EMMIE Magazine Spring 2012 by EMMIE Magazine

Dear Reader,

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Emmie Magazine is UW-Madison’s studentrun music magazine, a place for students to write about the dynamic world of measure and melody. Writers take the opportunity !"#$%&#!'(#)*!+,!,#-'"#."/(#!'(.#)%&#!(00# it like it is, no holds barred. That doesn’t .()%#!')!#1..+(#+,#)00#2).(#)%&#%"#$%(,,(3# staff members sit down with artists and ask 45(,!+"%,#!')!#6*"/+&(#7""&#7"*#!'"58'!9#:*+!(*,# )0,"#+%/(,!+8)!(;,!(66+%8#+%!"#$(0&,#"7#.5,+<)0# inquiry yet to be crossed.

its

matt CHRISTIE Editor in Chief eric WALTERS Editor, Features

kaitlynn SCHNELL Editor, Features

joyce EDWARDS Editor, Shows

amanda BREWER Editor, Shows

chris MADSEN 1&+!"*;#?0>5.,

emily GENCO Promotions

tyler FASSNACHT 1&+!"*;#?0>5.,

julie JARZEMSKY Layout Editor

kyle GREIBER 1&+!"*;#?0>5.,

aj BECKER Graphics Editor

='+,#+,,5(#+,#>*+..+%8#-+!'#<*()!+/(#7"*<(;# from a feature detailing the mathematical side of music to a song guide matching tunes -+!'#!'(+*#(."!+/(#!-+%,9#?66()*+%8#"%#!'(# <"/(*;#1..+(#$%&,#"5!#-')!#.)@(,#A(7#B).# Recordings great with the celebration of the historic record label’s 25th year. I’m proud to call these articles and all the rest a part of Emmie Magazine, and I hope you, intrepid reader, enjoy reading them as much as we did writing them.

Best,

0+/+#MAGNANINI 1&+!"*;#?0>5.,

mike ANDREWSKI pat CASSIDY sam EICHNER lisa KOHLMANN anthony LEE chris MADSEN sean MANNION conor MURPHY sara PIERCE alex ROSS molly TREROTOLA

layout team: matt CHRISTIE livi MAGNANINI aj BECKER

matt CHRISTIE

Features 5‐10: Def‐Jam: The Last Great Record Label 11‐14: Mathematical UW‐Musical Hack Day 2011 15‐17: Los Campesinos Interview 18: Skrillex’s Label 19‐20: Love Hate Lana Del Rey 21: :Love Letter to Alexis Krauss 22: Kurt Vile: Freeway in Mind 23‐24: Emmie’s Best Albums of the school year 25: Inteview with Yelle 26: Drive Soundtrack 27‐28: A Non‐ Comprehensive List of Songs for Every Mood 29‐31: A Chat with Ben Kweller 32: A Forum with Joy Formidable

con

ten

Show Reviews 35‐36: Lemonheads at High Noon 37: Reverend Horton Heat 38: We Were Promised Jetpacks 39: The Promise Ring 40: M Machine

41‐42: Orphan Bloom Tiger Clutch Release Show 43: Tennis at High Noon 44: Bela Fleck and the Flecktones 45: Deer Tick 46: Andrew Bird, a Rennaisance Man

Album Reviews 50‐51: miike snow, ani difranco, orange goblin, bryan scary 52‐53: polica, chiddy bang, bowerbirds, kingtown rockers 54‐55: mickey moonlight, dirty ghosts, king charles, fun. 56‐57: Tubelord, brandon beebe, the alchemist, school of seven bells 58‐59: josh ritter, gangrene

Features

the last great record label: def jam recordings When you think â&#x20AC;&#x153;hip hop,â&#x20AC;? there are certain rhythms and names that resonate in your head, certain images and designs that are synonymous with the culture that surrounds it. We see these archetypes in colorful designs harkening back to graffiti seen on trains, big names that youâ&#x20AC;&#x2122;ve seen on MTV, or beats that took over the radio since you can remember. There are very specific flavors that have come to define what has become far more than just a genre. For the most part, all of this can be traced back to one institution, one label: Def Jam.

A(7#B).#-),%I!#0+@(#J"%K;#16+<#"*# the other labels that were coming onto hip hop at the time. They didn’t offer cookie-cutter deals to incoming <0+(%!,9#A(7#B).#7"5%&#!)0(%!#)%&# -(0<".(&#+!#!'(#-)K#+!#-),#&(,(*/(&9# If they liked what they heard, you were in. If not, you weren’t going to .)@(#+!9#?#<"%!*)<!#-+!'#A(7#B).#-),# like King Midas’ touch. You were gold (if not platinum). It arose at the perfect !+.(#+%#!'(#6(*7(<!#(%/+*"%.(%!9#

="#.)*@#!'(+*#PQ!'#)%%+/(*,)*K;# A(7#B).#65!#"5!#)#>""@;#A(7#B).# Recordings: The First 25 Years of the Last Great Record Label, chronicling the history of the label. I had the opportunity to sit down with two of the largest contributors to the book (and actually the label itself), Bill ?&0(*;#A(7#B).I,#7"5%&+%8#65>0+<+,!;# )%&#C(K#?&).,;#A(7#B).I,#7"5%&+%8# art director. I caught up with them )!#!'(#R)*0(KSA)/+&,"%#L5,(5.#+%# Milwaukee where they put on a program in conjunction with the book. :(#!)0@(&#A(7# B).;#)*!;#)%&# the direction all music is heading.

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So before you were working for Russell, what were you doing? C(KO#W*)7$!+9#H#-),#&"+%8#8*)7$!+9# When I met Russell I was a teenager so I was just painting on trains. But again, I’m not talking about scribbling on walls. I’m talking about painting murals that happen to be on trains +%,!()&#"7#>(+%8#"%#<)%/),9# Working with Russell, what are you most proud of?

They don’t make records, they make artists, and that’s the important thing.

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The company originated with the unlikely partnership between Rick Ruben and Russell Simmons. Rick was a student at NYU and Russell was running a management company called Rush Management. Russell was a natural manager, and an uncanny businessman. Rick was all )>"5!#!'(#.5,+<9#C'5<@#A#7*".#D5>0+<# Enemy describes his experience: E:'(%#-(#$*,!#F"+%(&#A(7#B).;#+!#-),# A(7#B).#)8)+%,!#!'(#-"*0&9#G)6#.5,+<# was already against the world, and A(7#B).#-),#!'(#."!"*#!')!#*)%#!'(# war. Rick wanted to totally destroy -')!#-),#6*"/(%9#G+<@#!'"58'!#0+@(#H# thought my whole life.”

