dj broccoli new music mix june 3 2016
i think i’m going to continue this
we're not kids anymore.

if i look back, i am lost
Today's Document

祝日 / Permanent Vacation
Alisa U Zemlji Chuda

Andulka
Jules of Nature

pixel skylines
Lint Roller? I Barely Know Her

oozey mess
Cosmic Funnies
NASA

izzy's playlists!
I'd rather be in outer space 🛸
h
YOU ARE THE REASON
let's talk about Bridgerton tea, my ask is open
almost home

roma★
sheepfilms
seen from United States

seen from Italy

seen from United States
seen from Malaysia

seen from Germany
seen from United States

seen from Malaysia
seen from United States
seen from United States

seen from United States

seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States

seen from Malaysia

seen from Singapore
seen from Italy

seen from Maldives
@rockshownu
dj broccoli new music mix june 3 2016
i think i’m going to continue this
Never Too Late: Favorite Live Show of 2015
Picking out a yearly favorite live music act is always a difficult task. No two performances are quite the same and no two concert are the same, and with so many different factors that go into the live music experience, how do you begin to even quantify them in a way so as to definitively rank them? Do you gauge it based on how many br0s you saw with cut-off denim shorts? Whether or not they carded you at the bar? The number of times that the lead singer dove into the crowd and you got a rad selfie? The world may never know.
As someone who loves going to concerts and who tries to experience live music as often as possible, living in Chicago has been a dream come true for me. I saw a number of great bands and artists here this past fall -- Twin Peaks, Shamir, Neon Indian, and Mitski, to name a few – but no act resonated with me as much as a concert I experienced in my small hometown of McAllen, Texas.
Every March, McAllen boasts a local music festival called Galax Z Fair. Usually featuring both big and up-and-coming names in underground and under-the-radar music, usually catching artists that are billed for South by Southwest in Austin. Past bands have included of Montreal (2012), Mac Demarco (2013), TOPS (2014), and Iceage (2015).
Yumi Zouma, a dream-pop band out of New Zealand, were one of the bands who came down for Galax Z Fair 2015. I giggled at the name, immediately thinking of the Nick Jr. show Team Umizoomi, a favorite for a kid I would babysit at the time. I dove into the artists playing GZF and started listening to Yumi Zouma’s self-titled EP several weeks before the festival and as soon as its dreamy, dance-inducing four songs were over I was itching to hear more.
From the moment they took the stage it was clear they were here to have fun. Lead singer Christie Simpson twirled and swayed as she sang over the band’s light and colorful synth-pop, with the other band members not being afraid to bust a dance move or two as they played through their set. They were incredibly energetic and had such an impressive live sound. During their closing song, “Sålka Gets Her Hopes Up”, they invited the crowd to come onstage. Eager concertgoers flooded the stage (myself included), jumping, dancing and singing alongside the band. That’s a memory I’ll never forget.
I saw Yumi Zouma again at 2015’s Gorilla vs. Bear fest in Austin this past August, and their set was just as incredible as the last time. Although we didn’t get to go up and dance on stage with them, I did get to talk to the band for a bit and was happy to see one of them wearing a Galax Z Fair t-shirt. I guess that goes to show their Galax Z Fair set wasn’t just one of my favorite concerts, but one of theirs as well.
Isabella Soto
New Add Spotlight - Heavy Breathing’s Airtight
It’s tough to shine the spotlight on one new addition to our music collection, but I’m really digging Heavy Breathing’s November release Airtight, a satisfying electro-psych journey through retro riffs and tripped-out samples. To put it bluntly, it’s a damn fun listen. Falling in line with their 2012 release Body Problems, Heavy Breathing continues to marry the accessibility of classic psychedelic tropes (think catchy, monolithic power chords) with the currency and cutting-edge vibe of electronic sounds, minus the gimmicky gaudiness that has the potential to surface in this realm of genre bending. I especially love the sprinkling of vintage club vocal samples featured on several tracks in Airtight. Notables are the mid-album back-to-back power tracks “Touch It” and “Drop It”, the former being a shimmery smooth blend of synth and guitar hooks under chopped spacey vocals and the latter being a drum-fueled cut-and-paste anthem. Yin and yang aside, the whole album flows together quite nicely as both a conceptual piece as well as a showcase for individually impressive tracks. Keep your ears peeled, I’ll definitely be spinning Airtight on my show this winter.
AIRTIGHT by HEAVY BREATHING
Camille Michelotti
“Endless Summer” - Fennesz
