That’s all, folks. Lioness, the band formerly known as Linus formerly known as Friendsome, has recorded and published its final song, placing the cap neatly on the group’s four year-long career here. Comprised of the killer team of Dema Paxton Fofang ’13, Jason Katzenstein ’13, Ethan Young ’13, Dylan Bostick ’13, Adrien Defontaine ’13, and John Snyder ’12, Lioness formed at an Open Mic in 2009, won the Battle of the Bands in 2010 and opened Spring Fling (for the yet-to-be-rivaled-and-probably-never-will-be lineup of Dirty Projectors, Black Lips, and Big Boi). And now they’re graduated. They sure do grow up fast, don’t they?
Lioness’ Bandcamp page is loaded with free-to-download single goodies, and probably boasts one of the more colorful collections of album artwork as well as music in the BandCampWes World. “Bullets” is no exception. Where their previous singles like “Hot Mess” pumped up the beach-punk vibe to the level of Surfer Blood, “Bullets” is a gorgeously crafted and easygoing tune reminiscent of Beach House. It’s pretty indicative of what the Ampersand once coined the “Post-Linus” music genre.
The official theme for their capital campaign is “#THESISWHY.”
Tired of capital campaigns yet? Too bad. Making movies is expensive, and #thisiswhy thesis filmmakers Gus Vita ’13 and Dema Paxton Fofang ’13 (otherwise known as The Artist Formerly Known as Bamenda) are asking for your help in the form of a Kickstarter and an IndieGogo campaign, respectively. Vita’s asking for $3,000 and Fofang’s asking for $1,000, which comes to $4,000 total between the two of them, which still only amounts to .016% of the budget of Michael Bay ’86’s next $25 million opus (and that’s not counting the extra millions for advertising), so throw them a bone, will you? (At any rate, both of them have raised substantial funds towards their goals as of this posting—but they need more.)
You’d be right in assuming that filming is complete for both movies, so why raise money now? As Fofang explains it, “both of our projects were shot on 16mm, and the post-production process for that format is quite expensive. I’m currently spending long hours each day editing the film on a Steenbeck, and prepping for the final stages of post-production.” A cursory glance at Fofang’s own fundraising campaign reveals in detail where the money’s going: hiring a negative cutter to assemble the final cut, hiring a professional sound mixer to optimize the soundtrack, answer prints, color correction, telecine, festival distribution fees.
Wait, festival distribution fees? For real? If you donate, that means you can take credit when one of these films becomes the next Beasts of the Southern Wild and shows up on Oprah and gets problematized by The New Republic or whatever. Click past the jump for a bit more information on both films.
“If you’re gonna talk during the songs instead of enjoying yourself, go outside.”
How To Dress Well’s performance at Eclectic on Saturday was not the best concert I’ve been to at Wesleyan, but it was one of the most memorable—and one of the most uncomfortable. It was one of the few times I’ve been embarrassed by an audience of Wesleyan students. It was also the first time I’ve seen a performer politely ask more than half of his audience to leave. Tom Krell’s request was ignored, and his performance was consequently hampered by loud, drunken chatter amongst much of his audience.
Let’s back up. The indie R&B maestro had three openers, and they ranged from a remix artist to a synthpop heartthrob to brooding, gorgeous post-rock. This was a packed bill. First up was pop-songs-on-Valium DJ Slolivia (Olivia Hauser ’14), whose aesthetic is pretty well captured by this YouTube clip of “Cotton-Eyed Joe.” Imagine the same treatment for “Call Me Maybe,” “Larger Than Life,” and a slew of other smash hits. You get the idea.
Eclectic’s ballroom was empty when Slolivia got started. By the time she exited, a moderate crowd had gathered for Bamenda, the ’80s-obsessed synthpop project of Lioness/Treasure Island hero Dema Paxton Fofang ’13, who made his live solo debut at the Prince Rama show last month.
No, we didn’t film President Roth’s dance moves, but this link is always good.
The Mash, a first-time-ever Music & Public Life initiative, totally happened, and it was totally like a cross between Fête de la Musique and Spring Fling, what with the whole people-chilling-on-the-hill-in-beautiful-weather thing going on. There were bands all over the freaking place—Mattabassett (more like Mattabadass, amiright?) String Collective jamming out with President Roth outside Usdan, Yeoman’s Omen and Featherwood Bee at WestCo, Bones Complex and The Taste outside Olin, and a bunch more that I’m not bothering to name. For images of the Mattabassett/Roth collab, check out the University’s photo album. Here’s Roth, and here’s his fan club:
“I made the tracks by myself, and I did it because I always need to be working on something musical.”
Wesleying’s own Dema Paxton Fofang ’13—also known as Fofang, also known as Dema, also known as The Big DPF—has released a new EP of his homespun laptoppy electro-pop. Yes, Dema is also in Lioness (the Artist Formerly Known as Friendsome), Treasure Island, and the Weezer cover band. Yes, he recently completed 14 pull-ups. No, this isn’t another Lioness post.
Dema first launched Bamenda, a solo electronic project, last April, when he dropped two tracks: “Contact” (featuring production and mastering by sometimes-bandmate Ethan Young ’13) and “Distance.” Using his Macbook and an apogee audio interface, Dema spent much of the summer recording two follow-up tracks: “Secrets,” a winding synth-pop track that culls from a grab bag of ’80s Casio tones, and “Medicine,” a moodier (and lengthier) showcase of thick synth pads and reverb-heavy vocal tracks.
Dema explained the project in a bit more detail via email: