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Ryan Bryant Editor-in-Chief
Cat Nuwer Co-Editor
Peter Blanchard Staff Writer
Keith Hadad Staff Writer
Chris Knight Staff Writer
Dave Cushing, Staff Writer
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Michael J Isabella Chief of Layout
JD Blank Staff Writer
TJ Gunther Staff Writer
Thanks to Contributing Layout Editors
Patrick Barnes Staff Writer
Kate Wenger Staff Writer
Nick Ljubicich Staff Writer
Lu Fong Zoë Epstein Kate Rosinski Hannah Wilson
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()*+,#-.%/012%!3)-%4052)36)F);0%10E0.%)F)!@'$4)GH'" Marina and the Diamonds – “I Am Not a Robot” 723%89963:% 0-% !13$3"% /012% ;3-3$)10"-)6:% )-<% =)*0-)13<% The Morning Benders - “Excuses” Ted Leo and the Pharmacists - “The Mighty Sparrow” Cults – “Go Outside” Dr. Dog - “Shadow People” Janelle Monae - “Tightrope” The Bird and the Bee – “Maneater”
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The Black Keys - “Tighten Up” Laura Marling - “Goodbye England (Covered In Snow)” Bonnie “Prince” Billy & The Cairo Gang - “Troublesome Houses” Jónsi – “Go Do”
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&4"%56*2$* Sia Furler is one of the most beautiful and gifted musicians around. With each album, she creates a unique soundscape. Her forthcoming album We Are Born is no different. The wacky songstress chatted about the new album, Lilith Fair, and hugs.
Photo by RJ Shaughnessy
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AKE: All of your albums sound completely different. How would you describe the sound of We Are Born? Sia: I’m really impressionable and I think that I don’t really listen to music. I’m really more into visual art, TV, movies and things like that. I really don’t know how I ended up doing this job, apart from the fact that my parents are musicians and I grew up around music. I guess I lucked out and ended up with this job, which is a really good job. I reckon the reason every album has been different is because I’ve been influenced by what I was around at the time and what music has been around.
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My first record had more of a hip-hop feel and that was because I used to hang out with hip-hoppers in Adelaide, Australia when I was growing up. The next one was after I joined Zero 7… Some People Have Real Problems happened because… I had made a bunch of pop songs and I was advised that I shouldn’t release those as my next record, because that would confuse my fan base. I was currently known as a down-tempo artist and I hadn’t established myself as an artist yet and it would confuse my market. And I was like “What fucking market? I sold like eight records?” It was really confusing.
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Some People… was actually an album I had to make in order to make the album that I wanted to make which is this album. We Are Born is the album that I’ve wanted to make for probably five years. It’s the music that I grew up liking and listening to… pop music. I’m really excited about it. I love The Strokes too and I managed to get one of The Strokes to come and play guitar on the whole album. I’ve managed to pool a lot of my favorite sounds. I have to say so far this is the most representative of who I really am. C: What was it like working with Christina Aguilera?
S: She was really nice and she’s like a mad scientist. It’s pretty awesome to hear her at work. It was really easy. We wrote half a song a day and went back afterwards to do the vocals. It was really amazing… she’s a total perfectionist. She would record a syllable five times and be like “Which one do you think is the best?” I would think that everyone of them was the best and it was totally confusing. She’s really incredible; she’s an incredible scientist. C: I see that you’re going to be touring on Lilith Fair. Are you excited? S: It’s going to be really fun. I don’t know who else is playing. Do you?
C: I know that Marina & The Diamonds is playing, and Cat Power. S: I love [Cat Power]. I went out with her now boyfriend. C: That’s crazy. S: The world is so small. My girlfriend made out with her and my ex-boyfriend is now going out with her. Marina is such a sweetie. We’re tweet friends. I saw one of her videos and was like “Who are you? You’re amazing,” and it was really sweet. And, Estelle, I just made friends with Estelle on Twitter too. It’s Match.com for singers. C: If you could give one person a hug, which person would it be? S: Aw, that’s so nice. I love that question. Right now it would probably be my friend who just got diagnosed with breast cancer
Photo by RJ Shaughnessy and my friend who found out that her husband was cheating on her. I think those are probably the two people I want to give hugs to most in the world. And then there are times with celebrities when I think people are being mean to them like when Britney was having a meltdown. I wanted to give her a hug. When Lindsey Lohan was having a hard time, I wanted to give her a hug. I feel bad for the women in this industry… There are so many spin doctors who are trying to make a quick buck out of someone’s physiological well being. That makes me feel sad.
