10 Questions with Toki Wright

Written by Nia Jonesz

Toki Wright is a living contradiction to the kind of hip hop artist you've come to expect. The north Minneapolis native is without ego, eloquent whether talking about the industry or the crisis in Darfur, and as comfortable lending a hand in neighborhood cleanups as he is on stage.

Wright recently released his album, A Different Mirror, through Rhymesayers Entertainment -- the same label as popular local artists Brother Ali and Atmosphere. I had the opportunity to get to know Toki during his album release party at First Avenue.

Q: What kind of music did you grow up listening to?

A: I grew up listening to everything. Hip hop, rock and roll, funk, soul, reggae. I've always had eclectic tastes and a lot of music around me. Artists like Black Moon, Slick Rick, Bob Marley, Aretha Franklin, some of everything.

Q: When did you get interested in pursuing music as a career?
A: Since the age of 11, I've wanted to make music, and my biggest dream was to be on stage and to share some of those words that I wrote in my room.

Q: How do you think hip hop has changed and where do you think it's going?

A: I think hip hop has changed a lot of different ways. Hip hop shifts with technology and with the way the laws that govern the country change. For instance, the Civil Rights Movement and the Black Power Movement definitely had a big impact on how hip hop formulated. The government with the War on Drugs definitely affected the way music was made with the young hip hop kids growing up in the crack era. The Bush era, both of them, gave way to a certain amount of hopelessness and the kind of 'I just want to party and forget about what's wrong with the world' attitude.

Q: Your songs and lyrics seem to have more of a message than other mainstream rap these days...

A: I think every song has a message. It’s just…what is that message? Sometimes the message is 'I just want to party and forget about life' or 'I wanna shoot you and kill you' or 'I've lost all hope and this is what I'm making.' I think there is a story underneath every song that gets made. Especially songs that are jingles -- urban pop-- that's what I call a lot of stuff on the radio these days, they're commercials. Songs and singles really are commercials for whatever message you're trying to get out there. So if the message is 'Buy my album,' you're going to hear what that sounds like.

Q: You're teaching hip hop at St. Paul's McNally Smith College of Music. Tell me a little bit more about that.

A: We're more so teaching about the culture and society that surrounds this lineage of hip hop and the practice, the business aspects of the society. We're just in the planning stages and the first actual semester isn't until September but we're getting all the staff hired, making sure the curriculum is tight and recruiting students. It's going really well so far.

Q: What roles do you play in the community?

A: I really like to consider myself a concerned citizen, and a concerned citizen isn't someone who just finger points all the time. A concerned citizen is somebody who is willing to figure out when they're wrong and figure out what else is wrong around them and willing to get involved. I've been involved in community work for the majority of my life growing up in north Minneapolis, whether it was neighborhood cleanups, helping out at the park, running a youth organization or running the Twin Cities Celebration of Hip Hop.

Q: What are some of the main problems you see while doing your community work?

A: Poverty is always a big issue and poverty affects so many other things. If I'm poor, I can't get health care. If I'm poor, I can't get education that’s effective and I can't go to private school. It's a global issue.

Q: You're on the Rhymesayers label with artists including Atmosphere and Brother Ali. How do you think Rhymesayers is affecting the industry and how does it feel to be a part of that?

A: I think it proves you can make music that is from your heart and soul and there is someone out there who will listen to it. There is nobody standing behind any artist turning the crank, telling them what to do or telling them what to make, which is something that doesn't often happen in music. So for a group of people to say 'I believe in you because you're talented, and I will give you the creative space to make what you want, bring it to us and we'll see if it’s ready to be distributed.' That in itself is revolutionary.

Q: When you get time off between your solo and group hip hop work and your community commitments, what do you do for fun?

A: I play basketball every week and work on my physical fitness. I like to write and read. I don't watch too much TV, but I love movies. I'm also trying to learn how to cook better.

Q: What's next for Toki Wright?

A: I have a 50 city tour with Brother Ali this fall and I'll keep pushing this album. I'm working at the program at McNally. I'm just trying to be a good person and remember where I came from, keep checking myself by the ego, staying humble and being true to where I'm from. I want to do it all. If people are listening I want to be able to say as much as I can.

Bitter:Sweet Review

By Jeremy Anderson

Even if you haven’t yet learned of the electronic-pop duo Bitter:Sweet, you’ve probably heard their music. The eclectic pairing of Shana Halligan’s sultry, teasing lyrics with Kiran Shanani’s groovy espionage-like instrumentals has been featured on countless ratings-grabbing television series. The group has contributed music to popular shows such as Sex in the City, Grey’s Anatomy, Desperate Housewives, and the theme to Lipstick Jungle, as well as to the hit film, The Devil Wears Prada.

Finding an audience in feature television and film is simply a byproduct of making unique and compelling songs. “I don’t know what makes it so adaptable,” said Halligan. “We just created it out of love. I think it’s just very relatable, very accessible.”

That accessibility has been instrumental to the duo finding a fanbase. Being featured on television shows “is like a new radio for us,” said Shanani. “People can come out and find us.”

With Halligan’s glamorous show dresses and jazz infused lyricism backed by Shanani’s swinging beats, Bitter:Sweet’s style harks back to various earlier eras of music. The pair is not merely a throwback, but rather, a fusion of past with present. Their sound, like their marketing, is a fresh take on the old standard.

Quango, the band’s independent record label, deserves recognition for marketing the group so inventively and effectively for the digital age. “We’re on a small indie label,” said Halligan. “There isn’t the financial ability to push [us] in commercial radio.” Despite not having a large promotional budget, the proceeds from being commercially featured allow the band to branch out and grow as performers. “It supports our tour,” Halligan and Shanani said in unison, speaking of their tour as part of six-piece band.

The mutual appreciation between Halligan and Shanani is apparent upon meeting them. But the process of finding one another was lengthy. Shanani conducted an extensive search for a vocalist until Halligan responded to a listing on craigslist.com. “I auditioned hundreds of singers… I knew she was the one.” Both musicians have excelled since finding each other. Shanani described their collaboration as “more free and natural” than on his previous projects.

For now, Bitter:Sweet seems on solid footing. Halligan and Shanani have a constructive musical partnership, an effective 21st century marketing scheme, an inventive indie label that believes in them, and a distinctive retro-modern sound. We’ll be eagerly waiting and watching to see if the duo continues to push their music forward.

The Ting Tings Review

By Jeremy Anderson

Purposely ignoring music industry convention, The Ting Tings set themselves apart with their uncompromising focus on infectious spontaneity and freshness. The British indie-pop duo isn’t preoccupied with creating works of long lasting artistic significance or perfecting market friendly music. The group’s allure comes from holding close to the immediacy of creative inspiration, crafting instantly pleasurable, funky, and danceable songs.

Nothing in Katie White’s brash vocals and poppy guitar licks merged with Jules De Martino’s up-tempo percussion sounds overly rehearsed or remotely pre-contrived. “We’re a couple pop heads at heart,” White said describing the duo’s musical connection.

True to form, the band and their style emerged haphazardly. “This [band] we didn’t mean,” said De Martino. “This one was writing to have parties and get rid of frustration… It was just me and Katie left over from the [previous] bands that didn’t work… She picked up a guitar for the first time and I was back on my drums for the first time in five years… We didn’t know what we were doing. We just had to get some rhythm going for our drunk friends to dance to.”

Quickly, a lot of buzz arose around the parties put on by the duo at their Manchester flat. “The first party, twenty-five people came and the second party a few more came,” said White. “By the fourth one we felt spoiled to be invaded by the music industry, so we stopped.”

By this point, White and De Martino knew they had stumbled upon something exciting for both themselves and their expanding audience. They went to lengths to keep the process intuitive. “We took everything straight to the studio and if it didn’t work within two hours we scrapped it,” said Martino, describing recording their debut album, We Started Nothing. “We’re very impatient. We’ve got to get that fix.”

Their process is not merely happenstance. White and Martino are two experienced performers who learned and developed much due to their hardships in previous groups. “Sometimes people take too long in music studios trying to make things perfect,” said Martino. “Sometimes you lose what you had in the demo. We weren’t about to do that because in our last band we did that quite a lot.”

