<![CDATA[The A Cappella Blog]]> http://acappellablog.com/ The A Cappella Blog en Copyright 2016 2016-12-11T08:45:52-05:00 <![CDATA[Vocal Line It’s Coming On Christmas]]>http://acappellablog.com/cd-reviews/vocal-line-its-coming-on-christmas http://acappellablog.com/cd-reviews/vocal-line-its-coming-on-christmas

With the holiday season upon us, I was so pleased to encounter It’s Coming on Christmas, the new album from Danish a cappella group, Vocal Line. The project is artfully plotted into chronological order, starting before the Christmas holiday, arriving at the day, and then exploring the aftermath. This narrative thread not only lends cohesion to the album, but also offers a key gateway to understanding for listeners like myself who are in no way fluent in Danish.

Vl Jule Cd 2016 Cover Digital

The title of the album pulls from Joni Mitchell’s “River,” the third track covered on the album, and offers fair warning that this collection is not all whimsical or joyous, but rather leans into the kind of melancholy and introspection familiar to many during the holiday season. Moreover, that title reference also alludes to the beauty of the album to follow. Particularly in the classic holiday songs that will be familiar to a US audience, Vocal Line achieves lovely harmonies and pristine mechanics that result in a smooth, easy listening experience that allow the listener to become immersed in each track.

The first two songs of the album “Skyerne Grane” and “En Rose Sa Jeg Skyde” offer a sound entry point, particularly in conversation with each other. The former offers a rich sound, anchored in its bass, and feels as though it captures the sound of communal singing in the holiday season. While the latter song is also handled chorally, it’s much softer, spotlighting its high harmonies. In each case, these songs hint at the warm beginnings of the holidays. Aurally, the transition from them to “River” is quite fluid, but the stark tonal shift takes us to a colder, less celebratory place. Vocal Line’s soft, careful rendering of the “Jingle Bells” sample at the end of the track is particularly haunting.

For the Christmas day leg of the album, “Mit Hjerte Altid Venker” is particularly successful for the pounding bass that adds a sense of danger to the track on the mounting crescendo, while “Hjerte Loft Don Glaedes Vinger” demonstrates a certain measured professionalism that is especially lovely on the closing—the sopranos soaring while the lower parts come in right beneath them for a full finish. All of this functions in perfect contrast to “O Holy Night,” arranged with tremendous skill and restraint by Morten Kjaer, for a stripped-down presentation that not only showcases the incredible vocal talent at hand, but makes expert use of dynamics so the group really pops on its crescendos.

The final leg of the album casts a spotlight on Vocal Line’s soloists--in particular Katrine Gregersen Dal on “Det Er Hvidt Herude,” with her wonderfully chilling winter tone. The warm, celebratory staccato instrumentation on “Sneflokke Koller Vrimlende” delights as well.

All in all, It’s Coming On Christmas is a musically pristine collection that boldly melds traditional international holiday favorites more unique to the Danish and Nordic tradition. It’s certainly worth a listen for anyone looking for something different this holiday season, and in encountering some of Denmark’s finest vocals. Credit for production goes to Jens Johansen and Herik Birk Aaboe with Line Groth, with mixing by Corona Music, Thorso and mastering by Emil Thomsen at ET Mastering.

You can learn more about Vocal Line at their website.

<![CDATA[Should've Been Us]]>http://acappellablog.com/tuesday-tubin/shouldve-been-us http://acappellablog.com/tuesday-tubin/shouldve-been-us

This week, we present University of Rochester Vocal Point performing Tori Kelly’s “Should’ve Been Us.”

<![CDATA[Wild Transitions Between Songs]]>http://acappellablog.com/200-reasons-to-love-a-cappella/wild-transitions-between-songs http://acappellablog.com/200-reasons-to-love-a-cappella/wild-transitions-between-songs

Reason #123: Wild Transitions Between Songs

Contemporary a cappella groups rarely entrench themselves in single, solitary genres. Particularly at the scholastic level, most of today’s groups traverse a range of genres, artists, and time periods to represent musical interests as diverse as those represented in the group (if not the entire audience).