Cey: One of the things that I’m really 6*"5&#"7#+,#*()00K#F5,!#!'(#(/"05!+"%# What brought you to Def Jam right "7#!'(#-'"0(#."/(.(%!;#)%&#*()00K# when it started as hip hop was being one of the key people that was blossoming in the early 80’s? *(,6"%,+>0(#7"*#(0(/)!+%8#>0)<@#)*!#),# M+00O#HI/(#>((%#7"00"-+%8#!'(#*)6# it relates to hip hop album design. .5,+<#,<(%(#7*".#!'(#!+.(#!'(#$*,!# Before I came along, that wasn’t records came out in 1979. I was a something that people thought of as working music journalist, and I had a career path. It wasn’t something a job as the top music critic for the that got a lot of respect. The thing From the beginning, they weren’t a Boston Herald in 1979 when Rapper’s I’m most proud of is being a key >5%<'#"7#LM?I,#6*(!(%&+%8#!"#@%"-# A(0+8'! came out and then Christmas 7"*<(#+%#!')!#."/(.(%!;#,".(>"&K# how to market this new kind of talent. Rapping by Kurtis Blow came out, that was responsible for opening They were the guys who weren’t and I liked the sound of both of people’s eyes up to the fact that we afraid to take Suge Knight into an !'",(#*(<"*&,9#H#."/(&#!"#T(-#U"*@# <"50&#&"#8*)6'+<#&(,+8%9#:'(%#H#$*,!# alley and let him know how things in 1980. I did a story on Kurt for the started that was a word that I didn’t were going to be. People respected A)+0K#T(-,#+%#T(-#U"*@#+%#!'(#7)00#"7# know, and nobody I knew knew that !')!;#(,6(<+)00K#!'(#)*!+,!,9#B)#G50(# 1980 when he had a hit with a song word. Today, you can stop any kid &(,<*+>(,#'+,#$*,!#(N6(*+(%<(,#-+!'+%# called “The Breaks.” I just continued on the street and say “What’s graphic A(7#B).O#E:'(%#H#$*,!#-(%!#+%!"#A(7# to monitor it. I did a story for People design?” and they can all tell you. B).;#+!#-),#)#,'"<@O#.5,+<#>0),!+%I# magazine in 1983 about a nightclub Twenty years ago that wasn’t the 7*".#(/(*K#"7$<(;#-((&#>0"-+%I#"5!# <)00(&#A+,<"#V(/(*#)%&#!')!#-),#-'(%# <),(9#J";#H#0+@(#!"#>(0+(/(#H#')&# "7#(/(*K#*"".9#H!#-),#)#*()0#'+6#'"6# I met Russell at the time because he something to do with making that label.” While it doesn’t sound like your managed Kurt. He turned me onto possible. )/(*)8(#>5,+%(,,;#+!#-),#!'(#.",!# A+,<"#V(/(*9#='(%#)#K()*#0)!(*#-(#8"!# <"%&5<+/(#(%/+*"%.(%!#7"*#!'(#-"*@# !"#!)0@+%8#)%&#'(#+%/+!(&#.(#!"#<".(# What was it like working for Russell that was being done. work with him and I said, you know, in the beginning? $%(9# C(KO#R(#-),%I!#8+/+%8#.(#)&/+<(#"%# what to do with my life, he wasn’t

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Features saying anything, it was just okay, do this. I had !"#$85*(#+!#"5!9#H!#-),#!K6+<)0#>(<)5,(#H#-),#!'(# only artist in the whole group. Kurtis Blow was )#*)66(*9#U"5#@%"-;#(/(*K>"&K#-),#)#*)66(*#"*# a producer or a writer or a promoter. So I had the lane all to myself, no competition, but at the same time it meant I had no support system. H#')&#!"#$85*(#+!#"5!#)%&#)#0"!#"7#.K#7*+(%&,# -(*(#,!+00#-*+!+%8#8*)7$!+;#)%&#8(!!+%8#>5,!(&9# Busted by cops about staying in school, and this stuff didn’t mean anything to anybody. U"5#!(00#,".(>"&K#!'(KI*(#8"+%8#!"#>(#)#8*)7$!+# artist, they’re like, what the hell is that? That’s /)%&)0+,.#-'(*(#H#<".(#7*".9#J"#H#-),#F5,!# really fortunate to be in New York at that time >(<)5,(#+!#-),#)#!+.(#-'(%#)00#!'+,#<*()!+/+!K# was happening all at once. We were going to !'(#G"NK#)%&#-(#-(*(#8"+%8#!"#A)%<(!(*+)#)%&# G5%#ALC#-),#F5,!#8(!!+%8#"77#!'(#8*"5%&;#)%&# I’m really fortunate to be one of the people that ,5*/+/(&#&5*+%8#!')!9#T"!#(/(*K>"&K#!')!#-),#)# 6)*!#"7#!')!#,<(%(#&+&#,".(!'+%8#6",+!+/(#-+!'# !'(+*#0+7(9#J"#HI.#*()00K#7"*!5%)!(#!"#')/(#!'(# support. I published a book just before this that -),#)00#)>"5!#!'(#)*!9#?,#.5<'#),#H#0"/(#'+6#'"6# music, it takes up so much air in the room that +7#K"5I*(#)%#)*!+,!#"*#)#>*()@S&)%<(*#"*#)#AB#+!I,# )00#)>"5!#.5,+<9#?%&#HI.#0+@(#-')!#')66(%(&# to the elements, you know. People don’t understand that, so I did a book that celebrates !'(#/+,5)0#),6(<!9# You call Def Jam “the last great record company.” That’s a pretty bold statement. Bill: Well it is and it isn’t. It’s an easy claim to .)@(;#)%&#H#&"#+!#%"!#,"#.5<'#>(<)5,(#A(7# B).#+,#,"#.)*/(0"5,;#>5!#>(<)5,(#!'(#*(<"*&# industry has changed so drastically that the whole existence, the economy necessary and the money necessary to sustain a record label has gone bye bye. I don’t think there will be record labels at all, but like any great label. But +!#F5,!#,"#')66(%,#!')!#A(7#B).#<).(#+%!"#!'(# game at a moment when there was still such a !'+%8#),#)<!5)0#/+%K0#*(<"*&+%8,#)%&#CA,9#='(# labels were able to make money off of those 7"*.)!,#7"*#)#-'+0(9#M5!#),#,""%#),#(/(*K!'+%8# went digital, and there was digital distribution, that was the beginning of the end for record 0)>(0,#),#HI/(#@%"-%#!'(.#+%#.K#0+7(!+.(9#J"#

really what I’m saying is, it is a great record label and, because it emerged when it did, it may be the last great record label. So you’ve got all these huge names: Jay-Z, The Beastie Boys, Kanye West, Rihanna … the list goes on. It’s no coincidence that they’re all under Def Jam. Why Def Jam? Cey: I don’t know. You know, I think A(7#B).#5%&(*,!)%&,#%5*!5*+%8#!)0(%!# $*,!#)%&#7"*(.",!9#='(K#&"%I!#.)@(# records, they make artists, and that’s the important thing. They’re always thinking about making a great album, %"!#.)@+%8#)#'+!#,+%80(9#?%&#!')!I,# -')!#+!I,#)00#)>"5!9#H!I,#)>"5!#0"%8(/+!K3# it’s about building careers for people. ?%&#!')!I,#*()00K#!'(#)66*")<'9#:'(%# I’m thinking about making an album, I’m thinking about what’s going to happen two, three albums down the road, I’m not thinking, oh this guy’s going to be a one hit wonder. I’m hoping I’m going to be working "%#.)%K#)0>5.,#!"#<".(9#?%&#7"*# the most part that’s exactly what happened with 90% of the artists I worked with.