The pair are taking their early success in stride and don’t feel pressured by high industry expectations. “We don’t really have goals,” said White. “When we set out with this band we didn’t really think we’d get anywhere with it… We didn’t plan it… We just went on our instincts and I think we’re just going to keep doing that.” The entire existence of their band has happened so quickly and intuitively that both members remain connected in the moment.

De Martino described The Ting Tings music as a “snapshot” of the time which it is invented, making their songs ripe for the here and now. “We want to do it again after touring this year… go back into the studio and relate how we feel,” he said. It is an ambitious uphill struggle to remain fresh and relevant when methods age with familiarity. Will these two Brits be able to continue surging with spontaneity in the future? Their sound is carefree, poppy, and accessible, but is unlikely to leave a lasting imprint. Appreciate The Ting Tings music today, as close to it’s creation as possible. Longevity is not their aim.

Exclusive Mudvayne Q & A

Q & A: Matt McDonough of Mudvayne
By Daniel Schmidt, Plugged In Reporter

The answer to making others happy is simple: give them want they want. Mudvayne's album, By the People, For the People, is a mix of live and demo versions of previously released tracks selected by fans. Rarities and two new recordings finish off the album leaving fans in a pleasant state of euphoria. At a exclusive interview, Drummer Matt McDonough revealed the band will be releasing fresh, new material as early as this summer.

Your latest album, By the People, For the People, features tracks and artwork selected by your fans. How did you come up with the idea and what did you think of the fan response?

We've always had an intense, personal connection with our fans. We pride ourselves on the intimacy between Mudvayne and our listeners. While approaching the concept of a b-sides/rarities or "best-of" album, it just made sense to take advantage of that relationship with our listeners. Tighten the circle even more.

Are you considering a similar approach for future albums?

Mudvayne is an open-ended artistic endeavor. We never place restrictions on our working process. The future is wide open.

What was it like digging through old demos and live recordings when putting together By the People, For the People? Are you pleased with how the music has evolved?

Yeah, it was surreal listening to old demos. A lot of this I hadn't heard since I prepared to record the albums. That's what those recordings were for right? So I guess I was a little apprehensive. I assumed the quality was going to be terrible. And the recordings are raw, but there's a lot of fun stuff in there. And the nostalgia makes up for anything lost in technicality.

You've played with music greats such as Black Sabbath, Iron Maiden, Disturbed, Metallica and Korn. Which bands do you have the most fun performing with? Are there any bands you look up to?

I try to avoid favoring anyone over anyone else. I can speak of my friends though. I've had a great time building friendships with the guys in Shadows Fall, Disturbed, Slip Knot and Mastodon. Obviously, a list like this could go on and on though. I think Mudvayne has been fortunate to never have a bad experience with any of the bands we've toured with. We don't have any horror stories of crazy competitive animosity with other bands.

What other bands you are really into right now?

I'm probably the wrong person to put that question to ;) My listening tastes are all over the map. I'm an obsessed "Swans" fanatic right now. Their early 80's recordings are probably the most brutal ever. I'm into early Genesis, Killing Joke and Joy Division. And as always, Autechre. Their new album comes out next week, and I was one of 1,000 lucky people to pre-order a special double disc version that sold out in 12 hours. How about that for some free, good press! On the other side of the coin, I've been really into NWA and Notorious B.I.G. or 1970's Judas Priest.

You recorded your second album, The End of All Things to Come, in Cannon Falls, MN. Do you have any favorite spots in the Twin Cities? Any good stories? When will you be stopping by again?

I'm a big fan of the Walker Art Center. While we worked on The End Of All Things To Come, I spent quite a bit of time visiting the outside sculpture garden. The Art Institute is great also. And one of our favorite restaurants in the country is there also: Ocean Aire! I'm sure we'll try to stop by for dinner when we come through on our next tour.

When can we expect you to record or release another album?

You can expect an already recorded new album to be released by the summer, and next month we're going back into the studio to work on another record that we'd like to release by the end of the year. Keep your fingers crossed, because it's going to be a hard one to pull off!

Have you been following the 2008 primaries? Do you support any candidate?

Out of respect to our listeners, I encourage them to think for themselves. Don't allow anyone to dictate to you what trends of thought you should subscribe to; whether they be religious, cultural or political. Trust your judgment and follow your heart. You'll have respect for yourself and other people will respect you also.

MoZella I Will CD Review

MoZella I Will (Warner Bros. Records)

Written by Jennifer Adriene Burks

Mix one part pop, two parts soul, top it off with smooth as velvet vocals and you get MoZella's delicious new album, I Will.

The 24-year-old Detroit native's debut album documents her journey of leaving home at the ripe age of 18 to chase her musical dreams in Los Angeles. The singer-songwriter croons about falling in love, breaking up and finding closure with acoustic guitar melodies layered over programmed beats.

You get lost in the upbeat tune "Love is Something." The cut captures the feeling of finding love and adoration for the first time.

Admitting her vulnerabilities and fears of opening up, MoZella sings Grew up on my own / Spent so much time alone / That it's taken me a while / To let somebody in.

Fast forward to the anguish of a bitter breakup, "You Wanted It" tells the story of distance building up in a relationship and finding the strength to let it go.

In the slow and poignant tune "Light Years Away" MoZella looks back in retrospect and realizes how much she grew from the breakup and forgives her ex. I don't blame you anymore / That's too much pain to store.

MoZella's jazz-inflected voice and raw emotion-infused lyrics will take you back to your own triumphs and losses in life and in love. I Will offers a fresh sound that will leave you hungry for more.

Family Force 5 Show Preview Article

Family Force 5, Club 3 Degrees

October 1, 2007

Written by Jennifer Adriene Burks

Crunk rockers Family Force 5 are bringing their high-energy show to the Twin Cites on their "Dance, Rawr, Dance" tour. Hailing from Atlanta, Georgia, FF5 is comprised of frontman Soloman Olds, his twin brothers, Jacob and Joshua and friends Nathan and Derek.

They offer an eclectic sound and undeniable rock star quality injected with southern charm. Their debut album, Business Up Front, Party in the Back (Diamond Edition) combines electropunk with new wave guitar and old school funk.

FF5's supercharged show serves up feel-good party music that will leave not one toe untapped. Watch out for Xanadu, the band's stage tech, known for dancing on stage while checking the monitor mixes.

Fans can contribute to social and humanitarian causes by purchasing a "Dance, Rawr, Dance" t-shirt. $5 from each sale will go to the Hope Collection charities. Jonezetta and The Secret Handshake will open the show.

All Ages-Oct. 3-Club 3 Degrees
113 N. 5th St., Mpls., MN
612-781-8488

KICKIN’ OFF THE SEMESTER WITH MRAZ

Written by Emily Kessel

With their busy schedules, empty wallets and demanding classes, students deserve a night free of books, free of fees and full of Jason Mraz. On Sept. 13, St. Thomas students stretched across the quad, waiting for their share of “The Remedy.” By 7:30 p.m., when the doors opened, the line nearly reached the arches.

“Before the concert, there was somebody out there literally at 4:30,” senior Dan Miles said.

Miles, a St. Thomas Activities and Recreation programming intern, took initiative to organize the fall concert. STAR president, senior Ericka Leahy said Miles was the one who worked hard to put the event together.

With the help of campus life and fellow STAR interns, Miles was able to book Mraz and the Fieldhouse.

“…Seemed like a good way to kick off the semester,” Leahy said.

Mraz is eclectic artist with a variety of musical influences ranging from pop to jazz to hip hop. Some classify his music as pop rock, others as alternative. Either way, his lively tempo and speedy lyrics keep fans alert and easily entertained.

“I think it was a lot of fun between St. Thomas students interacting together as a whole community,” freshman Ben Wartman said.

Drummer, Michael Bram said that he, and Mraz, really enjoyed the crowd. “Sometimes it’s difficult to get them to clap…” Bram said. “…But these kids had no problem clapping on cue … That was really cool.”

Assistant Director of campus life, Jese Ledbetter, thought the event was well received.