Photo by RJ Shaughnessy
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S: I would be a dog. I used to say I would be a bird because I think it would be nice to fly around. In dreams sometimes I can fly around so I know what that’s like to be a bird. J.D., my girlfriend, thinks I’m totally mental because whenever we see a bird flying around I’m like, “I can do that”. [Laughs]. I know how that feels. I know how to do that because in my dreams it’s so real…Now I think that I’d want to be a dog and I just hope that I was lucky enough to get a good owner. C: If you could taste one thing for the rest of your life, what would it be? S: It would probably be the juice from a green papaya salad. It’s a Thai thing. It’s sweet and sour.
I’d want to give them a cuddle. I’d want to give anyone a cuddle who’s having a hard time really.
It’s got a lot of complexity. I’m sure I’d get sick of it eventually. That’d be really hard. That’s a hard question. I love you by the way.
C: If you could be an animal, which animal would you be?
-Ryan Bryant-
7$24"%7".."*,-$ !"#$%& !%''%()*"+& %& #)'%#& ,-$.%(& /#%0"(12$*,"(3 2)*,4($."(& 5()6& 7)'8"2."(& 8%2& 9""*& /#%0$*,& 28)42&%#6)2.&":"(0&4"";&"$.8"(&$*&7)'8"2."(&)(& .8"& 2-(()-*<$*,& %("%=& & 7"'"*.#0& 28"& /#%0"<& %& 28)4&%.&>8"&?8)/&@%5A&8"("&$*&B.8%'%+&%*<&$*&.8"& *"%(&5-.-("&28"&6%0&8%:"&28)42&%.&@%2.%4%02&%2& 4"##&%2&).8"(&B.8%'%&:"*-"2=& C: How long have you been playing? M: I’ve been playing guitar two years and singing for a year. C: Is it difficult being an independent artist? If so, why? M: It is very difficult to be an independent artist. It’s hard to get people to believe in your music, especially at home. C: Are the songs that you write a message to your audience or a vocalization of how you are feeling at the time, etc? M: My songs always have some sort of message behind them. I’m not afraid to admit to the world that I’m depressed, sad, or confused because I think a lot of people are. I’m not gonna write a happy song if I’m not happy. I also wouldn’t write a sad song if I wasn’t sad. It just doesn’t make sense. I think writing about what I’m going through gives people hope because its real. It shows them that they’re not alone in this world. That’s the real purpose behind me ever starting music. Not just to find a positive outlet for myself but to give people around the world an outlet. There’s a lot of music today that lacks truth as far as emotions go. There are a lot of artists who have someone writing for them. How could my fans look up to me for my music if I am not the one writing it or if someone told me what to write about? I’m not perfect and I’m not afraid to admit it. I’m human. C: You clearly are an original and individual artist, but being a female guitarist, do you ever have trouble with audiences or people of the business trying to force you into a cliche or a stereotype? M: I always have trouble with people trying to force me into a stereotype. Number one I’m always compared to girls that know all of about two chords on guitar until people actually see me play lead.
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photo by Jeff Gerew It really irritates me that I have to prove myself so much because I’m a female. All I have to say is if a guy can do it there’s no reason I can’t. I find a lot of producers try and push me into the Avril Lavigne style. I am anything but that. I have no desire to be a cutesy girl with a prop guitar and I will make sure that is clear before anyone tries to change me. I decide who I am. Just like I won’t get implants or get plastic surgery for guys to like me, I will not change my style to make people like me. It’s the same concept in my mind because then how will my fans be true? How would love be true if you changed yourself entirely for that person? C: Is there a difference in mood or song choice between your acoustic shows and electric shows?
Melia Cont’d M: My electric shows are of-course more aggressive but that’s the nature of it. When I have my electric guitar and have drums behind me I feel so much energy just rush through me. Acoustically I’m more vulnerable. I’m more emotional. I think about every word I’m singing. I slow things down. I change things. I have less rules acoustically. C: What gigs do you have coming up?
C: If you could jam with anyone dead or alive, who would it be? M: If I could jam with anyone I’d have to say Hendrix or Kurt Cobain. Hendrix is just so amazing and Kurt I feel like I relate to a lot. C: If you could be any cheese in the world, what would it be? M: If I could be a cheese .. it’d be Swiss. It looks like someone shot it a dozen times but its still alive and going.
M: I have a gig at APUB the 16th of April and at Damian’s the 30th of April.