grip to Led Zeppelin and Pink Floyd and here come the Ramones, you’re going to crow about the Ramones until the cows come home. The Ramones %(/(*#,"0&#*(<"*&,9#W*()!#>)%&;#%(/(*# sold records. Here comes the Sugarhill Gang in 1979 with G)66(*I,#A(0+8'!. What do you think brought about the explosion of hip hop in the early That record sold 8 million copies in countries worldwide. It was just a 80’s, and why was it so popular? harbinger of what was to come. There Bill: Because it’s beautiful. Because was something about this music that it was exciting. Because it made captured the global imagination. It people dance, and it made people made people shake their asses and ')66K9#M(<)5,(#+!I,#.)8%+$<(%!# ,.+0(9#?%&#!')!I,#-'K#+!#,5<<((&(&9# 6"6#.5,+<9#=')!I,#-'K9#='(#$*,!# Here’s the thing that Russell explained records were in the late 70’s. It was to me a long time ago: we can talk underground before then. It’s more about rap, we can talk about hip hop. or less contemporaneous with soH%#!'(#$*,!#<),(#+!I,#)#8(%*(;#+%#!'(# <)00(&#65%@#*"<@9#?!#!'(#>(8+%%+%8;# second case it’s a culture. But really, 65%@#*"<@#-),#%(/(*#6"650)*;#%"!#+%# ?.(*+<)9#T(/(*#6"650)*;#"@)K9#H!#-),# they’re kind of crude categories. ='(#*(),"%#H#>(0+(/(#!')!#*)6#'),# a big critic’s smash. It was written succeeded is because it’s allowed an about until the cows come home. If artist to impress his own personality K"5#-(*(#)#.5,+<#0"/(*#)!#!')!#!+.(;# and you were thirsting for what’s new and express his own personality on and people were holding onto a death !'(#.5,+<9#=')!I,#-'K9#?%&;#H#!'+%@;#>K#

<"%!*),!#!"#A+,<"#.5,+<9#A+,<"#.5,+<3# there was beautiful, beautiful music, but there were no artists. That was a producer’s medium. But, again, there were no artists built. In rap, Russell understood right away, just because K"5#>"58'!#)%#XX#C""0#B#,+%80(#!'+,# week doesn’t mean you can’t buy a Beastie Boys single next week. “Well I bought a rap record last week, I don’t need another rap record.” Nobody thought like that. It’s like in the 60’s, because you bought a Beatles record one week you can’t buy a Rolling Stones record the next? What are you nuts? Rap itself, the performer isn’t singing, he’s rapping. So that’s what remains constant, but other than that +%&+/+&5)0#)*!+,!,#)*(#)>0(#!"#.)@(#!'(+*# "-%#5%+45(#+%&+/+&5)0#6(*,"%)0+!+(,# known. In effect, they kind of !*)%,<(%&#!'(#8(%*(9#U"5#@%"-;#B)KSY;# is he just a rapper after all this time? He’s a giant, giant pop star.

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Features Do you think it’s a shame that it’s made the transition that it has with the importance of record labels diminishing? Bill: I’ll say this, I’m a student of great record labels and I honor great record labels, and I think they formed )#.)*/(0"5,#75%<!+"%#"/(*#!'(#K()*,9# These are my heroes: the people !')!#>5+0!#!'(#8*()!#?.(*+<)%#*(<"*&# labels. It’s easier for a musician today than in any time in human history to make recordings, and to express himself. It’s easier to get at least nominally distributed on the -(>#)%&;#!'("*(!+<)00K;#+!I,#)/)+0)>0(# !"#(/(*K>"&K9#H!I,#')*&(*#!')%#(/(*# before though to make money out "7#+!9#?%&#*(<"*&#0)>(0,#5,(&#!"#'(06# K"5#.)@(#."%(K9#?!#0(),!#>(<)5,(# !'(K#-"50&#6*"/+&(#&+,!*+>5!+"%#)%&# promotion for you. One of the things !')!#-),#*(.)*@)>0(#)>"5!#A(7#B).# was that it was allied to an artist management company called Rush. G5,'#L)%)8(.(%!#6*(&)!(&#A(7#B).9# It was run by Russell Simmons, and that’s something that has really gone bye bye. I think good artist managers were always at a premium. I think they were always pretty rare, and I am imagining that they are rarer now. So, again, if you’re an artist, you may be a great genius, in terms of the creation of your music, but without the kind of ,(*/+<(,#!')!#5,(&#!"#>(#6*"/+&(&#>K#)# record label, without the muscle that 5,(&#!"#>(#6*"/+&(&#>K#)#*(<"*&#0)>(0;# )%&#)0,"#-+!'"5!#!'(#,(*/+<(,#"7#)# smart manager, you’re kind of working )!#)#&+,)&/)%!)8(#!'(,(#&)K,9#