“[And] I think that everyone on STAR was excited about it,” STAR programming intern, Brian Allen said.

Ledbetter said that there was a good line starting around 5:45 p.m. and group of 10 or 12 around 5.

Senior Kibra Paulos was the first student lined up for the concert around 4:30. “It was a great experience for my senior year, seeing my favorite performer for free,” Paulos said.

However, she was a little disappointed with the set list, but overall was happy with the show.

“I felt that Jason Mraz has a sound that will be enjoyed by a large representation of the campus,” Tommies After-Dark intern, Will Besser said.

Exactly 1,356 students entered the concert. However, the most students in the Fieldhouse at the same time were around 1,000.

“It wasn’t as crowded as I had hoped…” freshmen Audrey Palmen said. “…But he was good.”

For the Mraz concert, campus life and STAR decided to only emit St. Thomas students, because of previous concert experience. Last fall, St. Thomas allowed guests into the Dashboard Confessional concert and had to turn away a large number of St. Thomas students. Leahy said that throughout the night, there were around 2,000 people who entered the show, with capacity of 1,600.

The money for fall and spring concerts comes from student activity fees. For this reason, Cahill and Miles chose to not admit guests unless the count was low. And Cahill said that they did allow a few guests to enter the concert around 9.

This way, students were able to come after night class. “…And students did come right in until 10 p.m. for encore” Cahill said.

Twin Cities artist, Tim Mahoney opened the concert a number of his songs, including “Talk to Me” from his 1995 self-titled album. St. Thomas needed a talented artist to fill the time between doors opening at 7:30 and Mraz’s performance. Mahoney has been gaining popularity with a number of college campuses through the National Association for Campus Activities. Recently, Mahoney won a Myspace music contest and will make an appearance in an upcoming Rolling Stones magazine.

Although eager for Mraz, the crowd seemed to enjoy the opening act. Mahoney even got the crowd to sing along to his version of “Small Town Girl.”

“Tim Mahoney, the first performer, played really well; good reaction from the crowd. I've seen him live before, so I recognized some of the songs he played,” junior Thomas Engrav said. “[And] when Mraz came on the place went nuts of course.”

Around 8:45, Mraz began his performance with “You and I” followed by “Take It Easy” and “Curbside Prophet.” The crowd sang along, cell phones glowed and groups of friends would break out in dance.

But by far, “The Remedy” had the best audience response. Bram said that the crowd enthusiasm was what stood out to him about this concert.

“I thought he fell off the face of the planet,” freshman Adam Anderson said, “but he was great.”

Margaret Cahill, director of campus life discussed how important it was to provide a variety of performers, because it is impossible for everyone to agree on every choice of artist.

“It is really helpful for programmers, for students to share [new and favorite bands they’ve learned about].” STAR interns appreciate any suggestions and feedback, because they want to bring artists that students want to see.

Miles said that when deciding which artist to bring to campus, Facebook was a big resource. He could type in an artist’s name and see how many students were interested in him or her.

Cahill said that it had been about 5 years since Mraz had last performed at St. Thomas. It seemed like it was about time to bring him back.

This fall, although student feedback varied, as a whole, the concert seemed to be well received.

“I thought it was a pretty good choice for the fall concert at UST,” Engrav said. “Jason Mraz stature has gone up over the years, and getting him to perform here again was a surprise to me.”

Counting Crows: Hangin' Around the Midway Stadium

Written by Emily Kessel

It was night just like any other, full of diehard fans awaiting the evening’s entertainment. Blankets sprawled across the field, sun beating on their faces, but no homerun. On Saturday, September 1st music fans spent the night hangin’ around the Midway Stadium, but instead of cheering on the Saint Paul Saints, they were calling for Collective Soul and the Counting Crows.

Following their opening act, the Counting Crows took the stage. The performance began with “When I Dream of Michaelangelo,” a song from their new album, Saturday Nights, Sunday Mornings, which will be released on November 6th. Swirling lights overlapped the mellow illumination on the stage. Adam Duritz had a calm stage presence, which was complimented by the setting of the sun. His expressions and overall charisma were emotional as he sang about missing the little things like saying goodnight to his girlfriend, home, and other topics that any fan could relate to.