-Keith Hadad-
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C: You’ve moved to NYC – how did that move affect your music? Are the music scenes in LA and NYC very different? R: The scene in LA is very different – for one thing, it’s a lot more spread out. I feel like California has a hippie thing going on right now, and New York is like…MGMT, Vampire Weekend, Sleighbells. C:You guys are bringing core rock and roll back to popular music – what rock n’ roll influences do you have?
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R: I love the Kinks, the Stones, The Beatles, Black Flag, Adolescents, and a lot of soul, like The Chambers Brothers. C: Your most recent album, Everyone, came out in November – what was the process like for recording this album? R: It was a lot different because we normally do it like in a garage – that’s how we did our first albums. But for this one, we decided to work with Stuart Price, who’s done the Walkmen, White Stripes, Modest Mouse, Cat Power.
scenes – one, because we’re fully clothed, and we’re trying to stay under the water, and two because we had these masks. It was freezing. C: What has been your favorite onstage experience? R: Playing with Michel Gondry. My personal favorite, apart from the band, was when I went on for the Hives – I played the guitar solo. C: If you could be a superhero, what would your special power be? R: To fly.
C: And you just put out a music video for the self-titled track – how was filming and making that?
C: If you could have any band cover one of your songs, which band would you choose?
R: It was pretty strange doing the pool
R: The Stones.
-Cat Nuwer-
:"22;%<"22 >%##0&Q%##+&8%(9)($*,&5()6&F**&F(9)(+&!$'8$,%*+& I(2.& )5I'$%##0& ("#"%2"<& .8"$(& 4$..0+& 5-*& 6-2$'& $*& !%(:$*G2&!%(:"#)-2&!"'8%*$'%#&!-2"-6&RLMMST=&& ?$*'"& .8"*+& .8"0G:"& ."%6"<& -/& 4$.8& 5%6)-2& /()3 <-'"(&>)*0&Q)55"(&RU"';+&J"/"'8"&!)<"T&)*&.8"$(& 2)/8)6)("&("')(<&H))<&V&W:$#+&.)&9"&("#"%2"<&#%."(& .8$2&0"%(=&&U"5)("&.8"$(&28)4&%.&>8"&Q%-*.+&@%;"& 2%.&<)4*&4$.8&.8"&9)02&.)&<$2'-22&("')(<$*,+&28)/3 /$*,&/#%D%2+&%*<&:",".%9#"2= C: How was working on the album with Tony Hoffer? Zubin: We were working on the record in October/November, and we’ve finished it and since mixed it and now we’re just waiting to master and release it. C: When can we expect it to be released? Rob: That’s one of the best questions we know. Zubin: Hopefully this summer. C: Are you guys named after an indoor shopping plaza? Rob: We put that up as a joke. Casey: Gotcha! Andrew: No, it’s totally true. It’s wasn’t so much a shopping plaza as it was an emporium of wonderment. It was a ridiculous and fun place that had a food court and various antiquated nickelodeon arcade kind of machines. You put in a quarter and you go up to it and you see like a bizarre film of an ant carrying something – they were all really strange and some were scary…It walks the line between fun and terrifying.
Found at www.myspace.com/tallyhall
Rob: The first album we wrote while we were in college, and we didn’t think it would get past ten people. It was more like write stuff to play at frat parties. For this [new] album, we wrote individually, and then we gave each other feedback. C: Speaking along the lines of silly songs… Vaughn English auditioned for American Idol by singing your song “Banana Man” in a yellow suit. What do you think of this? Rob: It was a surreal moment that [Simon Cowell] would say anything about our songs. But his response was not a positive one. He goes [in a snobby British accent]: “What is that song!?” C: So you have a song about a fruit, but if you could write a song about any vegetable, which one would you choose?
Zubin: That’s kind of like who would I like to shoot but not kill. Andrew: Paris Hilton and Nicole Richie. Ross: Throw Lindsay Lohan in there. Casey: The Dalai Lama! We could put the guns down and have a nice conversation. Ross: Tom Delonge! C: Any closing thoughts? Favorite type of cake? Ross: Key lime pie is great. Not a cake though.
Andrew: It’s been done by the Beach Boys. [Singing ensues] “My favorite vegetables.”
Rob: Cheesecake – I’m a fan of cheesecake.
Zubin: Bell pepper. I guess that’s more of a fruit. Or is that a vegetable?
Ross: Is cheesecake considered cake? If so, then yeah. Is there dough in cheesecake?
C: I can never tell!
Rob: I don’t think cake is made with dough – it’s made with batter!