things are headed is just part of the -'"0(#/)*+(!K#"7#.(&+)#)%&#!')!#-"*@# -)K#-(#0+/(9#H#!'+%@#!')!#+!I00#>(#)00#"7# isn’t celebrated, so let’s celebrate "5*#*(,6"%,+>+0+!+(,#!"#$85*(#"5!#'"-# !'",(#)*!+,!,9#J";#!"#,)K#-+00#+!#')/(# !"#/+(-#)*!#8"+%8#7"*-)*&9#M5!#+!#.)@(,# some wonderful effect in the future, me a little sad, especially how it relates +!I,#>((%#')/+%8#!')!#(77(<!9#R+6#'"6# to recorded music, but it is what it is. style has been in our drinking water for V"*#)00#!'(#>(%($!,;#!'(#/+,5)0#),6(<!# [\#K()*,#)0*()&K9#U"5#.)K#%"!#(/(%# +,#,".(!'+%8#!')!#!)@(,#)#'+!9#?%&# *(<"8%+](#+!;#>5!#!'(#(%(*8K#"7#8*)7$!+S that makes me sad. It’s a double+%25(%<(&#)*!+,!,#'),#0"%8#,+%<(#.)&(# edged sword. I’m as guilty as the next +!,#-)K#+%!"#!'(#8*)6'+<#)*!,#)%&#$%(# 85K9#U"5#@%"-;#H#0"/(#>(+%8#)>0(#!"# arts mainstream. &"-%0")&#.5,+<#)%&#')/+%8#+!#)!#.K# $%8(*!+6,9#:')!#)*(#K"5#8"+%8#!"#&"Z#H# Cey: Yeah, to me it is contemporary wish the format was the way it used to art for today’s generation. It is on par >(;#-+!'#/+%K0#)%&#,".('"-#!'(*(#-),# with all the pop art of the 60s. The a digital component. The tough thing only difference is that now it’s a new is that there are so many young people millennium. It’s the same sort of raw !')!#&"%I!#(/(%#*(.(.>(*#!')!#!+.(;# energy that went into the work that the and you can’t blame them, it’s just the early pop artists were doing. !+.(#!'(K#8*(-#56#+%9#A"-%0")&+%8# music is just a way of life. It’s fast, it’s ?%&K#:)*'"0#-),#"%(#"7#.K#.)F"*# easy, forget it. No going back. There’s inspirations. Warhol, Roy Lichtenstein, %"!'+%8#0+@(#'"0&+%8#)%#)0>5.#<"/(*# yeah sure. They were inspirations. in your hand. That’s what makes this I don’t know if I would call them >""@#,"#,6(<+)03#!')!#+!I,#,".(!'+%8# +%25(%<(,9#H#0"/(&#-')!#!'(K#&+&;#>5!# that you can hold in your hand. It’s more than anything, compared to something that you can look at and abstract expressionism, what they almost physically touch the history, -(*(#&"+%8#-),#*)&+<)09#?%&#,"#H#!'+%@# and you can’t experience that online. !')!#8*)7$!+#)%&#,!*((!#)*!#+,#!'(#,).(# I don’t care what anybody tells you. thing, it’s really radical compared to a You can read an article online, but it’s lot of the stuff that has come before not the same experience as touching +!9#?%&#!')!I,#-'(*(#!'(#*(,+,!)%<(# a book and feeling the paper and, you comes from. For the most part, it’s know, just absorbing the story. Words a new art form that’s not getting the "%#!'(#,<*((%#&"%I!#."/(#.(#+%#!'(# 0"/(#)%&#*(,6(<!#)%&#)!!(%!+"%#!')!#+!# same way, and I think that a lot of &(,(*/(,#.",!0K#>(<)5,(#+!I,#<*()!(&# older people feel the same way. >K#K"5%8#6("60(9#?%&#H#!'+%@#!'(#)*!# establishment thinks they won’t be So you’re coming out with this making art in 10 years. So they don’t coffee table book. Do you think want to stick their neck out and take that hip hop art is an accepted a chance on a young untested artist. aesthetic? The truth of the matter is, most of Bill: When people think about hip hop !'(#6("60(#7*".#.K#8(%(*)!+"%#')/(# How do you feel about physical )*!#!'(K#!'+%@#)>"5!#8*)7$!+9#W*)7$!+;# been making art for 35 years already. music going by the wayside? !"#.(;#),#)#<*()!+/(#)*!#7"*.;#6(!(*(&# J"#-(I/(#)0*()&K#65!#+%#!'(#!+.(#)%&# Cey: It bums me out, but I can’t control that, and I know it’s going to be out in the early ‘80s. That’s not to say energy. The question is, where are the -')!(/(*#+!I,#8"+%8#!"#>(9#=(<'%"0"8K# 6("60(#&"%I!#&"#+!#+%#!')!#,!K0(#)00#"/(*# .5,(5.#*(!*",6(<!+/(,Z# the world today. They do. His idea is a wonderful thing, and technology +,;#0""@;#8*)7$!+S+%,6+*(&#)*!+,!,#')/(# has helped make my job easier so I can’t knock it. The digital direction that created a generation’s worth of art in a

In just talking with these guys for one night I was able to really catch the pumping pulse that &*+/(,#A(7#B).9#="#!'+,#&)K;#+!#<"%!+%5(,#!"#,(!# the bar for the world of hip hop. It has adapted and is still in charge of a music industry that +,#(/(*S<')%8+%89#='(K#&"#-')!#!'(K#&";#)%&# +!#-"*@,9#G5,,(00#J+.."%,#,)K,#+!#>(,!O#EA(7# B).#+,#,!+00#!'(#.",!#6*(,!+8+"5,#0)>(0#!"#>(#"%9# ='(KI*(#!'(#"%(#!"#>()!9#='(KI/(#>((%#!'(#"%(# to beat and, God willing, they’ll be the one to >()!#+%#!'(#75!5*(9#M5!#7"*#!-(%!KS$/(#K()*,;# !'(KI/(#>((%#!'(#"%(#!"#>()!9#H!I,#!'(#>*)%&# that’s been the most stable, had the most heat, sold the most records, and been the most respectful of the culture.”

It made made people people shake shake “ Ittheir their asses asses and and

“

smile. smile. And And that’s that’s why why itit succeeded. succeeded.

sean MANNION

The book is 12x12, essentially like an LP. What went into this that’s setting it apart from other books on your coffee table? C(KO#:(00#7"*#,!)*!(*,;#+!I,#A(7#B).;#)%&#+!I,#PQ#K()*,9# =')!I,#)#0"%8#!+.(#+%#!'(#-"*0&#"7#*)69#?%&#+!I,#!'(# >+88(,!#%).(,#+%#!'(#.5,+<#>5,+%(,,9#H!I,#XX#C""0#B;# +!I,#B)KSY;#+!I,#!'(#M(),!+(#M"K,;#+!I,#D5>0+<#1%(.K;# +!I,#X5&)<*+,;#+!I,#G+')%%);#+!I,#^)%K(#:(,!9#1/(*K# one of them is a superstar. That caliber of artist is 6'(%".(%)09#H#F5,!#,!+00#')/(#!"#6+%<'#.K,(079#H#<)%I!# >(0+(/(#!')!#H#-),#)#6)*!#"7#,".(!'+%8#,"#).)]+%89# ?%&#!"#')/(#!'(#*(,6"%,+>+0+!K#"7#&+*(<!+%8#)#<*()!+/(# … just forget about it. I get tongue-tied trying to talk about it. It’s just such a huge responsibility to be )>0(#!"#<".(#56#-+!'#)#/+,5)0#+&(%!+!K#7"*#,".(>"&K# 0+@(#B)KSY#"*#D5>0+<#1%(.K9#?%&#H#&"%I!#!)@(#+!#0+8'!0K;# it’s one of the things that I’m most proud of. Not to .(%!+"%#AL_;#)%&#G(&.)%;#)%&#L(!'"&#L)%;#)%&# B)#G50(;#)%&#J0+<@#G+<@;#"'#7"*8(!#+!9#H#<"50&#8"#"%# and on til the break of dawn with it.

f 11

Features

Mathematical UW‐Madison’s Contribution to Boston’s

music hack day 2011

Music Hack Day, which started in 2009, is a day most people have never, ever heard of. It takes place at different dates in various cities around the globe each year (next Music Hack Day: March 24th – 25th in Amsterdam), and is a 24‐hour hack‐a‐thon to see who can use various music databases to make the coolest project. Some ‘hacks’ you may have heard of are: Drinkify, which creates the ‘perfect’ drink for the music you’re listening to; The Videolizer, which syncs dancing videos to any song, or Invisible Instruments, which uses an iPhone and Wii controller to simulate real instruments (guitars, violins, drums, whatever!). T1GA#M5+0&+%8;#M",!"%;#L?