When groups diversify their repertoires, they not only provide something to appeal to everyone, but also allow for wild, and wildly entertaining, transitions between songs. Consider, for example, The University of Georgia Accidentals’ 2012 ICCA Finals set. They started a high energy, highly choreographed version of Justin Beiber’s “Never Say Never,” mellowed out to a sterling take on Simon and Garfunkel’s “Bridge Over Troubled Waters,” then hit a modern groove on Parachute’s “Something to Believe In.” A set like this keeps audiences on their toes and accentuates the most powerful elements of each song based on how fundamentally <i>different</i> the sound and presentation was from the song that preceded it

I love it!

<![CDATA[Show Me Love]]>http://acappellablog.com/tuesday-tubin/show-me-love http://acappellablog.com/tuesday-tubin/show-me-love

This week, we present University of Central Florida Gemini Blvd performing Sam Feldt’s “Show Me Love.”

<![CDATA[5 All-Female Groups I’d Like To See in the International Championship of A Cappella Open]]>http://acappellablog.com/the-5s/5-all-female-groups-id-like-to-see-in-the-international-championship-of-a-cappella-open http://acappellablog.com/the-5s/5-all-female-groups-id-like-to-see-in-the-international-championship-of-a-cappella-open

Earlier this week, Varsity Vocals announced the launch of the International Championship of A Cappella Open—a competition that will culminate New York next fall, featuring (should they choose to compete) the ICCA and ICHSA champions, plus up to eight other groups that may come from the scholastic ranks, but also may be alumni groups reuniting, all-star groups converging, post-collegiate groups already performing together, or full-on professionals.

There are a lot of intriguing permutations out there. I’ll be the first to recognize that some of these groups coming together, much less entering this competition, is easier said than done, but for the sake of argument, in this edition of The 5s and I’m looking at five groups I’d love to hear in this unique competition. To narrow the scope a bit, I’m going to focus more precisely on five all-female groups (maybe I’ll come back later to touch on all-male or mixed ensembles as well).

1. The Loreleis, 1996

In 1996, an all-female group out of UNC Chapel Hill became the original ICCA Champions. Twenty-one years later, how about getting the band back together for another run at aca-glory, aiming to etch the group’s name in history for another important first? If nothing else, this group might add a sense of scope to the competition, reflecting a style from an earlier stage of competitive a cappella, and perhaps lending a sense of tradition to the show.

2. Divisi, 2005

In 2005, Divisi threatened to become the first all-female group since The Loreleis to win the ICCA tournament. They wound up in second, in a turn that many in attendance considered in an injustice. The upshot may have been all the more important, however, as the turn of events provided a cornerstone for Mickey Rapkin’s <i>Pitch Perfect</i> book, which loosely inspired the films to follow that helped a cappella explode into the mainstream, featuring the all-female Barden Bellas. I can think of no better way to honor that whole legacy than bringing Lisa Forkish and company back for one more shot at a championship victory on the big stage in New York.

3. Vocal Rush, 2012

For those following the ICHSA tournament over the last five years, it’s well-established that Vocal Rush is a high school a cappella franchise in a league of its own, winning three championships to go along with successes like thriving on <i>The Sing-Off</i> and win in the high-school/college inclusive Los Angeles A Cappella Festival scholastic competition. Vocal Rush is, typically, a co-ed group, but the version of the ensemble that traveled to New York to decisively win ICHSA Finals in 2012 was just seven young women who carried themselves like professionals, under the aforementioned Forkish’s direction, and driven by Sarah Vela’s virtuosic solo work. While I’d have no problem hearing any version of Vocal Rush from any year bring it to the Open, if a particular all-female unit were to bring it, this would be my pick.

4. The AcaBelles, 2012

From a resume perspective, this is the most outside-the-box pick out of these five—a group that did compete in ICCAs, but didn’t make the Finals, let alone place. So why do they make the cut?