After four minutes and forty-five seconds of gurgling noise, laptop and guitar artist Christian Fennesz clicks a pedal and strips away all the software to allow the guitar line, formerly warped and glitched to the limit of its comprehensibility, the space it needs to trace an unadulterated course through the remaining two minutes of suddenly uncluttered music. It is a revelatory moment that lays bare the skeleton of the song; that melody that anchored the past five minutes and propels the remaining two. This progression of strummed chords makes it apparent that Fennesz’s “Endless Summer” is a reinterpretation of “Endless Summer” by The Sandals, recorded in 1966 for the title sequence of the seminal surfing documentary Endless Summer.
Morphed, mangled and submerged in what sounds like the sonic equivalent of a rolling tide as it may be, the tell tale melody is there if you know what to look for, which, in this case, is a loose thread in the shape of a certain progression of strummed chords that recall the silhouettes of two surfers against a sunset. The sound of the cresting and breaking of a wave, also against a crimson sky. Pulling the thread unravels the song and reveals that the last two minutes of clarity are present in the first five minutes of noise. Fennesz’s interpretation evokes the beach as well, but the computer effects dial the clock forward 17 hours past the sunset of the original and it is between noon and three the following day and the sun is hot. After a summer of surf the “endless” component is starting to take a definite shape and you are sunbaked, fried; you have inhaled seawater; your knees are raw and red from daily agitation; you are so tan; you are so tan.
The chord progression makes a brief but significant appearance within the first minute of the song before he drowns it in aquatic tones that build to a climax, buzzing and cracking and, for the only time in the song, completely burying the melody. It is difficult to take in.
The effects of heatstroke are nausea, a throbbing headache, rapid heartbeat, and, lack of sweating despite the heat. It is so hot.
An effects pedal clicks. You re-emerge from the spume, or open your eyes, and in a brief moment of clarity you have a penetrating gaze that sees past the sand and the sun and the salt and heat and beholds a beach in some remote corner of bliss and suddenly you are in possession of a Mai Thai. It is, after all, summer.
Ben "DJ Bliss" Shear
Seattle Scene Report: Dawn of The Post-Riot Grrrl Era
When one thinks of Seattle music, grunge is often the first thing that comes to mind. Worn flannels, Doc Martins, gravelly vocals and Kurt Cobain. However, the Pacific Northwest music scene is moving in a different direction. Seattle’s music scene has entered a new era, marked by a surge of female fronted bands. The Seattle scene has recently been dominated by dynamic female artists of all genres—surf rock icons La Luz, powerful rap duo THEESatisfaction, indie folk singer Emma Lee Toyoda, and a healthy dose of punk from the likes of Tacocat, Chastity Belt, Mommy Long Legs and CHILDBIRTH, to name a few. This wave of powerful girl bands has taken cues from the riot grrrl ethos of the 90s, favoring feminist ideology and general empowerment. However, this recent movement differs in that it is not overtly aggressive, attacking patriarchal notions of music in a far more subversive manner—multitudes of female musicians are gaining success in spite of the male dominated music industry, and doing so based exclusively off of their talents. Though this does not seem revolutionary in nature, if one considers the historical prevalence of sexism within the music industry, the idea of an entire scene dominated by successful female musicians revered for talent as opposed to sex appeal is inherently radical. This new post riot grrrl era is on the rise, and Seattle is at the center of it.
Anna "DJ Kale" White
Stackeology 101-2: Sweet Trip - Velocity ; Design : Comfort
The main creative force behind Sweet Trip is Roberto Burgos, a semi-professional music producer who seems to spend most of his time these days as a Silicon Valley software engineer, according to his LinkedIn. The album he created along with band members Valerie Reyes, Viet Le, and guest artists Aaron Porter and Sue Mee, released in 2003, is the second of three LPs in Sweet Trip's run. It's a great first listen. It's one of those albums that simply doesn't sound like anything else. The album takes shoegaze, IDM, dream pop and glitch and smashes them all together to create a sound equal parts analog and synthetic. Indeed, this is a concept album specifically addressing such matters. It purports to be the sound of a human and a computer gradually beginning to understand each other. The first two tracks "Tekka" and "Dsco", can be interpreted as establishing these two characters. "Tekka" overwhelms with its torrid, razor-sharp glitchy blasts, while "Dsco" is a syrupy, poppy, shoegaze-y tune where we first encounter Valerie Reyes' delicate vocals. From then on, these two sounds begin to intertwine, until they each become essential components of the whole. It's a really cool concept on paper.
