lounge  on Water Street shortly after that concert to talk with him about his music and his story. It is not overstatement to say that the conversation we had that day altered my life’s course and was a deeper invitation to come “home.”

As I sat with Shane, I was overcome by his warmth and generous spirit. To be honest, I was a little star-struck at first. Yeah, maybe he wasn’t this nationally-recognized artist, but he was obviously immensely talented and he created art that deeply touched my soul. But, his unassuming way disarmed my sense of awe that day. In fact, he seemed far more interested in learning about me than talking about himself. As our time together at Racy’s went on, I felt more and more comfortable, more secure, more at home.

Around that same time, I bought his recently released “Westbound” album. It is a beautiful work of art. It is warm, honest, and inviting. Again, these are elements of a healthy sense of home. My wife also fell in love with the album, as did my then 3 year old son. We listened to it non-stop. It became the soundtrack of the Hudgins house in the second half of 2012. And, it was healing.

Sometime later, I drove to Mondovi from Eau Claire, passing through some serene and beautiful rural scenery. While I am not really a rural kind of guy, I so appreciate the beauty of the Chippewa Valley. It can be, if you let it, breathtaking. And, it is a central part of our community identity. So, I drove along, taking in the beauty of home, both visibly and audibly.

Kalispell’s “Westbound” became the background music for the restoration of home in my life. It spoke to me in its notes, melodies, instrumentation, movements, and lyrical content while I was growing deeper and deeper in relationships with people I could trust, and with the city in which I lived. I cannot separate Kalispell’s influence from the rest of this healing experience. It has been an integral part.

One of the major emphases of Tomme Suab is connecting the reader with the emotionality of music. To me, the reason this is so important is because I believe it can be healing. It can help you find the broken places in your heart, engage with deeply held feelings, express those feelings, and find healing and freedom you have never known. I say this as someone who has personally experienced this dynamic. Thanks in part to Shane Leonard and Kalispell, my heart has been healed and I now know what “home” feels like. And, I never want to leave it.

Kalispell’s “Westbound” is this week’s Gateway Record. Stream it in its entirety here.

The Emotive, Provocative Music of Field Report

Artist Focus, Live Shows, Music and Healing, Poignant Songs, TS10

 

I’m spending some time with Field Report’s new album, Marigolden, this morning. This is a new relationship and I’m just becoming acquainted with the album, but I think we’re going to be good friends. It is rich, full, provocative, and emotive. And Christopher Porterfield’s odd analogies and word pictures are ever present.

I will never forget the first time I heard Field Report. In February of 2013, Kalispell, Shane Leonard’s project, was set to play a backstage concert at the State Theater here in Eau Claire. I was super excited about this show, as Shane’s music and friendship has played a central role in the beginning of my personal passion for and investment in locally-rooted music. As the day of the concert approached, Field Report was added to the show as the headliner. I was actually pretty disappointed. I didn’t know who they were and I wanted Shane to have the longest set that night. Thankfully, I was in for a very pleasant surprise that night.

From the time Porterfield and the rest of the band took the stage, they owned it. And, it wasn’t about showmanship. It was about the honesty and vulnerability of their music. As my wife said after the show, Porterfield has a lot to say, and he has no problem saying it. And these things he has to say are filled with passion, pain, suffering, and emotion. He also has a creative and descriptive way of saying them. The first time I heard him sing “pound that pussy (as in, “full of puss,” to be clear), bloody cyst off with a weather-treated two by four”(parentheses mine), that image grabbed a spot in my brain and it’s still there. I’m not sure why that 2X4 has to be weather-treated, or why it is the best prescription for that nasty cyst. However, that imagery has obviously stuck with me, even impacted me.

Those lyrics are from Chico the American, from Field Report’s debut, self-titled album, which is featured on this week’s TS10. After hearing them play at the State that night, I began listening to that album non-stop. It is home to so many poignant songs. Some are quite painful just to listen to… Porterfield’s lyrics are transparently honest and vulnerable. He has no problem baring his shortcomings for the listener, letting us in to his complex emotional world. That kind of vulnerability is, in my mind, Field Report’s biggest draw. I have been challenged, provoked, and saddened by what he has to share.