Many songs were introduced to me for the first time. The lyrics and melody of “Hanging Tree” stayed with me throughout the night. Only a few songs from the Greatest Hits album were played, which allowed fans to learn about new or less frequently played songs. Even the familiar songs had an unfamiliar twist. For instance, a long instrumental introduction led up to the well-known song “Long December,” which became recognizable only when the memorable chorus reached the audience’s ears.Various requests were shouted from the crowd as the band continued its unpredictable performance. Their calls were answered when lyrics from the popular song “Hangin’ Around” began to vibrate from the stage.

Adam ended the evening with a heartfelt, but political speech about doing our best to help those around us and supporting our country. The initial message was to support local groups such as Open Arms of Minnesota and utilize our right to vote. The Counting Crows then finished the evening with “Holiday In Spain” and left the crowd with passion and their closing message.Although only a short distance away from the craziness of the State Fair, the Counting Crows created an atmosphere that was all of their own.

On the Patio with Coach Said Not To

Written by Emily Kessel

On Thursday, June 28th Coach Said Not To filled the Minnesota Museum of American Art’s Patio Nights event with an evening of music and relaxation. The outdoor concert was held on the patio overlooking the Mississippi River. Coach Said Not To, a local indie band, followed up the opener, Small Cities. They performed for a patio full of guests eager to join the girls for yet another gig. Since coming together in 2002, the female group has attracted a growing Minneapolis/Saint Paul fanbase and the crowded patio was living proof.

Before the show, I had the privilege to interview the members of Coach Said Not To and learn about their journey on and off-stage. Playing music is a side job for the band, but a passion they all enjoy. They consider themselves to be a “pretty tight foursome” and an “undead band.” During the interview, their love of writing and performing music was definitely apparent. One member said her favorite song to write or record “is always the one that we just wrote.”

During the performance, Eva and Linnea serenaded the audience with their vocals. Taking turns as lead singer and performing some songs together kept the night interesting and full of variety. They played everything from “Bust Out Birthday” to “Shadow Puppets.” One song that stood out was performed by Linnea who sang a mellow, emotional tune involving a powerful performance on the keyboards.

Later, Eva roused the audience with the livid lyrics of the popular song “Words that I Employ.” Throughout the evening, Annika played her heart out on the drums and Lee provided an excellent performance on the keyboards.This Thursday night’s performance is sure to keep Coach Said Not To’s fans coming back for more. The gorgeous night view of the Mississippi was a perfect accompaniment to the music.

Who I Am: A Night wIth Alice Peacock

Written by Emily Kessel

In the heart of Minneapolis, Alice Peacock mesmerized an audience with her emotional lyrics and angelic voice. On July 15th, a serene music experience filled the Fine Line Music Café as people began to fill the dimly lit tables, and the pink and green lighting ignited the stage. Alice had a casual, calm presence onstage, which complimented her riveting performance. During our interview before the show, Alice described her music as “very personal” and discussed how she had “always been writing music as a child.” Her songs are about relationships, not just romantic relationships, but relationships with friends, family, and herself. The new album “Who I Am” is about her journey to discover who she is, and this is something we can all relate to. “People connect to music” and during the Fine Line show, Alice’s music was truly reaching out to her listeners.

Alice performed a variety of songs from her new and previous albums. This included “Taught Me Well,” “Time,” and “Finding My Way Back.” With each song, she not only filled the stage with her powerful, slightly country-sounding vocals but with the soft sound of her guitar and her smooth keyboarding skills. A friend, Peter Bradley Adams also accompanied Alice on a few songs, as well as performing a couple of his own. During the evening, she awed the audience with “Sunflower,” which written for the movie “Because of Winn-Dixie.”

The relaxing evening received great responses from the crowd. A young girl dancing under the exit sign and tables erupting with applause were only the beginning. It was obvious that she truly did love touring and playing in front of an audience. She finished the evening with “Don’t Need No Ticket,” a Curtis Nathan song. Earlier, Alice had said that people connect to music, and that’s exactly what her music had done.