As for the execution? Despite a 73-minute run-time, there's little in the way of filler or ideas played out too long. That being said, I can definitely see this album being criticized for going too far in the other direction -- for moving too quickly from one idea to the next. There are many times on this record where a delicate melody and or groovy progression will emerge, only to be smashed into oblivion by a wave of glitch electronics, never to return. This would be a problem, if Sweet Trip weren't so good at one-upping themselves with each successive section. Repetitive, structured songs don't much emerge as much as wonderful, poppy, technicolor soundscapes.
Most importantly, I really, really love this record. It's just gorgeous. It can evoke emotion with metallic electronics, catchy melodies, walls of guitar noise, or all three at once. It's at times very danceable, and it is always buoyantly cheerful. If Velocity : Design : Comfort is about the growing interrelations of man and machine, it is thoroughly optimistic about the outcome. I hope you find it in the stacks and give it a listen. I think it'll be worth your time.
Noah Stafford
Note: I recommend against listening to this with cheap earbuds. Some of the glitchy parts of this album can be nearly painful to listen to if you're listening through speakers with very tinny high-end.
The Top 5 Reasons of 2015 Why I Won’t Share My Best-of-the-Year Lists
One cold night in late November, inch after inch of sticky white snow drifted down into Chicago, coating the streets and rousing the snowplows from their warm weather hibernation. Technically, it would still be autumn for another month, but as far as most were concerned, the winter season had begun. Not long after that, music blogs and magazines began compiling their best-of the-year lists; best tracks, best albums, best political tweets from the pop stars. I’m reminded every December just how wary I am of this facet of music culture. Admittedly, I’ve made a secret “best albums” playlist on Spotify every year since 2013. But unlike many of my music-loving friends, I rarely share my best-of-the-year lists with others, and these are my top five reasons of 2015 why that is the case:
5. “Art is subjective” by Different People (feat. Different Taste)
Most people acknowledge that what music we love (and by extension, that which we consider the “best”) is determined by individual taste. The best-of-the-year lists could be used to celebrate the amazing diversity of music and taste in this world. But instead, the lists often feel more like entries in a competition to see who can come closer to some imaginary, truly objective list (looking at you, Pitchfork).
4. “Toxic Culture” by Flame-War and the Elitists
Everyone pretends that our best-of-the-year list making is all in good fun, like, “look what I love” and, “wow, I love that too!” But so often—especially on the internet—it’s more like: “look at my perfect taste,” and, “you tasteless philistine, how dare you put Kendrick Lamar on your list and not Future. Do you even listen to rap?” I’d rather my favorite music remain a source of happiness for me, not incite conflict with others.
3. “Gold Standard” by The Taste-Makers
A few of these reasons wouldn’t really matter if all lists were created equal. Everyone could create for themselves what it means for something to be the “best of the year.” But unfortunately, there are some lists (like those created by Pitchfork and Rolling Stone every year) that are just too big to be ignored. These best-of-the-year lists become the gold standards against which all other lists are judged—while, in reality, all lists are equally valid. No one should feel like they have to justify their choices based on decisions made by the “music elite.”
2. “Personal Reasons” by My Unique Experience
So many of the reasons that my album picks are the “best” to me come from my own personal experiences. For example, the most recent Ought album is high on my list partly because it reminds me of their incredible live performance. If you looked at my list, you would only see the album’s name, while I would see those wonderful memories and the friends who shared them with me. Similarly, you wouldn’t be able to see how an album inspired me, or how, the first time I heard it, I was walking aimlessly through the pouring rain (but that’s a story for another time).
1. “Purpose” by Justin Bieber
In the end, no best-of-the-year list really matters, because Purpose by JBiebs is undeniably the one and only best album of 2015. If you hadn’t caught the “Bieber Fever” before this album came out, then surely the epidemic has reached you by now. Just listen to those Diplo and Skrillex beats—they’re catchier than polio in a community of anti-vaxxers. This is the album that Entertainment Weekly called “deliberately of the moment.” If you don’t agree, then you’re wrong.
Eli "DJ Sauce" Sugerman
DJ Broccoli’s Favorites of 2015
I’m not qualified to use the word ‘best’ and doubt any individual in the world of music journalism can exercise that kind of authority. Firstly to say “best” implies a complete knowledge of the whole, in this case every musical release of AD 2015, and secondly in a subjective judgment of an interpretable art form, “best” is nonsensical and as much a claim of personal taste as the music in question. So until speed listening technology and the Ministry of Culture passes down the guidelines of music judgement and take the joy out of it all, I’m going to stick with “favorite.” These are my favorite musical releases of 2015, a collection I wanted to share and collect more for myself than you (no offense). It’s a matter of practice, one of of conscious listening and categorization and reflection that drives a collection like this. My intentions are not to flex some sort of musical knowledge or imply that my favorites are better than your favorites, my intention is to share. To share music that struck me profoundly in hopes that you may experience some sort of congruent bliss. 2015 frightened and depressed and enlightened me in many ways, but through the year new and inspiring music kept me based. 2015, if nothing more, was a fantastic year for music, I hope you were able to enjoy it as much as I was. I’ve parred down this list to those rock show appropriate picks, you can find the full unedited list here.
Holding Hands With Jaime // Girl Band
My job at WNUR includes helping our wonderful music director Camille sort through the piles of mail the station receives and adding appropriate albums to the stacks. If I’ve learned anything in this process of sifting and reading and judging it’s how really important first impressions really are. Or maybe a better way to approach to call it is the expectations each piece of a music release create for a listener, from the packaging and album cover to that first downbeat. So when an album by Girl Band shows up at 1877 Campus Drive, so do a set of expectations. The four dudes from Dublin, not only play with expectations with their band name, the album is an exercise in repetition and the tension and release expectations in repetition create. It’s an edge of the seat kind of listening experience, like watching a buckling tree in a hurricane, when is going to break, is it going to break, why do I want it to break? It’s that nervousness that lies at the core of Holding Hands With Jaime, the claustrophobia repetition creates that powers my favorite new add to the stacks this year.
Kind of Blah // frog
In a year with so many novel and interesting releases in computer produced music, guitars and drums certainly had a tall order if they were to stay relevant in 2015. Enter frog, a duo from Ithaca, New York and a cheekily named LP Kind of Blah. This album soundtracked my springtime thaw in Chicago this past year, the first of at least four for this San Diego transplant. There is something very genuine about frog’s music, something counteracting the constant validation that seems necessary with every stylistic decision artists make in the current state of affairs. Instead of somehow proving worth or irony frog plays music they enjoy making. Music that doesn’t need an accompanying thought piece for the audience to figure out what is going on or make them feel relevant. None o’ that, Kind of Blah is simple beautiful rock music.
Depression Cherry // Beach House
People often talk about sonic space, whether in reference to a venue or the perceived space recording engineers try to create on record. “The sound” as we often refer to it, is something we experience and develop a taste for throughout our lives, and it’s often specific to individual experience. Beach House have a definite sound, one that I experienced in high school as they filled a hazy Los Angeles night sky like no other band I’ve seen since. It was space, not just sonic but the air around my body that moved and flowed with the layers of sound. Their records have never been the same for me, only ever a symbol for the experience that once was, but never something I listened to for its intrinsic worth until 2015. Beach House must have injected some of that Los Angeles smog filled air into Depression Cherry, it’s the glue that holds together every simple little fractal of this album together and the space that made me fall in love with music a little more that summer night not so long ago.
There’s an obsession with this concept of ‘simple beauty,” it’s a buzzword in conversations about Bob Dylan and is more accurately described as surface level simplicity masking a very organic and imitation-proof complexity. Depression Cherry is simple in a different way, it’s a collection of simple parts that achieve complexity in their relationship and dialogue with one another. So maybe it’s opposite, like a ‘complex beauty,’ beauty in this case being a facade hiding the process and components, or maybe its just that air, no doubt distilled and presented through the same process of combination. Either way Depression Cherry finds its way on this list because I really enjoyed it and I hope you have had the chance to as well.