As much as I have fallen in love with that first record and songs like Fergus Falls, I Am Not Waiting Anymore, Taking Alcatraz, and Chico the American, I am really excited about the new album, Marigolden. As I listen this morning, I am again drawn into the gritty vulnerability. The lyrics and musical moods are still emotive, still painful, still brutally honest. Porterfield’s creative word and image choices are still there. And yet, it feels like there is a musical progression from the Field Report album. The music feels a little richer, deeper. While I  cannot comment on the technical reasons why this may be, I can definitively say that the band seems to have brought something of themselves to this album that wasn’t there on the first one. I am eager to become better acquainted with what lies in Marigolden.

The future seems to be very bright for Field Report. Marigolden has been met with much critical acclaim. They already have a national following that is continually growing. Just this morning, the band announced that they will be touring with Wilco’s Jeff Tweedy in Europe beginning in January, which is no small thing.

As their popularity grows, the likelihood of them playing small, local venues continues to ebb. That’s why YOU should get out and see them this Friday night at House of Rock. Aero Flynn and another band (TBD) will be supporting them. The show starts at 9:30 and is only $10 in advance. You can purchase tickets here. If you can make it out, you will NOT regret it!

 

Softly, Dear, Sarcasm, and Sober Subjects

Artist Focus, Poignant Songs, TS10

I’ve been contributing articles for Volume One for the past couple of years. One of the first ones I wrote covered the emergence of a new band from the Eau Claire area called Softly, Dear (New on the Scene). Back then, Softly, Dear was just starting to figure out who they were musically. Even though the first tracks they released were a little rough, I could certainly here some significant talent and creativity at work.

After writing that piece for V1, I honestly didn’t pay much attention to the band for a while. And then I saw them play at the House of Rock at Adelyn Rose’s CD release show back in February of this year. Toward the beginning of their set, they mentioned that their Portico EP was available for free at the merchandise table. At first, I wasn’t all that interested. Then, they played Lenses, which is featured on this week’s TS10. As soon as they finished playing that song, I quickly grabbed my copy of Portico.

Admittedly, I am a sucker for songs that have at least a semi-epic feel to them, especially ones that start out mellow and slowly build, and build, and build. Lenses is such a song. It is not a song, per se, in that it is instrumental. Truly, no lyrics are needed for this piece. I remember what it was like listening to them play it live that night. I vividly remember feeling the slow build, finding myself moving along with the music as its intensity continually rose. When the band finally reached the emotive crescendo of Lenses, I was ready for it and I allowed the force of that climax to overtake my heart and mind. Moments like that transcend just listening to someone play music. They become spiritual moments for me. From that point on, Softly, Dear has had my full attention.

I’m glad I snagged that EP. Softly, Dear has the extraordinary gift of taking a serious subject and giving it its due weight, while also, somehow, making the sharing of that subject fun. The best evidence of this gift is Know My Name from Portico, which has become one of their favorites among locals. It tells the story of a man who is drafted by the Army, whose life is altered forever, and who, as he ages, can no longer take care of himself. Sad subject matter… and they treat it as such. Yet the song still rocks and is fun to sing along with. Weird dynamic perhaps, but it totally works.

While Portico obviously showed significant growth from those first couple of recordings I wrote about in V1, Softly, Dear’s new album shows even more. They released the self-titled Softly, Dear in August of this year and it is a great listen (you can stream it on their Bandcamp page… and then you should buy it!). When I listen to it, I hear some serious Weezer influence in it, which cannot be a bad thing. There is the raucous fun of It’s Alright, a sarcastic look at poor life decisions, and Alive Now (Paycheck), a desperate cry for a paycheck owed. Alive Now makes me smile every time I hear it. I’ve always appreciated a good smartass. There’s also the tenderness and sobriety of two people falling out of love with each other in Things I Say. It’s not easy to move from silly to sober, but Softly, Dear pulls it off.

Not only is this album well worth your time and money, it also shows how Softly, Dear is continuing to grow, which promises even greater things in the future. So, take some time to listen to Lenses on the TS10. Even better, go to Softly, Dear’s Bandcamp page and stream/buy their music! My guess is that you will be drawn into their authenticity, playfulness, and smart-assedness as I have been.