There are frequently upwards of 40 or 50 hacks each Hack A)K;#"7#-'+<'#!'(*(#')/(#)0*()&K#>((%#P\9#='+,#!*)%,0)!(,#!"# quite a lot of projects, many of which are more technical than the ones mentioned here. Madison’s own Math Pod hack for M",!"%I,#L5,+<#R)<@#A)K#P\``#+,#"%(#,5<'#6*"F(<!;#>5!#%(/(*# fear! I sat down with graduate student and team member Lalit B)+%;#-'"#'(06(&#.(#,"*!#"5!#-')!#L)!'#D"&#+,;#)%&;#."*(# importantly, why it’s cool. Madison’s team members all come from the UW’s Math A(6)*!.(%!O#D*"7(,,"*,#B"*&)%#100(%>(*8#)%&#M(%#G(<'!;# )0"%8#-+!'#8*)&5)!(#,!5&(%!,#?%&*(-#M*+&K#)%&#X)0+!#B)+%9#='(# team was formed due to a mutual interest in large-scale data )%)0K,+,;#-'+<'#0()&#!"#+%/(,!+8)!+"%#"7#'58(#.5,+<#&)!)>),(,# ,5<'#),#='(#1<'"#T(,!#)%&#C"0".>+)I,#L+00+"%#J"%8#A)!),(!# as a source for the project. Professor Recht also brought to the

team many years of musical experience: his band The Fun Years’ newest album, god was like, no, made it into NPR’s ?00#J"%8,#C"%,+&(*(&I,#a+@+%8I,#C'"+<(O#P\`\I,#M(,!#L(!)0#)%&#b5!(*#J"5%&#c."*(#+%7"#)!#!'(75%K()*,9<".d9# ?7!(*#!'+,#>()5!+750#<50.+%)!+"%#"7#+%!(*(,!,;#!'(#L)!'#D"&#6*"F(<!#-),#7"*.(&9#='(#!().#-)%!(&#!"#!*K#)%&#)&&*(,,#!'(# 6*">0(.#"7#.5,+<#8(%*(#<0),,+$<)!+"%,9#R"-#&"(,#,".("%(#&(!(*.+%(#-')!#8(%*(#"7#.5,+<#)#,"%8#+,;#)%&#<)%#!')!# 0"8+<#>(#45)%!+$(&Z#J".(!'+%8#!')!#,"5%&,#.(!)0#!"#.(#.+8'!#,"5%&#."*(#')*&S*"<@#!"#,".("%(#(0,(9#:'(*(#+,#!'(# &+/+&+%8#0+%(Z#H,#!'(*(#)#&+/+&+%8#0+%(Z “Imagine a million points in space,” Lalit explains, “if each point is a song, and we want to cluster similar points, how would we do it?” ='(#!().#&(<+&(&#!"#$*,!#,(6)*)!(#)%&#<0),,+7K#,"%8,#>),(&#"%#e,(8.(%!#0(%8!';I#-'+<'#X)0+!#)&.+!,#'),#)#,".(-')!# ).>+85"5,#&($%+!+"%#,+%<(#+!I,#&(!(*.+%(&#>K#)%#)08"*+!'.#-*+!!(%#>K#!'(#7"5%&(*#"7#='(#1<'"#T(,!;#=*+,!)%#B(')%9# R(*(I,#!'(#"7$<+)0#&($%+!+"%O#E?#,(8.(%!#+,#)#,(!#"7#,"5%&#(%!+!+(,#c!K6+<)00K#5%&(*#)#,(<"%&d;#()<'#*(0)!+/(0K#5%+7"*.#+%# timbre and harmony. Segments are characterized by their perceptual onsets and duration in seconds, loudness (dB), pitch, and timbral content.” Whew! In looser terms, ‘segment length’ can almost be considered as a single beat in a song, regardless of what instrument it’s performed on. That means each song is essentially made of hundreds or thousands of segments, 6",,+>0K#."*(9#="#/+,5)0+](#!'+,#*(0)!+"%,'+6;#!'(#!().#&(/(0"6(&#-')!#)*(#<)00(&#'+,!"8*).,#7"*#()<'#,"%8#+%#!'(# L+00+"%#J"%8#A)!),(!9#1)<'#,"%8#8(!,#+!,#"-%#'+,!"8*).#-'+<'#60"!,#!'(#,(8.(%!#0(%8!'#)0"%8#!'(#>"!!".;#/(*,5,#'"-# often that segment length occurred (measured as a percent of total song segments) along the side. ='+,#+,#)<!5)00K#6*(!!K#<""0#&)!)#!"#,+7!#!'*"58'#)%&#0""@#7"*#,"%8,#!')!#')/(#,+.+0)*#'+,!"8*).,9#V"*#(N).60(;#)7!(*#)# few minutes of searching I found two really similar '+,!"8*).,#c)>"/(d;#)%&f#,5*6*+,(g#='(K#)<!5)00K# ,"5%&#6*(!!K#,+.+0)*#),#-(00g#A"%I!#>(0+(/(#.(Z#V+%&# them on youtube and listen for yourself! Sadly, classifying songs well isn’t usually this easy. Lalit refers to the histograms as a sort of ‘Techno-detector’: they can classify many dance/ !(<'%"h(0(<!*"%+<#,"%8,#-(00;#&5(#!"#!'(+*#*(6(!+!+/(# segments and strong beats, but they don’t do as

“

Imagine a million points in space...if each point is a song, and we want to cluster similar points, how would we do it?