Escape From Evil // Lower Dens
Some albums gain acclaim on a sort of novelty; to critics they are works completely new that could only have been released in 2015 and function as a direct artifact of the present moment. The problem with this expectation however, is that it fails to acknowledge the inherent unoriginality of all music, that ‘originality’ is always something that applies more to taste than product. Escape From Evil is an album that begs comparison, rejects any critical claim of unprecedented material and this ‘influence on the sleeve’ mentality makes for atmospheric post-punk someone born in 1996 can listen to and feel relevant and modern. Some, usually old and/or cynical, will claim the best of music and art is behind us. They’re right obviously, if they mean pop music will never be like it was in the 60s and krautrock isn’t coming back around anytime soon, but that doesn’t mean the history is dead. Setting that aside for a moment and focusing on something more abstract: sometimes I’m struck by the weight of simple action, the feeling that my entire life has led to every instant and breath and decision I make. A beautiful feeling. A moment of bliss and purpose. And music shouldn’t be any different. Maybe the same feeling distinguishes ‘good’ from ‘bad’ in music, a feeling of weight. Deliberate weight of the musician’s experiences and tastes that power each downbeat to create something new and meaningful. Listen, its all there, Ian Curtis and Liquid Liquid and Kraftwerk and Iggie Pop, packaged and called Lower Dens.
Quema Quema Quema // Kanaku y El Tigre
Hice uno función de música español en la radio el entero pasado y un razón que yo decidí hacerlo era la banda Kanaku y El Tigre. Escuché a Quema Quema Quema mucho el verano de 2015, me ayudaba en los días depresivos durante mi trabajo en LEGOLAND. Hay una cosa muy linda sobre las palabras en español, es una idioma con un ritmo especial, especialmente en la música de Kanaku y El Tigre. Mi español no puede hacerle justicia, pero Quema Quema Quema es un disco muy especial, escúchalo por favor.
Gardens of Delete // Oneohtrix Point Never
And it comes out of nowhere really, its pixels on a screen and 0s and 1s then volts then air and its music. It starts dark and it stays that way, pulses of some synthetic motor, not so human voices laughing like they know something we don’t and maybe they do, but by 1:13 of “Ezra” I think I understand it too and fall into the ride. Our entire lives are under a process of digitization and our music cannot escape from this, I guess we can call it ‘fate.’ Sometimes its scary to think about, as someone not quite born into this world we now start to inhabit, born on the cusp of the internet’s formation and to parents who came from a different time (but don’t they always?). And sometimes music is sad because of it. It lacks that human quality, the hope of the human soul, the spark of creation, because computer screens hurt my eyes sometimes and my fingers are tired of speaking for me. Gardens of Delete tore me from that place of cranky naysayer, of elitism, in short Gardens of Delete inspired me. Oneohtrix Point Never, as he’s called when making music, showed me once again that music is powerful, digitization is not the end but rather the present, and those 1s and 0s can be beautiful on occasion.
Sold Out // DJ Paypal
To work in a medium, in a genre like footwork that appears as a tiny blip on the timeline of dance music, one specific to Chicago and one that could be considered post- with the death of a founding father, takes a little humor. DJ Paypal, acknowledges the absurdity of it all: Buy Now, Sold Out, The Mall Music crew, footwork? But then again what isn’t absurd about 2015, at least DJ Paypal can admit and move on, for acknowledgement is where creation begins and where Sold Out leaves off. It’s post-Rashad music, and if Double Cup is really sacred and really holy then Sold Out is testament music, a witness to the greatness and by acknowledgment a transcendence of the former. By repetition. Whether the saxophone line on Awakening” or the cycle of collaboration and recycle and feat. within Teklife. by repeating simple acts of beat and music and life footwork is going somewhere and this album is a beautiful testament to that fact.
Carrie & Lowell // Sufjan Stevens
Lyrics mattered in 2015. And that means people are listening, people are looking again to music not for the beat or a mindless release but for answers and poetry and words. Courtney Barnett told us how it is in the plain way we cannot, Kendrick made these walls talk, Dr. Yen Lo rhymed with orange, and people listened. I gave Carrie & Lowell to my mom for her birthday. It might seem like an odd choice given the subject matter, and I hope my mom didn’t take me for some kind of fatalistic strange son for it (she didn’t). I gave her Carrie & Lowell because listening to “Fourth of July” I couldn’t help but think about my own mother. How much I love her, how much she has done for me, how one day she will die. And then “The Only Thing” played and I wept. Out of fear, and beauty and “sea lion caves in the dark.”
