6 minute read
British band blends beats
BY JICKIE TORRES
Daily Titan Staff
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England has bred many bands in the last decade that stand out as icons of music, from Brit rock and dance to pop. Just listen to the evereclectic musical forays of Blur and Pulp, the ethereal heaviness of the Stone Roses or at least fi nd a cliché quip about Oasis. Kasabian, heralding from the depths of Leicester, England, doesn’t seem to be one of them.
Their self-titled debut album has all the musical elements that nod to these greats but they don’t quite make it to their own level or use it to create their own unique style.
Musically, their sound and ability is well-developed. They switch from lo-fi earthiness to highbrow electronic enhancements with an ease that is hard to accomplish. In the celebrated UK hit “Processed Beats,” they show Blurs penchant for a catchy chorus and with the track U-Boat, they exhibit the deep-throated electronic weight of the Chemical Brothers. In their second UK hit single, “ButcherBlues,” they hit a funky soul bass sound and use ambient fi llers that hearken the simple, straightforward electronic tricks of Air.
Most of their tracks have a mystical undertone, whether it’s the Indian infused strings that stretch to screaming highs and passionate lows, or the mantra-like vocals that repeat, remind and restate key power phrases like “I just can’t stop losin’ control” and “Chew the backbone, a solar system, these clever convicts.”
Lyrically, their music is sharp at best and paranoiac at worst. While they capture an ambience of chaos and dishevelment with biting wit and commentary, their declaratives and judgements on war itself are just plain generic.
“And all those spies that strikes you here/And if you smell those omens man, I think you better run from the track Cutt Off . Or worse, We got our backs to the wall/ And watch out/Yer gonna kill us all.”
Daily Titan Staff
With the creation of Frances the Mute, Mars Volta has expanded on their debut album, making At the Drive-In look like an outdated pastime.
Sparta has moved on to mediocre success, whereas Mars Volta has expanded into a realm of exploration and of deep, retrospective passion.
Frances is indeed Omar’s experiment, however, this risk will not cost him his popularity as it usually does when musicians are bold enough to go outside music’s conventions. Every note, every chord, every thought in this album, takes the listener in a different direction, and in doing so, brings into light a simple focus.
Volta gives music new meaning
BY LISA CHUNG
With this album, Mars Volta is reinventing the very core, the very meaning of music.
They are leaping away from the three-minute song and even the album that is just a compilation of songs.
This album is more like a feeling, a feeling of simplistic chaos.
What creates this sense of disillusioned control is the timing. More than anything, Mars Volta is experimenting with timing.
One minute they’re here, the next minute, you’re there and even though you have defi nitely never heard anything even close to this before, it somehow feels familiar. That is because Francis the Mute is like life.
Nonetheless, when Kasabian does paranoia, they do it well utilizing Jaws-style undulating pianos and heart-thumping drum loops.
And on the political line, whether you are on the right or left, Kasabian’s dedication and followthrough on their distrust-the-man theme is admirable.
The band has been in the UK limelight since before their album debuted in September. Their album was released stateside on Wednesday. Overall, Kasabian paints a vivid picture, but often uses too many of other people’s brushes. While they do imitate their predecessors well, it’s their all-too-familiar sound that keeps them on the shelf.
It will calm you and then excite you, and then every once in a while, it will make you want to punch a hole in a wall because the whole time you will think you know what is going on, and then you will realize that you are lost.
Critics will compare Mars Volta to Led Zepplin, and rightly so. Their stage presence and the courage they can’t help but have make them comparable.
However, hopefully their inventive, spontaneous, irresistible mastery of the art will render them a place in the hall of fame we have not yet seen, or heard.
The Massacre cleans up nicely
BY MAHSA KHALILIFAR
Daily Titan Staff
The intro comes on and seconds later gunshots and people screaming blare out of the speakers. This time it is not the next horror movie or a murder that was caught on tape, it is the new 50 Cent album ironically titled The Massacre, set to cause a rise of controversy in the rap game. G-Unit himself comes back for a follow-up to his 2003 album Get Rich or Die Tryin with a dangerous yet intriguing new energy and the same old 50 fl are that does not disappoint.
In Da Club made 50 a household name in the early 2000s but comes back this time around with a more seasoned sound and gives us another round of memorable singles.
Executive-produced by Dr. Dre, Eminem and 50 himself, The Massacre contains 20 new tracks and a bonus re-mix track of The Game’s new single “Hate it or Love it.”
The songs contain something for the ladies and the men, but the female fans are sure to be secretly swooning over the rapper’s confi - dent and gutsy lyrics along with the catchy choruses.
One hour and 17 minutes later you will still be talking about 50’s risqué approach to his lyrics such as “Get in My Car,” in which 50 takes a jab at his former relationship with well-known actress Vivica A. Fox, referring to it as nothing.
He also takes shots at fellow rappers Nas and Shyne on the amusing “Piggy Bank.”
The gunshot intro is the most startling moment of the album and only the fi rst few songs struggle to offer the hooks such as later songs “Ski Mask Away,” and “Just a Little Bit,” (in my opinion one of the best beats on the record) do.
The newest single that has been blasting radio airwaves, “Candy Shop,” has been climbing the charts, and most likely you have had the addictive tune caught in your head at one point or another.
His smooth and edgy voice is also evident on other tracks such as “Outta Control” and the Jaime Foxx collaboration “Build You Up” shows off 50’s blunt yet cool rhythmical attitude and style that excites his female fans.
The album also contains a lyrical emphasis on death. The album touches on the fact that the rapper has come close to death in the past (he was previously shot and stabbed) and a lot of the album imagery of guns sends a signal to a more mature audience.
In other words, The Massacre is much better suited to and directed for an older crowd. 50 works the fi ne line between insanity and genius on some verses and with few collaborations, he knows what his strong suits are and uses them to his advantage on this new album.
With the 13 to 14 good songs that bring us the beats that get us dancing in the clubs like Disco Inferno and songs we can cruise to like Ryder Music, the $10 price tag is worth it.
Although The Massacre comes off a little brutal and blunt, it is not too messy and cleans up pretty nicely.
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