f 13

Features well when trying to identify similarities between songs of other genres. To help remedy this issue, the team then produced heat maps from their histograms. These heat maps take into account segment length, like the histograms, but then add the /)05(#"7#,(8.(%!#+%!(%,+!K;#"*#e0"5&%(,,I#!"# the picture. ='(,(#'()!#.)6,#')/(#)#0"!#"7#&)!);#>5!# !'(KI*(#%"!#>)&#"%<(#K"5#')/(#0""@(&#)!# )#7(-9#='(#)>"/(#'()!#.)6#+,#)%#)/(*)8(# from many different songs. The axis along the bottom is ‘segment length’, just like !'(#'+,!"8*).,;#>5!#%"-#!'(#/(*!+<)0#)N+,#+,# e,(8.(%!#+%!(%,+!KI9#:')!#!+(,#(/(*K!'+%8# !"8(!'(*;#'"-(/(*;#+,#!'(#e'()!I#"7#)#,6"!# on the map. The blacker/redder a spot is, the less frequently it occurred in the song, but the whiter/yellower a spot is, the more frequently it occurred in the song. These /)05(,#)*(#)8)+%#0+,!(&#),#)#6(*<(%!#"7#!'(# !"!)0#,(8.(%!,#+%#)#,"%8;#%(N!#!"#!'(#<"0"*#<"&(#)0"%8#!'(#*+8'!#/(*!+<)0#)N+,9# ?&&+%8#)#e!'+*&#&+.(%,+"%I#!"#!'(#60"!#<(*!)+%0K#'(06,#,6(<+7K#(N)<!0K#'"-#)#,"%8#,"5%&,;#>5!#!'(#'()!#.)6,;# unfortunately, aren’t that much more useful for classifying music, at least for people interpreting them. Lalit is currently working on computer program that will take the heat map data and cluster songs based on their segment length and intensity. He booted up a working copy for me. E='+,#+,#!'(#$*,!#!+.(#HI/(#(/(*#*5%#+!;i#'(#,)K,9#HI.#'"%"*(&#!"# be at his debut. ?7!(*#)#>+!#"7#!'+%@+%8;#!'(#<".65!(*#&+,60)K,#)#'58(;# interconnected web of clustered points. Each point is a song. We zoom in on a cluster. It has an old Shania Twain song clustered near this hardcore/metalcore band I don’t remember. They sound nothing alike. Lalit isn’t upset by this though, and we look up the next connected point in the cluster, which, lo and behold, is another hardcore band -'",(#,"%8#,"5%&,#6*(!!K#,+.+0)*#!"#!'(#$*,!#"%(9#H#-),# actually kind of taken aback. The next song farther out is a Cheryl Crow song that belongs to a different cluster tree, which Lalit reasons the Shania Markov Chain diagram. =-)+%#,"%8#,'"50&#')/(#>((%#<"%%(<!(&#!"9##H!I,#)#-"*@#+%# 6*"8*(,,;#,"#H#7"*8)/(#'+,#(**"*9#H!#)!#0(),!#-"*@(&#-(00#7"*#"%(#!'+%8#!')!#-),%I!# techno, so I think he can chalk it up as a modest success. But the team didn’t stop there.

='(#"!'(*#6)*!#"7#!'(#!().I,#6*"F(<!#-),#!'(#L)*@"/#L5,+<# Machine, which they used to reconstruct ‘First Kiss’ >),(&#"%#+!,#e<'*".)#/(<!"*,I9#?#L)*@"/#<')+%#+,#)#,K,!(.# !')!#<)%#"%0K#>(#+%#)#,+%80(#,!)!(#)%&#'),#$%+!(#6*">)>+0+!+(,# to transition to another state. For example, in the image we ')/(#)#!-"S,!)!(#,K,!(.#7"*#"5*#L)*@"/#C')+%9#H!#<)%#(+!'(*# >(#+%#,!)!(#e1I#"*#,!)!(#e?I9#='(#6*">)>+0+!K#+!#-+00#,!)K#+%#!'(# same state or transition to the other state is listed next to ()<'#*(,6(<!+/(#)**"-#c\9j#k#j\l#6*">)>+0+!Kd9#V"*#)#,"%8;# !'(#,!)!(#"7#!'(#L)*@"/#C')+%#+,#!'(#<5**(%!#%"!(#>(+%8# played, and it has a certain probability to transition to any other note for the next note in the song. These probabilities are generated from the song’s data, and can then be /+,5)0+](&#),#!'+,#<*)]K#`PS!"%(#<+*<0(#m0(7!n9 In this example the song was transposed to the key of C. 1)<'#)**"-#+,#)#e<'*".)#/(<!"*I#!')!#,'"-,#'"-#0+@(0K#)# chroma vector transition is to occur. Larger, redder arrows are more likely, while bluer, smaller arrows are less likely. Lalit notes that the C-to-B transitions are actually false, due to noise in the data. Coupling this map with ‘segment length’ and ‘segment intensity’ data for the song ‘First Kiss’ allowed the Math Pod team to recreate it, although that’s a bit like saying Herbert West successfully reanimated people. Their creation has .)%K#,+.+0)*+!+(,#!"#+!,#6*(<5*,"*;#>5!#+!I,#&($%+!(0K#*"58'#)*"5%&#!'(#(&8(,9# V"00"-+%8#56#"%#!'(+*#,5<<(,,;#!'(#!().#$%)00K#5,(&#!'(+*#L)*@"/#L5,+<#L)<'+%(#!"#*)%&".0K#8(%(*)!(#)#.5,+<# composition. It’s merely a single piano line, but, in spite of all their segment and chroma data, it feels like it has no >()!#"*#2"-9#?7!(*#0+,!(%+%8#!"#+!;#H#<)%#"%0K#&(,<*+>(#+!,#,"5%&#)%&#7((0#),#e*)%&".;I#)%&#6(*')6,;#+%#)#-)K;#!')!#+,#!'(# greatest sign of a truly successful random composition. H#')/(#)0-)K,#>(0+(/(&;#)%&#H#,!+00#&";#!')!#.5,+<#+,# .)!'#.)&(#)5&+>0(9#L5,+<;#'"-(/(*;#+,#)*!;#-'+0(#.)!'# +,#,<+(%<(9#L)!'#D"&#>(8+%,#!"#!)@(#!'(#$*,!#,!(6,# toward marrying the two concepts. From the music 6(*,6(<!+/(;#-(#-)%!#!"#@%"-#'"-#!"#45)%!+!)!+/(0K# &($%(#.5,+<#)%&#<"**(0)!(#-')!#-(#)0*()&K#@%"-# about music to the raw song data. From the math and computer science end, our technology is rapidly )&/)%<+%8#!"#!'(#6"+%!#-'(*(#-(#<)%#(7$<+(%!0K# )%)0K](#)%&#&(<+6'(*#'58(#/"05.(,#"7#&)!)3#-(#F5,!# %((&#!"#$85*(#"5!#'"-#>(,!#!"#&()0#-+!'#+!9#b%<(#-(# ')/(#,57$<+(%!0K#.),!(*(&#!'(,(#!-"#'5*&0(,;#6(*')6,# we can gain better insight into the future of both music and computing. Work continues on the Math Pod, and I know it’s only a matter of time before it bears more fruit.

Madison team members Jordan Ellenberg and Ben Recht at Boston’s Music Hack Day 2011 pat CASSIDY diagrams from Lalit