I’ve been covering Varsity Vocals tournaments for ten years. Out of those ten years, The Florida State AcaBelles’ 2012 Semifinals offering stands out to me among my top five all-time favorites—a seamless emotional rollercoaster of a set that finished second in its region, third in the Wild Card though, in my estimation, it very arguably could have won Finals. I’d love to see this group come back together five years later, if for no other reason than that I’d love to hear this particular set or an updated take on it live one more time.

5. GQ

When this quartet first formed in 2011, its members were all students at Towson University outside Baltimore, MD. They never took their act to ICCAs, but that doesn’t mean they didn’t compete. Instead, they won the competition at SingStrong 2012 and their region in Harmony Sweepstakes (besides finishing second overall in that tournament). The foursome went on to thrive in Sweet Adeline competition, place music on a Sing! compilation and appear on A Prairie Home Companion.

Much of the buzz about the Open has surrounded groups from diverse eras competing, or group members from different years coming together into one unit. GQ represents another possibility—bringing their unique blend of barbershop training and contemporary sensibilities to a new audience and diversifying the style of the competition.

So, who's up for the challenge? And who would you like to see? Anything looks possible, and on this Thanksgiving day, we're very thankful for that.

<![CDATA[Elastic Heart]]>http://acappellablog.com/tuesday-tubin/elastic-heart-1 http://acappellablog.com/tuesday-tubin/elastic-heart-1

This week, we present Washington University Mosaic Whispers performing Sia’s “Elastic Heart.”

<![CDATA[Meeting a Group After the Show]]>http://acappellablog.com/200-reasons-to-love-a-cappella/meeting-a-group-after-the-show http://acappellablog.com/200-reasons-to-love-a-cappella/meeting-a-group-after-the-show

Reason #121: Meeting a Group After the Show

If you’re reading this blog, you probably agree with the sentiment that a cappella and its practitioners are under-appreciated by mainstream audiences. While, on the whole, I’d love to see a cappella singers get more attention, one of the really positive side effects of most a cappella groups arriving as mainstream celebrities is that the group members have largely remained humble, down to earth people.

After most shows I attend, I’ll talk to at least one of the people I saw sing on stage to compliment them or thank them for sharing their talents. In an overwhelming majority of these instances, I’ve been met with not arrogance or a cold shoulder, but rather the sincere appreciation of someone who is grateful to have been recognized, and who is eager to talk about his or her work.

It’s cool to meet someone whose work you admire, but the experience is far richer when that artist is eager to talk to you, too. More often than not, a cappella allows for just those sorts of interactions.

I love it!

<![CDATA[My Heart With You]]>http://acappellablog.com/tuesday-tubin/my-heart-with-you http://acappellablog.com/tuesday-tubin/my-heart-with-you

This week, we present The Northern Arizona University Axecidentals performing The Rescues’ “My Heart With You.”

<![CDATA[Distinctive Syllables]]>http://acappellablog.com/200-reasons-to-love-a-cappella/distinctive-syllables http://acappellablog.com/200-reasons-to-love-a-cappella/distinctive-syllables

Reason #120: Distinctive Syllables

One of the most interesting parts of listening to a cappella is hearing how groups translate instrumentation to pure vocals. Intonation is one thing, syllable choices are another. Soft syllables, hard syllables. Staccato ones, elongated ones. The best syllable choices match the mood, tone, and message of the song. And some are distinctive to a group.

Whether it’s a group like The University of Rochester Midnight Ramblers implanting additional lyrics into to amplify the lead (see the transition on “Mr. Brightside” with “I’m about to blow, just let me go”) or the SUNY Binghamton Harpur Harpeggios sliding iterations of “bing” into songs like “Uninvited,” particular syllable choices can be as distinctive as a group’s signature on a given song.

I love it!

<![CDATA[Sing]]>http://acappellablog.com/tuesday-tubin/sing http://acappellablog.com/tuesday-tubin/sing

This week, we present The Carnegie Mellon University Originals performing Ed Sheeran’s “Sing.”