Rivers'”Of Dusk”: An Invitation to Necessary Sorrow

Album Releases, Artist Focus, Music and Healing

A great philosopher once said, “Sad songs, they say so much. So turn them on, turn them on, turn on those sad songs…” Okay, so that is literally one of my least favorite Elton John songs. But, he was on to something there. Sad songs can say a lot. More importantly, they can mean a lot. They can impact us deeply… taking us to emotional places we need to go… helping us feel deeply and perhaps even heal from emotional wounds. There is something special about honest, vulnerable, sad songs. As I am becoming more and more acquainted with Rivers’ “Of Dusk,” I am once again experiencing the power of sorrow in music. As I write this, I am sitting in a coffee shop and have been listening to “Of Dusk” through headphones, undistracted by ambient noise. That’s how this album should be experienced, in my opinion. Isolating my focus and thoughts in this way has helped me to get closer to the heart of this music. And, that heart is broken. The first song on the album is “Weeping Willow.” It greets the listener with sweet harmonies, harmonies that welcome us into the story of a “forgotten” girl, whose story, identity, and value have been lost “in the branches of (her) family tree.” It is a truly beautiful and heartrending song. The band, vocally and instrumentally, portray the depth of the emotion in the lyric with precision and gentleness. Having my own issues with being “lost in the branches,” and knowing so many others who have experienced such things, “Weeping Willow” takes me to deep place of grief and sorrow, appropriate for the forgotten girl and for those of us whose stories resonate with hers. Perhaps my favorite song on the album is “Saudade,” a contemplative song dwelling on loss, longing, and loneliness. It speaks of its protagonist being “separated by a sea” of memories and desire for someone he can no longer be with. The longing in “Saudade” is almost palpable. The first half of the song provides the lyrical content, along with gentle guitar, bass, and percussion. However, the quietness of that part sets the table for a driving, building, and emotive instrumental climax. Additional strings and brass enter the story and the picture painted by the second half of the song seems to emotionally complete the earlier lyrical content. It is a beautiful song, and I find it engrossing. When I’m really paying attention, it captures my heart and reminds me of loss and longing in my own story. These two songs and the powerful lyrical, musical, and emotional content within are great standard bearers for the entire album. I have been captivated by the musicianship of all three members of the band: Colin Carey (vocals, percussion), Dexter Wolfe (vocals, guitar), and Pat Kuehn (vocals, upright bass), as well as the warmness, gentleness, and vulnerability I hear throughout “Of Dusk.” There is no instrumentation, lyrical content, vocal inflections, or other variable that does not fit with the emotional tone of these songs, which keeps their stories central and helps the careful listener remain undistracted and focused on the substance of what they are hearing. I am admittedly still getting to know this album, and I may have more to say about it as I get to know it more intimately. Having said that, I’ve heard enough to know that you can count me as a big Rivers fan. They have that magical mix of incredible musicianship, lyrical content, and emotional vulnerability. I invite you to get to know “Of Dusk” as well. When you do, take the time to listen carefully. Open your mind and your heart. Let the emotion that lives in you be triggered. Feel deeply as Rivers guides you deeper into your emotional world.

picard: A Mixture of Discontent and Melodic, Driving Rock

Album Releases, Artist Focus, Live Shows

picard is a project initiated by Jason Ulwelling in 2011 that has grown into a full-blown collaborative effort (including Brad Hanson and Eric Giardina, and various other influences and musicians), resulting in the release of the band’s first album (appropriately entitled “#1”) earlier this year. Style-wise, it’s hard to classify picard as anything more specific than “rock.” Some of their songs are edgy/harder. I can easily hear some grunge influence in several of the songs, as well as elements of epic rock story-telling (especially in “Ed”), like you might hear in classics like Queen or Led Zeppelin. Now, I’m not ready to draw too many comparisons between picard and hall of famers like them, but I truly appreciate what I have heard thus far from this band.

The first track on “#1,” a passionate, pleading song called “Distending,” houses the declaration “I’m holding out for something bigger than myself…” In that statement is what I believe to be the essence of the lyrical, melodic, and instrumental themes throughout picard’s first album. There is this discontent, this longing for more, this longing for deep connection, for something better, something bigger. This theme is one of the reasons that I was drawn to this project.

“Ed” may be my favorite song on the album. I have always enjoyed that epic feel in music, especially when it involves distinct “movements.” “Ed” is not a rowdy song at all, but it is intense, with methodical, driving guitars and intricate, nimble-fingered bass rifts. Probably my favorite part though is how the driving guitar transitions into a quiet segment of the song that is haunted by a gentle chimes. These musical elements combined with the story-telling therein portrays an intense, compelling, and emotive discontent.

While “Ed” is likely my favorite song, the track that drew me into picard initially was “October,” their first release. “October,” for the emotionally engaged listener, can be a pretty painful song to take in. There is such intense longing in the lyrics. The protagonist so desperately wants to be with someone. He is longing for intimate, deep connection with that person. However, obstacles continually appear (“These walls are getting higher”). The frustration rooted in this deep longing climax with a plea for explanation: “Why aren’t you here like you said you would be? You said you would… Tell me are any of these promises any good?” There is so much pain in these lyrics and the music/instrumentation fit the mood and tell the story so well… This is one of the main reasons I enjoy this band like I do is their ability to draw me in emotionally and help me feel what they are feeling. This is a gift and a dynamic that can be healing for both the artist and the listener.

picard is a breath of fresh air for me. Eau Claire has its share of punk and hardcore bands full of all the requisite angst anyone could want. We have many gifted indie rock musicians producing creative, quirky, and provocative stuff. But, we don’t have many melodic, driving, edgy rock bands. picard is that kind of band, without foregoing the angst of the punk/hardcore scene or the creativity of the indie rock community. They are a unique and healthy blend of all those various elements.

If you would like to experience picard’s music, “#1″is available on their website, among other outlets. You can also stream some of their music on their Facebook page. Furthermore, they are playing live this Saturday night at 10pm at House of Rock, along with Letters From Earth and Kids With Boats ($6 cover).

Savannah Smith: Just a Girl and Her Uke

Artist Focus

I happened upon Savannah Smith’s music a few months ago after reading her profile on Volume One‘s website. I was immediately drawn in by her vocal style and the mix of emotive expression I heard. There are themes of romantic connection, the existence of God, how love affects us the same way as a bottle of liquor… The young lady has much to say and I appreciate the way she says it. Smith describes her style as “uketastic” on her Facebook page, which is about the only way I know to describe it as well. Her music does not fit neatly into any category, and she ranges from acoustic pop to country-influenced folk to alt folk.

I was privileged to hear this mix of emotion, themes, and styles live at The Cabin back  in February. Smith played a full set that night, just her and her ukulele. And while she and her uke were the only things producing sounds on that stage, they were enough to fill the room and show a glimpse of the talent that resides inside this artist.

Before I mention more about the actual performance, let me say that I truly enjoyed Smith’s presence on stage. She was unassuming and freely shared her sense of humor and fun stories from the road. She talked about Tom Petty’s influence and how creepy he seems to her. She talked about sleeping in her car while touring and some unknown creatures that she discovered while traveling in Kansas. Again, she was entertaining even when not playing her songs.

Then, there were the songs. She played a mix of original songs and covers. One of the covers was Bruce Springsteen’s “Dancing in the Dark.” With apologies to fans of “The Boss,” I enjoyed her version of the song much more than the original. Her original songs included the recently released single, “Lost As They Come” (more on this song below). If this single is any indication of what we can expect from Smith going forward, I can’t wait to hear more.

I loved what I heard from Smith that night at The Cabin, and it left me wanting to hear more. She has several songs uploaded on Reverbnation and Soundcloud, and I recently took the opportunity to listen. I’m so glad I did. I’m glad that I was able to take a more intimate listen to “Lost As They Come.” What an intense song… The lyrics paint the picture of a discussion between Smith and someone else about the existence of God. It is an intense song, with deep, brooding undertones serving as its foundation both lyrically and musically. I also seriously enjoyed her ditty about the effects of love on an individual, “Love Is Like a Bottle of Gin.” It’s a short tune that tells us that love (or a bottle of gin) can “turn a genius into an ass,” and that, though they are both colorless, they can make us see rainbows. I love the clever lyrics and profoundly true comparisons between those two intoxicating entities. Another great song on her Soundcloud page is “Ventriloquism,” which sounds like a defiant anthem. The combination of her ukulele, some bass, and some harmonica provides a raw country/folk/Americana sound that matches the emotional intensity of her vocals and lyrical content.

The common themes in all of these songs and her live performance at the Cabin are two simple things: her ukulele and her vocals. I am, admittedly, no connoisseur of ukulele performances. However, there is a simplicity in the uke that lends itself well to Smith’s songwriting and vocal style. Regarding her vocals, upon first listen, you may think that you’ve heard other vocalists that sound like her. To an extent, that may be true, but there is a clarity and crispness to her vocals that make her unique, in my opinion. When her vocals and uke come together, there is lovely simplicity and an underlying “cuteness” (for lack of a better word), no matter the intensity of the tune or lyrical content. This simplicity and cuteness draws the listener in quickly and it eases the listener into whatever emotional expression is to come. This dynamic is one of the main reasons to be excited about Savannah Smith’s music.