Zubin: I could see tapping one of those in front of a mic.
Ross: Start serious then set off party poppers
Rob: Jonathan Taylor Thomas.
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Rob: I was going with stream of consciousness. It popped into my head.
Rob: Okra
C: So I noticed in Marvin’s that it goes from somewhat serious with “Good Day” to sillier themes like Mary Kate and Ashley. What’s your process like for writing lyrics?
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Rest of the band and Cake: [confusion] Really? Why?
C: If you could play paintball with anyone, who would you choose?
Zubin: And if you go a dentist – why are they called a dentist. They aren’t denting anything!
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courtesy of Stereogum
Flying Lotus is largely responsible for defining a sound that sparked an explosion of electronic instrumental hip hop music. The foundations laid by his previous work, such as the acclaimed Los Angeles (2008), has given rise to a trend of funky, emotive and futuristic music that has been emulated and built upon by countless producers. In spite of this, he has refused to let his music be held down by the expectations of critics and fans. In FlyLo’s latest composition, Cosmogramma, he has evolved from his
=2+6>%?$@4$1/ signature sound into something more diverse, versatile, and natural, while maintaining dark and aggressive themes. His “space opera,” is a roller coaster ride of electro, funk, glitch, jazz, and hip hop that has been crafted to perfection. This is an album that I just can’t wait to show to every single person that I know. The album includes collaboration from Radiohead’s Thom Yorke, former Suicidal Tendencies bassist Stephen “Thundercat” Bruner, harpist Rebekah Raff, and string composer and arranger Miguel-Atwood Ferguson. Also featured in the album are contributions from FlyLo’s cousin, Ravi Coltrane, a combination that would have made Alice Coltrane proud. Flying Lotus has managed to combine these diverse elements while retaining cohesion and unity. When listening to the album, I feel like I’m in a time machine. Largely emphasized are FlyLo’s jazzy and orchestral roots, which are omnipresent throughout the piece. There are smooth breakdowns with the sax, harp, and vocals from Laura Darlington, who sang on Los Angeles. This beautiful ‘space jazz’ is har-
moniously blended with futuristic evolving beats and sampling techniques; these sounds retain the seamless flow that we would expect from Flying Lotus. What I didn’t expect was the driving-house-like-aggression that so smoothly integrates with the rest of the album. There is something highly complex and intelligent about the arrangement, but I feel like I’d have to reach a higher state of consciousness in order to completely grasp it. In an interview with Pitchfork Media, he said: “I’m finally getting to the point where I can make the kind of records that I want to make—that I wanted to make when I was younger, things that I dreamed about making. It’s this fusion-y kind of thing where all the elements of the music that I love are there.” I’m glad to see that FlyLo’s sound is continuing to evolve and that he is not constraining himself with familiar territory. You can tell that this music has come straight from Steven Ellison’s heart. There’s not much more to say. Don’t miss out.
- Chris Knight-
780);$%&'<*'26/4'=$*8'>? tion,” while bassist Rick Danko penned “This Wheel’s on Fire.” Two songs were co-written with the group’s former boss Bob Dylan, and there’s also a Dylan cover (I Shall Be Released). Each song provides a beautiful sense of americana with a laid-back feel and rustic tone, from tales of journey like “The Weight” to the wistful “In a Station” and the up-tempo “We Can Talk.”
Musically speaking though, the songwriting is wonderfully brawny. Guitarist Robbie Robertson does most of the heavy lifting, but Richard Manuel holds his own with gems like “In a Sta-
The culmination of all the individual parts is what makes this album so essential. The atmosphere achieved makes it a must-have for any road trip, or more generally, any CD collec-
Singing duties are shared among most of the band, save organist/synthesizer guru Garth Hudson. Robbie Robertson sings lead on only “To Kingdom Come”; Drummer Levon Helm, Rick Danko, and Richard Manuel handle the rest of the vocals. Helm’s powerful, heartfelt twang harmonizes in a uniquely wholesome way with Danko’s nasal tenor and Manuel’s tortured falsetto which adds soulfulness to the record.
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Oh Music from Big Pink, where would I be without you? The Band’s debut album, along with their second eponymous album, have a special place in my heart, acting as the soundtrack to my life during some of the best summers of my life. And that’s what makes Big Pink such a great album: it’s there when you need it, either as a soundtrack to augment the mood, or as a peaceful place to go when feeling down. It is one of those albums, one that shows its subtle mastery whether you’re listening passively or actively, and is just so likeable. This is one thing you notice as you listen to the album more and more, that something inherently amicable permeates the character of the album, from beginning to end. And it is not without a sense of place, either. Named for the pink house The Band rented in early 1968, many of the songs were written and refined there; it was also where some of the early sessions were held.
