Tag: Ann Arbor District Library

“Easy” Does It — Kyle Joe Explores the Light and Dark on New Album With Chris DuPont

Kyle Joe rediscovers himself and his sense of purpose on Take It Easy. Photo – Drew VanderVeen.

Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.

After a tumultuous period, Kyle Rasche prefers to pause and reflect.

The singer-songwriter and guitarist ponders heartbreak and growth after experiencing many life changes on Take It Easy.

“These songs were born in a period,” said Rasche, who performs as Kyle Joe, about his latest indie-folk album.

“There was a lot of heartbreak, and there was a lot of really beautiful love, too. And then as the writing went on, I started leaning into more of the lessons I was learning along the way and trying to make the music represent those moments instead of just the heartbreak.”

In those vulnerable moments, Rasche rediscovers himself and his sense of purpose across seven tracks. Collectively, they demonstrate the resiliency that comes from weathering a divorce, loving yourself, and finding kindred spirits.

“I hope more than anything that people hear the hope,” said Rasche, who hails from Alto, a small town about 20 miles southeast of Grand Rapids. “It can get pretty dark … but there’s some light in there.”

On Take It Easy, Rasche explores those light and dark elements through honest lyrics, soft vocals, and emotive folk instrumentation.

“I think, that our job as songwriters, is to put something out that other people can grasp,” he said. “It’s not [just] about my story, but it might be about our [collective] experiences and set of circumstances.”

Continue reading ““Easy” Does It — Kyle Joe Explores the Light and Dark on New Album With Chris DuPont” →

The Psych Doctor — George Mashour’s Vintage-Sounding Psychedelic Rock Album Was Inspired by His Consciousness Studies at U-M

George Mashour explores the evolution of the self on Eulogy for My Ego Death. Photo courtesy of the artist.

Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.

In 2019, George Mashour aspired to make a psychedelic rock album.

The anesthesiologist and neuroscientist had just turned 50 and wanted to step outside the medical world to pursue a musical project.

“I was reflecting on what I wanted to do in the next phase of my life … and [I’d] been writing all these songs—sometimes just in my head—some of them [were] decades old,” said Mashour, a University of Michigan researcher who studies consciousness and has been dabbling in music over the years.

“For my 50th birthday, my wife got me a gift certificate for studio time at Big Sky [Recording], which was cool, and in retrospect I’m really glad she did that.”

Later that year, he became chair of U-M’s Department of Anesthesiology, and then COVID hit in early 2020.

“I was super busy, and of course, everything was shut down,” Mashour said. “And yet I still had that physical gift certificate for eight hours of studio time … so it was just always on my mind. And then it was 2023 when I said, ‘You know what, I’m going to do this,’ so I got in touch with Geoff [Michael], who’s the owner of Big Sky.” 

Michael connected Mashour with Marty Gray, an Ann Arbor producer, engineer, singer-songwriter, and multi-instrumentalist, to help record his debut album.

“I had never been to a studio before, never recorded music before, and had no idea of what was going to happen,” said Mashour, who worked with Gray over several studio sessions. “And I walked out of that first four-hour session with a sense of joy that I can’t even remember the last time I had experienced.”

What resulted is Eulogy for My Ego Death, a ‘60s-inspired psych-rock album filled with existential lyrics, dreamy vocals, fuzzy electric guitars, and groovy instrumentation.

“Generally speaking, in that psychedelic genre, it’s about experience, it’s about great melody, and it’s about the self,” Mashour said. “It’s not what I would call a concept album per se in terms of a narrative thread going from start to finish, but there certainly are conceptual relationships to a lot of the different songs.”

To learn more, I spoke with Mashour about the inspiration behind his album as well as his psychedelic hip-hop project VaporDaze.

Continue reading “The Psych Doctor — George Mashour’s Vintage-Sounding Psychedelic Rock Album Was Inspired by His Consciousness Studies at U-M” →

Out Loud — London Beck Tells Their Truth on “Vengeance Be Mine”

London Beck explores identity, growth, and heartbreak on Vengeance Be Mine. Photo courtesy of the artist.

Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.

London Beck doesn’t hesitate to share what’s on their mind.

The singer-songwriter, multi-instrumentalist, and producer sings about reclaiming their power and undergoing a personal transformation on Vengeance Be Mine.

“When I started to put together this album, this was a way for me to say … I’ve gotten to a place where if [something] is really bothering me, I’m not going to keep that secret because I’m protecting somebody else,” said Beck about their latest album, which features infectious elements of R&B, soul, house, dance, and hip-hop.

“Someone very close to me said, ‘You’re going to worry yourself to death and then you’re going to pass away. And the things that are happening that are grieving you will continue to happen whether you’re here or not. So why are we going to hold that in and keep that in?’”

Beck followed that advice after recently experiencing an illness, a vocal cord injury, and the death of their grandmother. They channeled those struggles into 17 bold tracks about identity, growth, and heartbreak on Vengeance Be Mine. 

“It was me putting things out on the table. I am a fiery spirit, but if I want to get a message across, I will put it in my music. The people, if they have heard the music, whoever those songs are for, they now know I am no longer keeping secrets,” said Beck, who hails from Ann Arbor and is a past fellow with the Amplify Project, a partnership between Grove Studios and Leon Speakers to support African-American creativity in Washtenaw County.

“I am no longer putting up with anything. I have been through a lot, and I have worked hard to get to where I am—not just as an artist, but as an individual. I don’t intend on going back because I have a good sense of who I am, and I have a good sense of my purpose.”

I recently spoke with Beck about the album and the inspiration behind it.

Continue reading “Out Loud — London Beck Tells Their Truth on “Vengeance Be Mine”” →

Time Warp — EMU Theatre’s “The Rocky Horror Show” Celebrates the Enduring Legacy of the Campy Musical Comedy

The cast of The Rocky Horror Show during rehearsals at EMU’s Legacy Theatre. Photo courtesy of EMU Theatre.

Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.

In April 1993, I took my first step into the world of Rocky Horror.

I went with three high school friends to see a midnight screening and shadow cast of The Rocky Horror Picture Show at the State Theatre in Ann Arbor, Michigan.

Upon arrival at the theatre, I was greeted by one of the shadow-cast actors fully dressed in her costume. She walked over to me and asked, “Are you a virgin?”

Somewhat taken aback, I asked, “Who wants to know?”

The actor just laughed and said, “You’re my very special virgin.”

Being a naïve, clueless teen and new to Rocky Horror, I didn’t get the reference at first. I thought the actor was nosy and wondered why she asked me such a personal question.

Her question didn’t click with me, though, until the start of the show. As the emcee, she made some announcements and invited me to join her on stage as the “Very Special Virgin.”

Continue reading “Time Warp — EMU Theatre’s “The Rocky Horror Show” Celebrates the Enduring Legacy of the Campy Musical Comedy” →

Out of the Blue — Ann Arbor Hip-Hop Group Tree City Makes a Surprise Return With “Pure Levels” Album

Tree City’s Kyle “Silas Green” Hunter, Jacoby “DJ Cataclysmic” Simmons, and Evan “Clavius Crates” Haywood in 2013. Photo by Cy Abdelnour

Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.

A mature tree blooms every year. Fruit trees can take two to five years to produce. It took Tree City 13 years for Pure Levels to flower.

The Ann Arbor hip-hop group spent that time shaping and defining the album’s tracks before releasing it late last year.

“It’s a time capsule, and it’s a good chunk of our personal evolution as artists and as a group,” said Evan “Clavius Crates” Haywood, a Tree City MC and producer, about the group’s first collection of new songs since 2010’s Thus Far.

“It’s exciting that it’s finally at the point where we’re happy with it and we felt like it was ready. We did not want to release it when it was just good enough. We wanted to release it when we felt it was something really timeless, something that would hold up to repeated listens, and something that would hold people’s interest.”

Pure Levels features Tree City’s four MCs—Clavius Crates, Silas Green, DJ Cataclysmic, and Cheeks—rapping candid rhymes about broken relationships, aging family members, systemic issues, and capitalism alongside fantastical space-themed wordplay over sci-fi-sounding beats by producer Michael Dykehouse and several others.

“Over the years, I feel like we’ve always believed in ourselves as rappers, but working on these songs, we came to the realization that we’re good at what we do,” said Jacoby Simmons, who performs as DJ Cataclysmic. “And who doesn’t want to feel the feeling of accomplishment when you work on something for a long time, and you garner that success?”

And with that success comes a 15-track album that explores living life in another dimension while facing real-world challenges and everyday struggles.

“The theme of the album is—on one level—about space, and it has these space travel themes,” said Kyle Hunter, who performs as Silas Green, and is now based in Houston. “But on the other side of it, space represents growth and expansion and challenging yourself.”