Coming of Age: Thoughts on Adelyn Rose’s “Ordinary Fantasy” and Album Release Show

Album Releases, Artist Focus, Live Shows

I make no bones about the fact that I am a big Adelyn Rose fan. I love their style, the fullness of their sound, the uniqueness of Addie Strei’s vocals, and the incredible percussion talent that is Dave Power. The first time I talked to Addie and Dave back in August of 2012, their debut album, Mezzanine, had only been out for a few months. Even though I, and many others, thoroughly enjoyed that album, Addie and Dave were quick to mention that the songs there were not really indicative of who they were as a band anymore and they expressed their deep desire to record their newer songs.

In Mezzanine and in the first few AdRo live performances I heard, I consistently heard great potential, deep creativity, rich instrumentation and textures, and emotionally intense moods and lyrics. They were, in my eyes, a diamond in the rough. The production value on Mezzanine was a little inconsistent throughout the album and some of the harmonies were a little loose. In their live shows, I couldn’t help but notice what seemed like a bit of insecurity or anxiety from time to time. They felt a little like a teenager trying to find out who they are. Nonetheless, I loved what I heard from them… and longed to hear them go deeper, stand more confidently, and record a truer representation of the creativity and talent that resides in them.

AdRo’s new album, “Ordinary Fantasy,” is an answer to those longings. What I hear on this album warms my heart. That’s not because of heart-felt lyrics or sappy sweet melodies. It is because, when I listen to this record, I hear a clear progression of the band and their sound. And, it is so, so good. I expected the emotiveness, intensity, textures, and instrumentation that I mentioned before. What I also got was higher production value, a fuller sound, and tight musicianship and vocals. The album is unpredictable and highlights what I consider the band’s greatest strengths: creative songwriting, unique vocals (lead and background), and incredible percussion.

My favorite song on the album is probably “It Means Shadow.” It moves and rocks. It is a riff and drums driven tune that should be playing on the radio. I also really enjoy the emotive “Press” and “The Wire.” “The Wire” is one of those songs that starts out quiet (yet intense) and builds louder and more raucous. I love that dynamic, and especially in that song. The album closes with what sounds like a declaration of independence in “Structured Hostility,” another song that builds steadily in intensity throughout, climaxing in Addie’s powerful declaration, “I’m done,” repeated several times. This album is packed full of mood and emotion: tenderness, edginess, sorrow, intensity…

 

I got to hear these songs as well as the other songs on the album live at House of Rock on Water Street last night at Adelyn Rose’s Album Release Show. They were so good. This was likely my favorite performance of theirs, not because of precision or showmanship (those things were there). I was enthralled by their poise and their confidence. I have always been a fan of Addie’s, but I felt like she was hesitant to be the front-person she can be. That was not the case last night. She totally looked like the face of the band, standing, playing, and singing with boldness and conviction.

And, Dave Power was… Dave Power. In fact, toward the end of last night’s show, there was a moment in which Dave’s drumming caught my attention and stirred me deeply. I’ve had spiritual experiences while listening to music many times over the years. Such a moment may come while listening to poignant lyrics (like those on Matthew Perryman Jones’s “Land of the Living”). Or, perhaps while taking in an epic classic, like Skynyrd’s “Freebird” (especially the guitar barrage at the end of the song). Last night, I had another such experience while listening to Dave play the drums. In that moment, his talent and passion were so apparent that I got caught up in what he was doing and I could see the God-given ability pouring out through the sticks. It was a breathtaking moment.

After becoming acquainted with “Ordinary Fantasy” over the last couple of weeks and experiencing the band live last night, I feel like I have seen something of a coming of age for Adelyn Rose. Their talent, creativity, and potential have always been evident to me. Now, the missing pieces are coming together. The teenager has become an adult and now has a clearer vision of who they are. Addie, Dave, Hannah Hebl, Leo Strei,  and Jaime Hanson should be very proud of what they have accomplished together. I still think the best is yet to come for Adelyn Rose, but “Ordinary Fantasy” represents a huge step forward for them, and I would not be surprised in the least if it gains traction outside of the Chippewa Valley.