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courtesy of Noiset
tion, record collection, or iTunes library. To simplify, Music from Big Pink is really just a collection of songs written and performed by friends who just loved playing music. And that’s the way it should be.
- JD Blank-
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The Besnard Lakes use a lot of ambient atmospherics in their sound, which is what I enjoy most about the album. The second track on the album, “Like the Ocean, Like the Innocent Pt.2: The Innocent” is one song that utilizes the atmospherics well. On top of this thick landscape of sound, Beach Boys-esque vocals cut through the haze and a nice strong drum beat pounds along with some scorching guitar. The chorus is very catchy, so much so that even the cliché female backing vocals are acceptable. This is the second track to the album, and it’s already the standout track. Upon hearing this song on it’s own, one might think that this is a truly different and unique sound and the rest of the album must be pretty great. Unfortunately, most of the other songs sound virtually the same, using the same formula as the
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courtesy of MySpace
The OXtet is an 8-piece jazz/funk band and almost all of the members are either Ithaca alumni or are currently enrolled at Ithaca
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For instance, the song “Albatross” is an unique track on the album, with a female lead singer; the song becomes catchy and, at some points, even elegant, but those same high harmonies show up all over the background. It’s hard to ignore and it just gets annoying. The instrumentation in this song is great, so it could easily be flawless. The other tracks are largely forgettable as they mostly just sound the same. One of the last tracks on the record, “Light up the Night,” comes off as sounding tragically seventies with a real Alan Parsons Project sound, and that’s not really a good thing. It sounds like something you’d hear being played in any polyester filled Volkswagen bus in the late 70s, with it’s waxy vocals playing shrilly against piano and
College. Ithaca alum, Josh Oxford, leads the group, and can be seen playing Fender Rhodes, Moog, vibraphone, and synthesizer. He began learning the piano at a very young age, and quickly developed his own unique style. Like many pianists, he grew tired with the piano and moved on to electronic keyboards. Oxford plays the keys with fervor unlike anything I have ever seen before—I got a chance to see them perform at The Haunt, and from watching the performance, it’s clear that Oxford is the maestro behind the insanity.
If you’re looking to try new things, this band is here to deliver. It’s an old cliché, but I guarantee The OXtet will send your ears on a magical journey.
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second track. This gets old quickly. However “Chicago Train” is a decent song with some nice fuzz guitar that could have a bigger part in the song. The guitar pops up at four minutes in, and is only heard every couple of majors, yet has a great distorted biting sound. The high harmonies on the album come off less as their style and more of an attempt at something like Fleet Foxes. Just because they know how to do something like high harmonies; they don’t have to do it in every single song.
Their self-titled debut album is full of funk, personality and craziness. The band draws comparisons to Frank Zappa and the Mahavishnu Orchestra, the latter known for the complexity of its compositions, Oxford seems to thrive on the chaotic sound, but at the same time, many of the band’s tunes are quite catchy. Tracks such as “Bach,” and “Jagged Smooth” provide a danceable beat. With a definitive electric sound backed by a powerful horn section, this band is sure to get you
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Recently this new album by The Besnard Lakes has been popping up in music blogs and review sites, garnering mostly positive reviews. These reviews as well as being released through Jagjaguwar Records, which is home to Black Mountain, Pink Mountaintops, and The Skygreen Leopards, gave me high hopes for the record. However, after my initial listen I wasn’t all that impressed. Upon further listenings I found songs that I did enjoy but as a whole, the album is not something I would play very often.
courtesy of MuchMusic.com
trills and rushes from the drums that have a terrible cheesy quality to them. At this point, I wouldn’t be surprised if they listened to a lot of 70s dollar bin albums by groups such as Bread, The Eagles, or America. This band has potential, but the talent that they possess is sadly misused and comes off sounding like an homage to the cheesiest of budget-bin 70s prog-rock.
- Keith Hadad-
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moving. While their sound brings to mind jazz-fusion groups of the 70s and 80s, they are a group with a kind of originality that can only be found at the Whalen School of Music at Ithaca College. On iTunes, the genre is defined as “unclassifiable.” It’s like nothing you’ve ever heard. Thus far, the band has played at various venues in the city of Ithaca, including The Nines, The Haunt and Castaways. In the future, they are hoping to make it to cities such as Rochester, Boston, and New York City. While Oxford graduated back in 2007, he still works in Whalen, a place so many Ithaca College students call their home. Other band members include Nikola Tomic, a jazz and classical trumpet player from Rochester, Dan Timmons on bass, Greg Evans on drums, Julia Ross on percussion, Dillon Condor on lead guitar, and Justin Canzano on the saxophones.
- Pete Blanchard-
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courtesy of Stereogum
Brooklyn-based psychedelic/electro-rock duo MGMT made waves with their debut album Oracular Spectacular in 2007, which featured the catchy radio hit “Kids.” The band’s sophomore release Congratulations aims to put out a more complete album. The energetic and yet soft-spoken “It’s Working” opens the album and flaunts an interesting surf rock influence that seeps its way into most songs on the record. The oddly catchy melodies and electronic sounds
The good vibes they exude are nearly impossible to deflect. The album starts out sounding like it will be like most other ambient and airy alternative music, but takes a harder turn at track two, “Careful Crossers”, which, with its down-beat emphasis, is ska enough to be skank-worthy. Every lyric they sing is 100% positive to a degree that one might suspect they wrote each song by scrambling around the words of a self-help book. Thankfully, lyrical usage is elegantly sparse. Fang Island treats vocals as they treat the other instruments in terms of frequency of use, which makes the
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of classic MGMT make a welcome return in the second track: “Song for Dan Treacy”. The next track, “Someone’s Missing”, brings back some echoes of “The Youth” with its upper register vocals and leisurely pace. It ends somewhat abruptly before “Flash Delirium,” which is perhaps the most ‘Kids-esque’ song on the album, but favors a vast variety of sounds and melodies rather than an infectious chorus. “I Found A Whistle” hypnotizes listeners with trickling synth lines and interesting metaphorical lyrics. Have patience with the twelveminute long “Siberian Breaks” that shares several similarities, other than its run time, with MGMT’s own “Metanoia”. The record pays tribute to an experimental musician with the quirky “Brian Eno” which sounds like it’s playing from the Mystery Machine’s indash radio. The eighth track is MGMT’s first instrumental track, “Lady Dada’s Nightmare”, which is part lullaby, part classic MGMT, but sports a touch of Lady GaGa’s signature oddity. The album gives us its parting words with its soothing title track “Congratulations”. So is it any good? Definitely. However, Congratulations is a very different album than MGMT’s first. The songs are generally less pro-
multitude of positive words not only tolerable, but enjoyable. Their use of lyrics is creative, the reverb, four-part harmonies and keyboard neutralize the pop-punkiness to a more listenable indie-pop. They started in 2007, releasing two EP’s before Fang Island, which is their first full album. It is a good party album in that its ups and downs are not too attention-demanding. Most of the guitar and drumming is simple, which gives the band a pop-punk sound highly reminiscent of Blink-182, but the few quieter moments call on indie favorite Panda Bear. All of the lyrics are chanted or belted in a harmonious wail. The word “find” comes up in several songs, which is probably unintentional, but noticeable enough to make you wonder what was on their mind when they were penning it. However, the emotional spectrum of this album is quite limited. They are obviously a product of this time, drawing on all the same influences as every other band. Jason Bartell, the lead guitarist cited “whatever’s on the
cessed and much more acoustic than those of the first album but still feature engaging melodies. It may come as a hurdle to overcome for some, but the new sound is still MGMT. “Siberan Breaks” is the album’s weak point. The song does not muster the energy to warrant it’s long run time and takes up a huge chunk of the album’s length (without it, the album is only 30 minutes). “Lady Dada’s Nightmare” is an interesting experiment but is ultimately a missed opportunity. I came to the conclusion that I would not be able to compare it to Oracular Spectacular. In their debut album, MGMT are two boys who find time to pretend about the seemingly unreachable dream of fame. Oracular Spectacular was exactly what it was supposed to be: fun. And that worked. Despite that, MGMT opted to move away from what made them so successful and developed a far more mature album with musical coherence and (at times) a meaningful commentary on what warranted the congratulations in the first place.
- Nick Ljubicich-
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Fang Island, the self-titled LP, is exuberant like nothing else; they described their own sound as “everyone high-fiving each other,” which is a triumph in self-awareness uncommon amongst most pop acts today. Their honesty does not end there. Fang Island spells out their intentions with this album, making it clear to the listener that this is their attempt at ‘making it.’ Their relentlessly uplifting energetic sound will probably help them do just that.
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courtesy of Pitchfork
radio” as their primary influence; it is evident, seeing how many different genres and styles are exhibited. It is a very active, fast-paced album, leaving little time to reflect on and digest the barrage of upbeat noise. Being excited all the time is tiring, so listening to people be excited all the time is no less tiring.
- Kate Wengen-
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courtesy of strongodors.com
Not many actresses succeed in both acting and being a musician, but Zooey Deschanel is a talented woman. She recently starred in (500) Days of Summer and released her second album with She and Him, her musical project with rocker M. Ward. Deschanel has achieved recognition for both platforms.
While the group still employs lots of jarring, off-kilter guitar riffs, the rhythms on this album seem to be slightly more groove-oriented than in the past. “Gold Teeth on a Bum” and “Chinese Whispers” in particular both benefit from a more stable guitar attack, in that their stronger foundations allow the band to explore new musical ground more easily. Option Paralysis has the potential to be a mind-bending album for newcomers to the
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across the entire record, and M. Ward’s guitar contributions are mostly short parts of guitar solos. These musical themes hold the record together, but it starts to feel boring later on the record. At thirteen tracks, the album just feels three songs too long.
The doo-wop vocals and light electric guitar make for vintage sounding, enjoyable songs.
The first single “In the Sun” is the most complex, and is the best track on the entire record. The track has the strongest beat and the catchiest chorus. The song also breaks away from the rest of the record by utilizing violin and featuring a true guitar solo at the end of the track. The variety shown here could have been used in a few of the other tracks.
Deschanel’s vocals are consistently the strongest part of the record, especially when vocal tracks are layered on top of each other. “Over It Over Again” sounds like it’s straight from other contemporary 50s enthusiasts The Pipettes. Sometimes the simplistic nature of the tracks hurt the record. “Brand New Shoes” is not much more than acoustic guitar and Deschanel’s singing. The song is nice, but forgettable alongside some of the other tracks and more interesting constructions or melodies. The light percussion remains pretty consistent
band. Possible listeners should keep in mind that though this album is more accessible than anything else in the Dillinger discography, those moments of accessibility are still shrouded amongst dense hardcore blasts and jarring tech-metal riffing. Furthermore, songs like “Good Neighbor” and “Crystal Morning” offer no soaring melodies to grab hold of and no solid grooves to lock into. Instead, the listener is subjected to one sustained level of all-out emotional intensity, both vocally and instrumentally. The only song here that might be considered completely accessible is the incredibly captivating “Widower.” This song, perhaps best understood as the Dillinger Escape Plan’s idea of a power ballad, is an over six minute piece in which wistful piano flourishes with a section of nervous prog-rock tension. Even with its more familiar sounds, “Widower” still boasts a section of thundering hardcore. There is no escaping the band’s penchant for abrasive tantrums, which constitute the entirety of their first album, Calculating Infinity, and the bulk of every album thereafter.
She and Him fans will love Volume 2, and almost everyone should appreciate “In the Sun.” Beyond that track, however, the album will come across as dull to many listeners. Deschanel and Ward have mastered the creation of pretty, vintage pop, but the question now is whether they can expand the genre and continue to explore the sound.
- TJ Gunther-
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On Option Paralysis, the Dillinger Escape Plan’s fourth album, the group takes notable strides in the consistency of their songwriting. For those unfamiliar with their sound, it’s a beastly combination of aggression, technicality, and unpredictability. These core elements mix in a way that’s designed to be as abrasive as possible but with moments of repose that allow for melodic hooks, unsettling electronics, and other left-field compositional choices. Past Dillinger Escape Plan releases exhibit a notable separation between the furious freak-out songs and the songs that were obviously styled to be more accessible. On Option Paralysis, those distinctions are harder to make, as many of the songs switch camps multiple times.
‘Volume 2’ describes the album exceptionally well. It sounds like a continuation of She and Him’s debut, Volume 1. There are no real surprises or ground-breaking work on the record. Instead, what you get is carefully crafted 50s influenced alternative pop.
courtesy of metalship.org
I highly recommend Option Paralysis, but new listeners should know that it might take a few confusing listens before the album sinks in, if it does at all. Even though there may be something for everyone here, a majority of the material will only find selective appeal. Nevertheless, anyone intrigued should give this album a spin, if not for any other reason, to experience the band’s raw talent.
- Dave Cushing-
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tracks from their second album “Roller Coaster,” coming out in June. The accordion-aficionados of Glad Rags performed next with a sound that brings to mind haunting piratebattling music, or as they describe it: “lighting a chicken coop on fire”. No matter the interpretation, Glad Rags gave an enjoyable performance.