f 15

Features On your past records there are a lot of songs that are sort of tongue-incheek and humorous, but many of the songs on Hello Sadness comes across as a little more serious and upfront. I think words that get used a lot to describe our songs are “tongue-incheek” or “sarcastic” or “ironic” and I think I’m a lot more sincere than people think I am (laughs), which probably just means the lyrics I’m writing that I think are profound are just humorously bad. But this record was written immediately, like ten days before we went to record it, when a relationship I was in at the !+.(#(%&(&#,"#H#-),#+%#!')!#,6(<+$<# headspace and had started writing songs from being in a relationship and HI&#%(/(*#*()00K#-*+!!(%#-'+0,!#>(+%8# in a relationship before, so as soon arts‐crafts.ca as that ended, those songs didn’t Looking back on it, do you like the seem appropriate, so those lyrics got Touring for their recently released name? ,'(0/(&#)%&#'+&&(%#)-)K9#='(%#-(# Hello Sadness, Los Campesinos hit It’s just a noise now. It’s probably the went away to Spain to record, and UW Madison’s Union South to play two words I say the most in my life, 8(%(*)00K#,6()@+%8#H#')/(#)0-)K,#0(7!# to the extent where it’s just (makes writing to the last minute anyway a packed show at the Sett. Prior to groaning noise). I can’t isolate it in my >(<)5,(#.K#6*+.)*K#."!+/)!+"%#7"*# their performance, Emmie was able brain to think about any connotations, -*+!+%8#+,#F5,!#>(<)5,(#H#')/(#!"# c0)58',d9#H#')/(#%(/(*#!)@(%#!"#F5,!#,+!# to sit down with lead singer, Gareth so I can’t say if it’s good or not. down and think “I’m going to write a Campesino, to talk about the new Going into the new record, Hello song now.” I only do it because I need Sadness, how did you guys record, the art of writing lyrics, to. I think the headspace I was in at approach it differently? the time was a really useful thing to and possible futures filled with D*(/+"5,0K#-(#')/(#)0-)K,#)+*(&# ')/(#>(<)5,(#+!#-),#*()00K#8*()!#!"#8"# mortgages and families. !"-)*&,#(N<(,,#)%&#"/(*S+%&508(%<(# away immediately after it happened so and this time we looked at what we I couldn’t dwell on it and I couldn’t try Where did the name come from? ')&#&"%(#6*(/+"5,0K#-+!'#"5*#0),!# !"#$N#)%K!'+%8#"*#"/(*#)%)0K](#!'+%8,#+%# My band mate Neil used to study record, Romance is Boring, and that that way. The record was useful as a Spanish and they came up with the -),#$7!((%#!*)<@,#0"%8#)%&#)#0+!!0(# documentation of that relationship and band name when there were just three bloated. It was incredibly busy and !')!#>*()@56#)%&#!'(#/(*K#+..(&+)!(# of four of them, just jamming and they noisy and we wanted to approach aftermath, and as a result the things *()00K#&+&%I!#')/(#)%K#,"%8,;#-'+<'# this one with a little more patience I’m talking about and the emotion put I’m kind of grateful for because I think and strip down the songwriting a little +%!"#!'(#,"%8,#+,#/(*K#8(%5+%(#)%&#*)-# choosing a band name is a huge >+!9#D*(/+"5,0K#-(#')/(#)0-)K,#>((%# and pretty heartfelt. I think as a result, responsibility. It was also something inclined to, when taking things like there is a slightly more, across the -(#%(/(*#(N6(<!(&#!"#')/(#!"#F5,!+7K# guitar lines and whether or not we board, serious tact to it. in anyway, because we didn’t expect needed them, to just keep them in anyone to care (laughs). So if we did (laughs), but this time we wanted to So this one more so than past m(N6(<!#)%K!'+%8n#-(#<(*!)+%0K#-"50&# )/"+&#!')!9#:(#-)%!(&#!"#@((6#+!#."*(# records? ')/(#!'"58'!#)>"5!#+!#)#0"!#."*(#)%&# measured and simplistic. H#$%&#+!#*()00K#')*&#!"#&(!)<'#.K,(07# I think as a result the name would be )%&#0""@#)!#!'+%8,#,5>F(<!+/(0K# (/(%#-"*,(9#J"#>K#!'(#!+.(#H#-),#+%# because there are things that ht come the band, it was all decided on.

! S O N I S E P M A W C E I S V O R L E T N I

from my head and that’s what they are. I think it’s again partly the way, -+!'#!'+,#*(<"*&3#-(#<5!#"5!#!'(#<')77# so to speak. I mean its ten tracks *)!'(*#!')%#$7!((%9#='(*(#6*">)>0K# -"50&#')/(#>((%#)#."*(#,(*+"5,#!(%# track album within Romance is Boring, but there were just these other songs around them that maybe softened that a little bit. !"#$%"&'"()'*(++,"-.(++,"/*-0-&/&$1" and impressive that you write all the lyrics at the last second. They may be tongue-in-cheek, but also quite clever. :(00#!')!I,#/(*K#@+%&#"7#K"5#c0)58',d9##H# think the whole idea of what we do, being in a band, is so absurd and the fact that just because we formed a band we get to play shows on the other side of the world. It’s insane, and if I was to sit down and be like “well this is what I want to get off my chest,” I couldn’t take myself seriously, so @%"-+%8#!')!#E,'+!#H#')/(#!"#$%+,'#!'+,# song by tomorrow morning,” and then stay up all night, usually getting drunk (laughs), it just works. I know there is going to be a time that it’s not going to work and I’m just going to say “that’s )00#H#')/(9i#R"6(7500K#%"!#,"#,""%# though. You guys are on your fourth record now. Going into this band, was this longevity a possibility in your mind? :'(%#-(#7"*.(&Z#T"#-)K9#:(I/(# been together for six years now and I think the only reason for that is that we "%0K#(/(*#&+&#+!#7"*#,".(!'+%8#!"#&"#),# )#'">>K9#?#0"!#"7#6("60(#7"*.#>)%&,;# especially at the time we started, which was just when the money was starting to run out, thinking “Oh this is job. This is something we can do.” People were just trying to judge trends )%&#,((+%8#'"-#!'(K#<"50&#$!#+%!"# !'+%8,9#:(#"%0K#(/(*#7"*.(&#)#>)%&#!"# ')/(#)#0)58'#)%&#"<<56K#"5*,(0/(,9# M),+<)00K#)!#5%+/(*,+!K;#:(&%(,&)K# afternoons were free, so we said “let’s just start practicing as a band” and we &+&9#M(<)5,(#"7#!')!;#(/(*K!'+%8#-(I/(#