<![CDATA[One Group Inspiring Another]]>http://acappellablog.com/200-reasons-to-love-a-cappella/one-group-inspiring-another http://acappellablog.com/200-reasons-to-love-a-cappella/one-group-inspiring-another

Reason #119: One Group Inspiring Another

A cappella does not exist in a vacuum. While a handful of great groups cultivate their unique performance styles without the influence of those who came before them, or those singing on the a cappella circuit right now, most of the top performers today were inspired by and learned from watching other greats.

Consider, for example, the progression of Divisi blowing open the doors for women in competitive a cappella with their ICCA Finals run in 2006, only to be followed by BYU Noteworthy riding a similar sensibility of power vocals and sass all the way to an ICCA Championship the following spring. Consider the subsequent rise of The FSU AcaBelles as two-time ICCA finalists. Consider the all-female powerhouse that was Delilah, rocking The Sing-Off. There’s an evolution for fans to follow here, and it’s a beautiful thing to hear it unfold.

If all of that weren’t enough, consider the first of four ICCA Championships The SoCal VoCals won—the moment after they were crowned champions, when the group’s director expressed his disbelief at winning, and referenced how hard the group had worked, including studying countless hours of YouTube footage of past champions.

Great groups beget other great groups—if the latter generation is willing to do its homework and learn.

I love it!

<![CDATA[Shut Up and Dance]]>http://acappellablog.com/tuesday-tubin/shut-up-and-dance http://acappellablog.com/tuesday-tubin/shut-up-and-dance

This week, we present The Harvard Opportunes performing Walk The Moon’s “Shut Up And Dance.”

<![CDATA[The Remix to Ignition]]>http://acappellablog.com/200-reasons-to-love-a-cappella/the-remix-to-ignition http://acappellablog.com/200-reasons-to-love-a-cappella/the-remix-to-ignition

Reason #118: The Remix to Ignition

One of the joys of being a contemporary a cappella fan over the last decade has been, year after year, watching groups take on songs I never thought they would. Long gone are the days of groups strictly adhering to barbershop or doo-wop (though, even within such sub-genres, groups are experimenting with the boundaries of conventional song choices).

Whether it’s The Syracuse University Mandarins bring The Darkness’s “I Believe In a Thing Called Love” at ICCA Finals in 2004, Rutgers University Casual Harmony espousing material from Muse and System of a Down in 2005, or Reverb mashing up “This Is How We Do It” and “Beat It” with their distinct brand of nerdy pop sensibility in 2013, more and more, the a cappella form is proving limitless.

One of my simplest, borderline guilty pleasures in this vein is watching The Potsdam Pointercounts in 2007—the first year The A Cappella Blog posted even reviews—and seeing the guys take on R. Kelly’s “Remix to Ignition” as the encore to their ICCA quarterfinal win. with a near flawless combination of slick vocals and tongue-in-cheek, self-deprecating humor, the song presented a moment in time for college a cappella, defying tradition and embracing the creative latitudes distinctive to this art form.

I love it!

<![CDATA[Kiss From a Rose]]>http://acappellablog.com/tuesday-tubin/kiss-from-a-rose http://acappellablog.com/tuesday-tubin/kiss-from-a-rose

This week, we present The UCLA ScatterTones performing Seal’s “Kiss From a Rose.”

<![CDATA[When Over the Top Costuming Works]]>http://acappellablog.com/200-reasons-to-love-a-cappella/when-over-the-top-costuming-works http://acappellablog.com/200-reasons-to-love-a-cappella/when-over-the-top-costuming-works

Reason #117: When Over the Top Costuming Works

There are times when I watch an a cappella performance and question what the group was thinking in regard to attire. There’s costuming that’s painfully gimmicky. Colors that clash. Blazers so loud that they distract from everything else happening on stage and make it impossible to take the group seriously.

And then there are those groups that make over the top wardrobe choices work for them.

Take The Amherst Zumbyes.

The group has made a name for itself through high energy, confidence, and comedy. And their (not so) secret weapon?