Walking Out on We Are the Willows

Artist Focus, Live Shows, Poignant Songs

 

We Are the Willows

A little more than a week ago, I had the great pleasure of attending a We Are the Willows show at The Cabin. I had been looking forward to it for some time. I love the band and I love the venue. I was not disappointed in any way with what I experienced… even though I left the concert before it was over (more on that in a moment). I expected to enjoy the band’s unique instrumentation, excellent musicianship, and Peter Miller’s soaring vocals. I certainly got all that, but I got two surprises as well. Those two surprises made the night for me.

The first surprise came right at the beginning of the show. LOTT (WATW’s violinist/backing vocalist, Leah Ottman), opened the show with a set of her original work. It was just her voice, her violin, and some recorded instrumentation, yet her performance filled the room. It was intense, emotive, creative… all the elements I crave in music. She is a gifted songwriter, vocalist, and violinist. I got chills several times during her set. I want to hear more.

 

The second surprise came toward the end of We Are the Willows’ set. They were excellent, just as they were when I saw them in November of last year. But, I was a little more clued in this time around. As I mentioned in my previous post about the band, their new album is focused on the content of over 300 letters sent by Miller’s grandfather to his grandmother when he was in the military, serving overseas. Knowing that going into this show, I was able to listen more attentively, and hear some of the love and deep intimacy in the songs as they played them. I was captivated.

In between a couple of songs, Miller shared a story about spending some time with his grandfather, who was suffering from dementia. There was a lamppost just outside the window of the room where they met, which his grandfather consistently thought was a tree, and he would talk about how awkward the tree was and that it needed to be “analyzed.” One day, as they were looking out the window, discussing that tree, Miller’s grandmother walked between them and the window and caught the grandfather’s attention. He then turned to Miller and said (after 66 years of marriage and while suffering from dementia): “I’d like to analyze that!” That story still strikes me. It’s funny, of course, but it speaks to something deeper. There was a deep, intimate connection between Miller’s grandparents. That connection was evident in the songs sang that night and in this story, as well as other anecdotes Miller shared.

As the evening grew late, and the band’s set continued, I found myself longing to be with my wife. This was so to the point that I actually left before the concert was over, for the sole purpose of going home to be with her. Now, I have an extraordinary wife, and it is my privilege to spend my days with her. But, there was an additional dynamic in play that night. Miller’s words and music had affected me deeply. They drew me back home to my wife.

So, to Miller and the rest of the band, I personally apologize for leaving early. At the same time, I want to thank you for such personal and intimate songs. And, thank you for playing them with the passion and musicianship they warrant.

Sayth: Intense, Emotionally-Charged, Creative Hip Hop

Artist Focus

For a long time, indie rock/folk and jazz were the genres I associated with the Chippewa Valley. One genre that never came to mind for me was hip hop. Thankfully, in the last several months I have begun to see the hip hop talent that resides here. Eau Claire native, Sayth, has been one of the artists that have opened this door for me. I came upon Sayth’s music a couple of months ago, and I was immediately affected. His songs are very emotionally charged and there is nothing “typical” about his music. In fact, his songs are so heavy that, sometimes, I can only take in a little bit in one sitting. The lyrics are full of pain, pain seemingly caused by loneliness and alienation.

If you look through the Tags at the bottom of Sayth’s Bandcamp homepage (http://sayth.bandcamp.com/), you’ll notice the term “homo hop.” While this is how he classifies his music, I find his lyrics to not really be about his sexual orientation. What I hear in the lyrics is pain. It is obvious that the writer of these songs has been emotionally injured (if not injured in other ways) by others, specifically because of his sexuality. There is a constant theme of being an object of hatred and injustice. For the listener who is emotionally alive, the pain therein is inescapable.

Perhaps this emotive quality is part of why I’m drawn to Sayth. I’m not used to hearing vulnerability in hip hop lyrics. Sayth bares his soul and shares deeply of himself and his experience. I find his lyrics thoughtful, and his music is pretty creative. Musically, he does not seem to feel limited by what is traditionally thought of as “hip hop,” which, in my opinion, is a really good thing. Working outside of such established “boundaries” is usually where significant art is created.

If you have an open mind and open heart and enjoy hip hop, you may want to check out Sayth on Bandcamp. You can stream his “Cave Journals” EP in its entirety, or purchase it (you can name your own price). Sayth uses some colorful language and he deals with some pretty mature themes, so keep that in mind if you’re interested in giving him a listen.