To learn more, I spoke with Tree City’s MCs about the inspiration behind the album.

Continue reading “Out of the Blue — Ann Arbor Hip-Hop Group Tree City Makes a Surprise Return With “Pure Levels” Album” →

Cast Away — Ypsilanti’s Premium Rat Finds Connection and Community on Debut Album, “Stranded on Land”

Premium Rat features cinematic instrumentation on “Stranded on Land.” Photo — Levi Hubbel

Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.

Premium Rat knows they can’t go it alone.

The Ypsilanti, Michigan indie-rocker embraces that mindset while exploring the need for connection and community on their debut album.

“That has been the journey of my life because I’ve always been a very independent person and a person who’s not good at asking for help,” said Mer Rey, who performs as Premium Rat, about Stranded on Land.

“This album tells the story of me learning that lesson—that no person is an island—and I can’t do it all myself.”

Premium Rat follows that story arc throughout Stranded on Land’s 12 tracks, which were curated against a backdrop of multi-genre sounds.

“The idea of Stranded on Land is starting the album feeling very disconnected from the world and people around me, feeling like I didn’t understand or belong in the world, and feeling very isolated and alone with that feeling,” said Rey, who features elements of pop punk, indie rock, dance-pop, indie folk, and Broadway music on the album.

“As the album goes on, it tells the story of me finding community, finding other people who also felt that way, and realizing, ‘Oh, I’m stranded on land, but so are a bunch of other people, and we’re actually stranded together.’ And that is how we [find] our way out and claim our freedom—by doing that together.”

Continue reading “Cast Away — Ypsilanti’s Premium Rat Finds Connection and Community on Debut Album, “Stranded on Land”” →

Assembling “Disassemble” — Marty Gray’s Shoegaze Album Was Inspired by the Struggles of Family and Friends

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Marty Gray features a guitar-driven rock and shoegaze sound on “Disassemble.” Photo courtesy of Marty Gray.

Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.

Marty Gray empathizes with loved ones battling dementia, depression, and other personal challenges on his latest album, Disassemble.

“The whole album is autobiographical, it’s just about the people around me,” said the Ann Arbor singer-songwriter, multi-instrumentalist, and producer. “It’s rare that there is a song about me, but I’m telling you how I feel about these people throughout the whole record.”

Gray explores that fragility and the observations of a concerned bystander on Disassemble. The album’s poetic lyrics, ethereal vocals, and cinematic instrumentation convey the emotions he encounters while witnessing family and friends decline.

“There are some songs about my friends and the things that they’re going through,” said Gray, who studied opera at the University of Michigan. “There are friends in my life that are losing the battle with depression. I have a couple of songs about my grandparents; I have one about my opa and one about my [late] oma … and my oma’s dementia and seeing what happened with her brain, her mind, and her life.”

Gray ventures into new sonic territory on his fourth album, too, trading his previous pop sound for guitar-driven rock and shoegaze.

“Part of this story is me falling in love with guitar,” Gray said. “And I’ve never been a fabulously talented guitar player. With shoegaze, you don’t have to be a ripper. If the story calls for it and if the story wants it to be big shoegaze with lots of reverb, lots of distortion, lots of everything … [then] let’s go for it.”

To learn more, I spoke with Gray about Disassemble ahead of a January 8 show at The Blind Pig.

Continue reading “Assembling “Disassemble” — Marty Gray’s Shoegaze Album Was Inspired by the Struggles of Family and Friends” →

Doomgaze into the Abyss — VAZUM Explores the Darker Side of Life on “Western Violence”

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Zach Pliska and Emily Sturm of VAZUM. Photo courtesy of VAZUM

Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.

VAZUM didn’t expect a Western film to inspire the title of its latest album.

The Jackson duo of Zach Pliska (vocals, guitars, drums) and Emily Sturm (vocals, bass) stumbled upon the phrase “Western violence” while watching The Quick and the Dead.

“We had some of the songs fleshed out and usually we go with a ‘V’ in the name for our albums. We were watching [the 1995 film] by Sam Raimi and the rating was ‘R,’ and it said two words: ‘Western violence,’” said Sturm about the duo’s doomgaze album, Western Violence.

“We said, ‘Oh my god, that’s what we’re writing about,’ and it just summed it up. And then we said, ‘That’s what we’re living in … This is how our society expresses itself now.’”