The banana.

Traditionally, one man in the group dons a banana costume. Ask the group about it, and the answer comes back: “What banana?”

It’s a costume choice that’s profoundly memorable. Unique. Fun. And it gets people talking. In short, it does everything that I can only assume the group wants for it to, without the group ever having to say a word about it.

I love it!

<![CDATA[Don't/No Diggity]]>http://acappellablog.com/tuesday-tubin/dont-no-diggity http://acappellablog.com/tuesday-tubin/dont-no-diggity

This week, we present University of Bath Aquappella performing a mashup of Ed Sheeran’s “Don’t” and Blackstreet’s “No Diggity.”

<![CDATA[Aca-Wedding Proposals]]>http://acappellablog.com/200-reasons-to-love-a-cappella/aca-wedding-proposals http://acappellablog.com/200-reasons-to-love-a-cappella/aca-wedding-proposals

Reason #116: Aca-Wedding Proposals

We live in a public age. We live a goodly portion of our lives on social networks. We update our relationship statuses on Facebook when we fall in love. We post photos with our loved ones for every relationship anniversary and milestone.

And then there are proposals.

As it’s grown easier to capture video—from hand-held cameras to smart phones, more and more often, proposals have become objects of public consumption. This is a forum in which a cappella has helped blaze a trail for the world, with a cappella groups providing the back drop for some of the sweetest, most romantic, most surprising, and—now and again—most perfect proposals the world has ever seen.

I love it!

<![CDATA[Dog Days Are Over]]>http://acappellablog.com/tuesday-tubin/dog-days-are-over http://acappellablog.com/tuesday-tubin/dog-days-are-over

This week, we present UT Austin One Note Stand performing Florence and the Machine’s “Dog Days Are Over.”

<![CDATA[The Sound of a Pitch Pipe]]>http://acappellablog.com/200-reasons-to-love-a-cappella/the-sound-of-a-pitch-pipe http://acappellablog.com/200-reasons-to-love-a-cappella/the-sound-of-a-pitch-pipe

Reason #115: The Sound of a Pitch Pipe

For virtually every form of entertainment, there’s a cue that signals the beginning. It may the rev of an engine before a car race, the ring of a bell before a boxing match, the cry of “action!” before a scene is filmed.

While it’s functional—a tuning necessity for most groups—the blow of a pitch pipe is a symbolic kick off to a serious a cappella performances. In addition to giving the group a note, that sound is a trigger—a familiar signal, almost Pavlovian for how it builds anticipation in an audience just as it settles fans into an absolute silence to hear what the performers will sing next.

I love it!

<![CDATA[I Will Wait]]>http://acappellablog.com/tuesday-tubin/i-will-wait http://acappellablog.com/tuesday-tubin/i-will-wait

This week, we present The Vassar Devils performing their original song, “I Will Wait.”

<![CDATA[Hearing a Song Evolve]]>http://acappellablog.com/200-reasons-to-love-a-cappella/hearing-a-song-evolve http://acappellablog.com/200-reasons-to-love-a-cappella/hearing-a-song-evolve

Reason #114: Hearing a Song Evolve

There are those a cappella groups that depend more on song selection than musical prowess to impress a crowd. The groups that haphazardly cover the latest top 40 hit or that rely on comedic choreography to get the audience laughing so they won’t notice a vapid arrangement.

And then there are groups own the music. The groups that don’t just cover songs but improve upon them, adding depth and reinterpretation. Turning the volume up when the original song is softest, going small when the original pops. Adding layers of harmony and a complexity of sound that delivers a fresh listening experience for the audience.

The truest artists in a cappella challenge expectations and offer their audiences the sensation the music is evolving as they are listening to it. That, my friends, is a pretty transcendent experience. 

I love it!

<![CDATA[Come and Go With Me]]>http://acappellablog.com/tuesday-tubin/come-and-go-with-me http://acappellablog.com/tuesday-tubin/come-and-go-with-me

This week, we present The Northern Illinois University Huskie Hunks performing The Dell Vikings’ “Come and Go With Me.”