After a riveting Keytar Tribute to Canadian War Veterans by the MC’s, Tropical Punk took the stage. The song “Witch Doctor” immediately showed off the group’s energy through yelled chants and shredding guitars. Their final song ended in an ocean of frenzied strums and panicked drums that all came crashing around us in a triumphant finish.
Up next was Gregory Miller of I Do Not Love, conjuring a deep atmospheric experience, combining Joy Division with a dramatic operatic stage presence. Using his laptop, drum machine, and guitar, Miller’s multi-layered wall of sound kept the audience in a trance-like state. The stage lighting further aided the vibe with spiraling blends of deep blues and purples. The final band of the night, and winner of the Battle of the Bands was Zgress and the Snack Attack. Led by keyboard-synth virtuoso Zachary Gresser, Snack Attack combined pop medleys and energetic, hilarious vocals with wild jam sessions that immediately got the largest crowd of the night into a dancing fever until the end. At the end of their phenomenal set, amidst calls for one more song, it was no surprise that they were voted the winners.
show. I just took that to mean it would be a crowd ready to be rocked – and I was right.
could not have been more appropriate for their brand of thumping, sunny, melodious rock. Air Waves truly embodies sunny day driving in the countryside. Dan Deacon has said that lead singer Nicole Schneit writes songs that are “like a favorite blanket wrapped around you.”
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Photo by Angelina Castillo The annual Ithaca College Battle of the Bands supplied a smorgasbord of local talent that everyone Suddenly, as if Hell itself had consumed Emerson could enjoy. After some last-minute lineup changes, Suites, TFFNI graced (or cursed) the stage with his the Bureau of Concerts and Emerson Suites delivone man, black-metal ambient noise assault. Half of ered an amazing all-you-can-hear feast. Along with the crowd was scared away while those remaining it were comedic sketches provided by MC’s Joe Pera stood transfixed by the atmospheric manipulation and Dan Licata; they included fashion “ins” such as: of distorted howls, drones, and the overall feeling of ass-shaving, Insane Clown Posse, and contests for walking through a post-apocalyptic dreamworld. such commodities as collectible Barbara Streisand vinyls. If TFFNI was the musical equivalent to the Four Horseman coming down and destroying everything Kicking off the night were the rockers of Miracle of in sight, then No Eggs No Problem was the following Madness with a three-song set which showed off the rapture that brightened the skies once more. Sportgroup’s versatility through hard-rocking solos, dancing a “Fuck Hitler” shirt in the spirit of Passover, ing tunes, and acoustic mellows, setting the gold Tommy Macarrey rapped over a blend of soul, jazz, standard for the following bands. Their set included acoustics, and accapella.
Photo by Angelina Castillo
I had never been to the Wildfire Lounge; I had eaten there before (and it was amazing) but never had I gone to a concert upstairs before. For some reason I had expected it to be some lame, small, awkward room. I was so wrong. Just like their restaurant, it was classy and cozy and it did not hurt that they had delicious beers on tap. It was a smallish crowd, but it was expected, seeing that it was a Wednesday night
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Ithaca College’s own Tropical Punk primed the crowd with their loose, beach washed, punk pop rock. I did not know what to expect of Air Waves. I had only heard one song of theirs before, which I liked a lot, but I still was not sure of what was to come. Turns out I was about to experience something that can be best described as supremely delightful. The three piece band took the stage at 10:25 and was done at 11:15. After a long period of rainy days, Ithaca weather decided it would be pleasant for Air Waves with nice weather. It
All in all, the Battle of the Bands was an awesome night that showed off a slice of amazing local talent. Zgress and the Snack Attack will open for Yeasayer, Man Man, and The Antlers at the IC Kick Back on May 7th on the IC Quad.
- Cory Healy
Despite not being able to discern most of the lyrics, Air Waves got my toes a-tapping and my head a-bobbing, which is the most you will get out of me. The band seemed very down to earth – not full of themselves, just there to put on a good show for us. Before we knew it Air Waves had torn through their catalogue and were playing their final tune, “Shine On,” a song that makes you want to close your eyes and feel the warm summer breeze from your rolled down car window. They did not play long, but they left the crowd hungry for more of their sweet floating melodies It was over before we knew it. It felt like we got a taste of something that is going to be big; we got a teaser for what is to come. I cannot wait to brag that I saw Air Waves before they were Air Waves.
- Patrick Barnes
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