On Western Violence, VAZUM reflects on the disintegration and disillusionment of our country and provides a social commentary on the personal, cultural, and political events that impact it.

The album’s dozen tracks explore topics ranging from the opioid epidemic to gun violence to a dystopian future to toxic relationships. It also takes inspiration from VAZUM’s past tours through the southern U.S., the U.K., and France.

“We were driving through Georgia and we went through some areas with houses falling apart,” said Pliska, who’s a University of Michigan alum.

“To see the extent of the poverty and those places you’re driving through, it’s still shocking. Our tours in the U.K. and France were eye-opening with just seeing how different the countries are.”

As part of that perspective, VAZUM brings Western Violence’s themes to life through vigilant lyrics, ethereal vocals, and spellbinding instrumentation filled with goth-rock, post-punk, and shoegaze elements.

To learn more, I spoke with the duo about the album ahead of an August 10 set at Ogma Brewing Co.’s Art Pop ‘24 festival in Jackson.

Continue reading “Doomgaze into the Abyss — VAZUM Explores the Darker Side of Life on “Western Violence”” →

Noteworthy Moments — Dexter Multi-Instrumentalist Brad Phillips on His Work With Patti LuPone, University of Michigan, and His Daughter

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Brad Phillips with his daughter, Alyson Phillips. Photo – Hope Shangle.

Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.

It’s a bittersweet time in Brad Phillips’ life.

“My daughter Alyson is off to the University of North Carolina School of the Arts next month, and I’ve been weeping big dad tears on and off all summer,” said the Dexter singer-songwriter and multi-instrumentalist.

Alyson is a singer, and she’ll join her dad for a special show at The Ark on August 8 along with bandmates Chris DuPont, Drew De Four, Brennan Andes, Keith Billik, and Mike Shea.

Brad has also been busy as a lecturer at the University of Michigan, a resident artist at The Purple Rose Theatre Company, touring with actress and singer Patti LuPone, and featuring on her new album, A Life in Notes, playing violin, mandolin, guitar, octave mandolin, and U-bass.

“Patti is an icon and it’s no accident. She’s a legend for a reason and to be on stage with her in front of her adoring fans is electric,” Phillips said. “Summer has been both chaotic, emotional, and wonderful all at the same time! It’s been a big year around here.”

To learn more, I spoke with Phillips about his work and tour with Patti LuPone and his family’s artistic accomplishments.

Continue reading “Noteworthy Moments — Dexter Multi-Instrumentalist Brad Phillips on His Work With Patti LuPone, University of Michigan, and His Daughter” →

Hip-Hop Hooray — New U-M Exhibit Looks Back at 50 Years of the Music and Culture

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Dani Williams stands next to the hip-hop divas section of U-M’s “Hip Hop @ 50” exhibit at Haven Hall’s GalleryDAAS. Photo – Lori Stratton.

Editor’s Note: This article originally appeared on the Ann Arbor District Library’s Pulp blog.

I remember the moment I fell in love with hip-hop.

It was 1985, and my older brother had rented VHS copies of the films Breakin’ and Breakin’ 2: Electric Boogaloo from our local video store.

Seeing the breakdancing prowess of Kelly, Ozone, and Turbo in the films instantly captured my attention and spurred nine-year-old me to experiment with some moves of my own.

While I couldn’t quite emulate the popping, up-rocking, down-rocking, or power moves of the films’ heroes, I embraced a love of dancing and developed my own quirky style over the years.

As I grew up, I danced to the music of Run-D.M.C., Beastie Boys, Salt-N-Pepa, LL Cool J, DJ Jazzy Jeff & the Fresh Prince, Rob Base & DJ E-Z Rock, Young MC, MC Hammer, and others.

By high school, I had started learning about three of the five elements of hip-hop—rapping, DJing, and breakdancing—and would encounter the other two—graffiti and historical knowledge—as an adult.

Today, these five elements provide the foundation for a hip-hop history exhibit curated by the University of Michigan’s Department of Afroamerican and African Studies and on display at Haven Hall’s GalleryDAAS through September 4.

Known as Hip Hop @ 50: Defs, Dates, Divas, Detroit & Dilla, the exhibit celebrates the 50th anniversary of the culture and explores its evolution across music, society, fashion, language, entertainment, and politics.

Continue reading “Hip-Hop Hooray — New U-M Exhibit Looks Back at 50 Years of the Music and Culture” →