Sufjan repeatedly hits these emotional intensities on Carrie & Lowell not only lyrically but with his sparse instrumentation and brilliant melodic writing. It’s the kind of album that keeps giving, the album I’m still unpacking a little more every time I listen eight months later, the kind of beauty a mother deserves on her birthday.
DJ Broccoli
WNUR Stackeology 101-1
So how much music is in WNUR’s collection?
Hmmm maybe like a couple thousand CDs and just as many records.
Wow, that’s pretty impressive.
Yeah, it’s pretty great. Definitely humbling to walk into every show and know you’ve probably never heard at least 75% of the music you’ll pull. Some people use their laptops and Spotify, but I think that’s a little bit narcissistic.
Why do you say that?
Well, that’s a little harsh, maybe their just having a rough day or feeling a certain laxity. But, no, what the laptop and Spotify say to me is “I already know enough music to fill this show, I don’t need to go to the stacks.” And maybe you’ll put on a more cohesive show because of it, but this being college and college being a supposed place of learning, did you encounter any new musical experiences in your iTunes library? Besides sharing your broad and impressive music collection with your listeners, the plug and play radio show is really not much different than the plug and play homework session you had the night before. Take interest in the music you play, take advantage of the stacks, take some serious ownership of the show and the music you present. It’s probably the last time you will have access to a library of such well curated music, get in there, you might even find some good music.
Sounds like someones on a mission?
Haha I guess you could call it that, I’m out here trying to preach the WNUR gospel, it just makes sense. I think our shows in general are declining in quality and DJ engagement and to me a big part of that seems to be a shift away from the stacks. The most valuable thing for me so far about having a show without a doubt, has been the musical knowledge I’ve gained. And sometimes you are going to play some shitty music. The stacks are not flawless. But I keep going back for the gems, the songs that knock me out, that I come back the next day to burn to my computer. There’s so many of them in there, trust me.
And so why are we here, on the laptop?
Very funny. I wanted to create a column to show case the gems, prove to people we do have great stuff in the stacks. One album a week, let’s go.
Under Byen - Samme Stof Som Stof
Hailing from Denmark, Under Byen (translation: Below The City) create unorthodox rock, that in the modern scope of rock music in 2015, is a little orthodox. The band commits themselves to an eclectic lineup of instruments, often employing cello, electric saw, various percussion and acoustic piano to create a unique and consistent sound throughout the album. In this territory of eclectic instrumentation there tend to be bands who let their instrumentation act on their composition and those who fit their instrumental limitations into preconceived compositional structures. Under Byen, leans toward the latter of these two tendencies on Samme Stof Som Stof to contrast rock music rather than some determined brand of orchestral pop. Track 2,“Den her sang handler om at få det bedste ud af det" demonstrates this concept as the instruments themselves nearly cloak the repetetive and slightly sludgy compositional concept. Katrine Stochholm’s vocals center themselves in the often eclectic mix of sounds and seem to ground floatier compositions like “Tindrer.” She sings in her native Dannish tongue throughout the album, often accompanied by back up vocalizations (whether those are actual voices or instruments emulating the human voice), and maybe because of the language barrier I tend to hear a vocal timbre rather than lyric. The timbre is dark, cloudy, sometimes growling, and flowing in a way that reminds me of Joanna Newsome one second and Björk the next. Under Byen dismisses typical song structures throughout the album, though some songs sit in a more “popular” soundscape, particularly “Af Stof Som Stof” and the industrial sounding “Palads.” But in between these are instrumental interludes of contemporary classical composition and 9 minute monsters devolving into harsh noise, its varied but subtly so, and not so much the album looses focus. And in my opinion, that’s what good albums eat for breakfast, focus, at their most basic core, focus, along with intention and execution. #6 LP of 2006? That’s what our respected WNUR forefathers claim. Listen for yourself, a gem from our Scandinavian kin, found in the stacks and brought to you.
DJ Broccoli
\m/ trick on, treat forth
happy halloween from yr friends at the rock show
-art by: sarah squirmz
WNUR Airplay recently welcomed Minneapolis’ Beasthead to the studio. It was pretty cool.