<![CDATA[Seeing a Second Group Sing the Same Song—And Do It Better]]>http://acappellablog.com/200-reasons-to-love-a-cappella/seeing-a-second-group-sing-the-same-song-and-do-it-better http://acappellablog.com/200-reasons-to-love-a-cappella/seeing-a-second-group-sing-the-same-song-and-do-it-better

Reason #113: Seeing a Second Group Sing the Same Song—And Do It Better

Most of us who have attended an a cappella competition have seen it happen. A group sings a song. Sings it ably. Makes an impression.

Some time passes.

Another group starts its set, and with those opening chords, some eyes roll, heads turn, smiles cross lips. There may be laughter. There may be groans. The occasional collective “ooh” that materializes when a crowd recognizes a throwdown.

In short, the group is singing the same song as a group that came before it.

Whether it’s “Hide and Seek,” “Viva La Vida,” “Too Close,” or “Some Nights,” certain years see certain songs emerge as the darlings of the a cappella world. It can be an awkward development or an annoyance.

But sometimes, the second group does something to make the audience take notice. Cleaner vocals. A creative arrangement. Staging that makes everyone in the auditorium take notice.

A second, better performance of the same song highlights some of what’s most appealing about a cappella. In an art form dominated by cover songs, great groups make the music their own, improve upon it and give us all something special to remember.

I love it! 

<![CDATA[Beyonce medley]]>http://acappellablog.com/tuesday-tubin/beyonce-medley http://acappellablog.com/tuesday-tubin/beyonce-medley

This week, we present The NYU Mixtapes’ Beyonce medley.

<![CDATA[Ireland’s A Cappella Competition]]>http://acappellablog.com/event-reviews/irelands-a-cappella-competition http://acappellablog.com/event-reviews/irelands-a-cappella-competition

This post was written by Leanne Fitzgerald, Mezzo Soprano with Ardú Vocal Ensemble, hosts of Ireland’s A Cappella Competition 2016.

A cappella music is one of the fastest growing forms of music performance in the world and this August the first A Cappella Competition was held in Dublin, Ireland.

Ireland’s A Cappella Competition is the brainchild of Ardú Vocal Ensemble, a mixed a cappella group of six singers from across Ireland and the UK. Since 2014, Ardú have pioneered the genre of a cappella music in Ireland with performances across the island and even represented Ireland abroad at the Edinburgh Fringe Festival, London International A Cappella Choir Competition and the London A Cappella Festival 2016.

On Wednesday, 24 August, seven Irish ensembles competed for the winning title of Ireland’s A Cappella Competition which included a customized trophy along with a free recording session at Windmill Lane Recording Studios, recorded and produced by Dublin Studio Hub.

Opening the competition with an uplifting performance were Beating Time, a ladies barbershop chorus based in County Wicklow who specialize in close harmony four­-part a cappella singing.

Following them were The Ramparts Chamber Choir, a new, young men’s barbershop group, directed by Ruaidhrí Ó Dálaigh, who won the hearts of the audience (and the audience prize) with their rendition of John Michael Montgomery’s “Sold.”

The youngest contestants on the night by a long ­shot were The Decibelles. This promising four­piece female ensemble from Dublin gave a very charming and emotive performance of the Mumford and Sons tune “Timshel.”

The Kelly Family Vocal Ensemble is made up of Frank, Rebecca, Orlaith, Emily and John Kelly, to create a unique blend of voices because of their family relationship which has been honed since the young people were children. They entertained the audience on the night with one of the best known songs in the a cappella repertoire, “The Java Jive.”

Female a cappella group Síonra sang their own very fluid arrangement of The Beatles’ “Blackbird” and stunned the judges with a particularly beautiful performance of “August” by Michael McGlynn.

