On April 11 Nell Smith released Anxious, an entry into the indie pop genre that is both bright and eclectic. Though covered in a sparkling gleam, the debut album comes after Smith’s tragic passing last October in a car accident at the age of seventeen. In her time here she used her unending work ethic,… Continue reading Recording Review: Anxious by Nell Smith →

On March 28, the singer-songwriter Maia Luna Munichiello (MaiaLuna) released her second album, Horizons. The album’s sound is gentle and folksy, perfect for staring out a window at some light rain. The instrumentation is mostly based around MaiaLuna’s acoustic guitar, with soft synths and strings to fill out the background. She uses minimal vibrato, and… Continue reading Recording Review: Horizons by MaiaLuna →

When the subject of music is brought up at Oberlin, the conversation often centers on the conservatory. While this part of the institution merits attention, the bustling and innovative music scene within the college certainly should not go unrecognized. On April 29 at the Cat in the Cream, the Video Game Cover Collective (VGCC) made… Continue reading Review: Video Game Cover Collective →

If we’ve learned one thing over the course of three albums, it’s that Samia makes music you have to read. In fact, you might as well sit down with a pen and annotate it like you’re in an upper-level poetry seminar. April 25th marked the release of Bloodless, which Minneapolis-based musician Samia Finnerty has cited… Continue reading Bloodless: A Literary Analysis →

Bon Iver is undeniably a legend in many ways. Their 2007 debut, For Emma, Forever Ago, has been linked to the resurgence of acoustic folk in the mainstream. Despite serving as the inspiration for subsequent decades of songwriters who have ventured into the woods to record their albums, lead musician Justin Vernon has always been… Continue reading Recording Review: SABLE, fABLE by Bon Iver →