The Apple Blossoms are a bright and bubbly girl trio and finished the competition to rapturous applause. They performed an impressive medley, arranged by the ensemble themselves to include snippets from Fleur East’s “Sax” and Meghan Trainor’s “All About That Bass” to ultimately win the competition, in addition to earning joint Best Performance honors with The Ramparts Chamber Choir.

Other highlights from the night were a guest performance by adjudicators The Key Notes and an impromptu a cappella workshop by Ardú which culminated in a mass performance of Lorde’s “Royals” with all competing ensembles and the entire audience!

Ireland has a multitude of talented singers along with brilliant composers and arrangers. The audience for modern a cappella is primed, ready and waiting and events like Ireland’s A Cappella Competition could be the beginnings of a national platform for modern a cappella singing in the future.

<![CDATA[The One Guy Who Wants It Badder Than Anyone Else]]>http://acappellablog.com/200-reasons-to-love-a-cappella/the-one-guy-who-wants-it-badder-than-anyone-else http://acappellablog.com/200-reasons-to-love-a-cappella/the-one-guy-who-wants-it-badder-than-anyone-else

Reason #112: The One Guy Who Wants It Badder Than Anyone Else

People in a cappella groups are, by their very nature, performers. Singers to be sure. Sometimes dancers. Sometimes thespians.

And then there are those people who take things one step further. When the whole group jumps in the air en route to the dub step break down, he’s the guy who jumps a little higher than everyone else. When the choreo gets most frenzied she’s the one who walks the line between show choir ready and so frenzied you think she might explode. When the group sings its most heart-wrenching ballad, he’s the guy you think could actually die of heartache before your very eyes.

Talent, precision, and planning are vital parts of an a cappella group’s success. But there’s also something to be said for sheer desire. Today, we salute the folks who want it--the competition victory, the special award, or simply to put on a really good show—a little more than the rest of us.

I love it!

<![CDATA[Brother]]>http://acappellablog.com/tuesday-tubin/brother http://acappellablog.com/tuesday-tubin/brother

This week, we present Portland State University’s The Green Note performing Matt Corby’s “Brother.”

<![CDATA[Hearing a Song You Thought No One Else Knew]]>http://acappellablog.com/200-reasons-to-love-a-cappella/hearing-a-song-you-thought-no-one-else-knew http://acappellablog.com/200-reasons-to-love-a-cappella/hearing-a-song-you-thought-no-one-else-knew

Reason #111: Hearing a Song You Thought No One Else Knew

We all have our songs. Deep cuts from a favorite artist that only the truest fans have heard. One off tracks by obscure bands you only know because you heard them one night on the college radio station or took the time to look it up after you heard play over a montage on your favorite TV show. Such songs are special, in no small part, because you feel a sense of ownership for them, a sense of pride because you recognize that songs greatness while others don’t recognize it all.

Yes, having your song is great. But it’s even cooler when you discover other people who share your passion.

Case in point, I recall listening to the ICHSA Finals a few years back and hearing Pioneer High School Soulfege sing its take on “Iowa” by Dar Williams. A relatively niche song by a relatively niche artist. One my favorite songs from college. I rarely find another soul who knows it, but there was a group of high school kids singing it live in New York. I heard them sing and I realized I wasn’t alone.

One of the greatest powers of a cappella is for artists to take music they love and make it their own. When you hear someone else share the obscure corner of your palate, it’s a beautiful thing.

I love it!

<![CDATA[Stop This Train]]>http://acappellablog.com/tuesday-tubin/stop-this-train http://acappellablog.com/tuesday-tubin/stop-this-train

This week, we present Emerson College Acappellics Anonymous performing John Mayer’s “Stop This Train.”

<![CDATA[Earthquake]]>http://acappellablog.com/tuesday-tubin/earthquake http://acappellablog.com/tuesday-tubin/earthquake

Per tradition, in this final post of our 2015-2016 season, we are pleased to present the reigning ICCA Champions, The Techtonics performing Labrinth's "Earthquake." 

And, as a bonus, we also present to you The Techtonics' full championship winning ICCA set.

Thanks for joining us this season! The ACB will return to regular posting in the fall.