)<'+(/(&#'),#>((%#,"#.5<'#!')%#-(# sitting where Lettermen would to (N6(<!(&;#-'+<'#.()%,#!')!#-(#')/(# &"+%8#!'(#<5(,;#!'+,#"0&;#"/(*-(+8'!# >((%#+%<*(&+>0K#8*)!(750##7"*#+!#)%&#')/(# guy, who was really nice, but couldn’t .)+%!)+%(&#(%F"K+%8#+!9#:(#')/(%I!# pronounce the band name (laughs). become too jaded. ?%&#X(!!(*.(%#+,#,"#,5)/(;#>5!#!'+,# guy was just slumped at the desk. That is probably why Los Then after that it was just nothing until Camposinos comes across as such 7:00. Then we went to makeup and a genuine band. they were like “You’re on next!” Then H#-"50&#'"6(#,"9#:(#)*(#/(*K# we go on for three minutes and that’s uncomfortable with any sort of it. It’s so much build-up and then '+(*)*<'Kf#H#$%&#+!#/(*K#2)!!(*+%8;#>5!# "/(*#+%#)%#+%,!)%<(9#H!#-),#F5,!#65*(# also incredibly awkward when there is adrenaline. anyone like—well yesterday after the show in Chicago we went to the merch Do you think Los Camposinos will table and we were there for two hours pull a “Rolling Stones” and just keep after the show signing autographs and playing forever? people were queuing for two hours H#'"6(#%"!#m0)58',n#>(<)5,(#H#7((0#!""# and they would get to you and they’d old already. It’s terrible, I mean I’m be shaking or unable to speak and 26, we’re all about that age now, and stuff (laughs). It’s so weird because it’s I’m in enough pain as it is, let alone (45)00K#+%<*(&+>0K#+%<*(&+>0K#2)!!(*+%8# >(+%8#!')!#"0&9#?0,";#!'(#G"00+%8#J!"%(,# and really really uncomfortable >(%($!#7*".#.)@+%8#)#,'+!S!"%#"7# >(<)5,(#-(#&"%I!#-)%!;#"*#&(,(*/(# money from what they do, whereas that sort of thing. We are no different HI.#Pj#)%&#,!+00#0+/+%8#0+@(#-'(%#H#$*,!# to anyone else. 8"!#!"#5%+/(*,+!K#)!#`o9#?!#,".(#6"+%!# I’m sure we’d all like to get mortgages When did you realize the band was a )%&#7).+0+(,#)%&#-(I00#%(/(*#>(#)>0(# consistent and dependable project? !"#&"#!')!#-+!'#!'+,#>)%&9#:(I00#')/(# H#,!+00#&"%I!#%(<(,,)*+0K#!'+%@#-(#')/(9# to get proper jobs, which is kind of a There might be milestones within the depressing reality to it. >)%&#-'(*(#-(#')/(#*()0+](&#Eb'# wow, this is something a proper band 2$'&+"'3('"%.0-.//&$1"#$(+&',4"356"%5" &"(,9i#J"#0+@(#*(0(),+%8#"5*#$*,!#,+%80(;# you guys keep things interesting? signing a record deal, we recorded our H#!'+%@#F5,!#@((6+%8#>5,K9#:(I/(# $*,!#)0>5.#+%#C)%)&);#,"#<".+%8#"/(*# )/(*)8(&#*(0(),+%8#)%#)0>5.#)#K()*# to do that, things like Lollapalooza. )%&#-(I/(#&"%(#,".(#1D,9#H#!'+%@#)#0"!# 1/(%#."*(#*(<(%!0K#-+!'#!'+%8,#0+@(# of bands release an album and then ')/+%8#"5*#.5,+<#+%#!'(#M5&-(+,(*# tour it for 2-3 years and when you are commercial and we were on the Late 60)K+%8#!')!#,).(#,(!#"7#,"%8,#(/(*K# J'"-#-+!'#A)/+&#X(!!(*.(%#0),!#-((@# %+8'!;#+!#&"(,#8(!#>"*+%89#:'(%(/(*# and that was another situation where we get bored with the songs, we just we had to step back and realize it was go and write another album. The fact a proper thing. !')!#-(#&"#@((6#>5,K#'(06,9#?0,";#+7#+!# weren’t for this band, I doubt I would The Lettermen performance was (/(*#')/(#!'(#"66"*!5%+!K#!"#<".(#!"# great. the states, so we get to come here Thank you. It was really surreal and come back and we get to see >(<)5,(#)00#!'(#8()*#8"!#."/(&#+%#)!# 60)<(,#-(I/(#>((%#!"#>(7"*(#)%&#0+@(# 5:30 in the morning and we went in at and we get to see new places. I don’t maybe 11:00 to run through the song know what we’d be doing otherwise. 7"5*#"*#$/(#!+.(,#)%&#!'(K#6*)<!+<(&# :(#)*(#)00#/(*K#05<@K#!"#>(#)>0(#!"#&"# with all the camera angles that they !'+,#7"*#)#0+/+%89 wanted to get. There was this guy

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Features This will be your third show in Madison over the past couple years. Is it a conscious choice to come back here? :(I/(#%(/(*#)<!5)00K#')&#)%K#!+.(# in Madison. We just got here two '"5*,#)8"#)%&#-(#0()/(#)!#`\#).# tomorrow, so that is what it’s usually like. I mean, the Rathskeller show was crazy and really fun and the last time. I don’t remember much about the show, but we had a really %+<(#(/(%+%8#-'(%#-(#-(*(#)!#!'(# Majestic. I think part of its charm for us is that it is a couple hours outside "7#C'+<)8"#m0)58',n9#J"#+7#HI.#>(+%8# honest, we can do a show in Chicago )%&#!'(%#F5,!#<".(#'(*(9#M5!#-(#')/(# booking agents that do that.

Your lyrics do make a lot of /0.)&#)"-.7.-.$)./"'5"0.50+."($%" places. Are they all just brutally honest? H#85(,,#,"9#H#.()%#!'(*(#')/(#"%0K# really been 2-3 situations where ,".(>"&K#-'"#HI/(#-*+!!(%#)>"5!# '),#*(<"8%+](&#!'(.,(0/(,#+%#+!#)%&# <"..(%!(&#"%#+!;#>(#+!#6",+!+/(0K#"*# %(8)!+/(0K9#W(%(*)00K#,6()@+%8;#H#!'+%@# it’s to be expected. People I get to know or who know me personally kind of know that I’m going to end up writing songs about them (laughs). It’s all I know, so they seem to deal with it. Have you ever ruined any friendships that way? T"!#*()00K9#H#')/(%I!#6+,,(&#)%K"%(#"77# too badly.

Do you guys play Milwaukee much? Once, I think. We played this big What are your current guilty <)/(*%"5,#*"".f#+!#-),%I!#/(*K#>5,K# pleasures? (laughs). L5,+<S-+,(Z#H#&"#%"!#>(0+(/(#+%#85+0!K# pleasures. I think it is a disgusting Naming an album “Hello Sadness” !(*.9#?,#K"5#.)K#')/(#6+<@(&# is pretty up-front. How did you up from some of my lyrics, I think intend fans to interpret that? that life is generally full of so much Well there were a few other ideas misery and fucking terrible things we were knocking about, but Hello that anything you get pleasure from, Sadness was the most direct and you shouldn’t feel guilty about. In the best banner for the rest of the terms of liking music that you are album to fall under. With things like (.>)**),,(&#)>"5!;#7"5*#"*#$/(#K()*,# that, though, we try really hard not )8"#H#6*">)>0K#-"50&#')/(#>((%# to consider about what other people more snobby about music tastes, but will think. The key to writing lyrics these days I just take pleasure from for me is just being honest without -'(*(/(*#H#<)%#8(!#+!#)%&#H#-+00#%"!#7((0# questioning it and wondering what bad about it at all. other people will make of it. In the $*,!#K()*#"7#!'(#>)%&#-'(%#-(#$*,!# Current pleasures then? ,!)*!(&#')/+%8#6("60(#0+,!(%+%8#!"#5,# There was a recent record from and being aware of us I tried second Schoolboy Q. He’s this guy from the guessing a little bit and wondering ,).(#'+6S'"6#<"00(<!+/(#),#^(%&*+<@# what other people wanted me to Lamar, and his record is really great. write songs about, but that stuff I ='(*(#')/(#>((%#)#0"!#"7#*()00K#8""&# look back on and am not too keen .+N#!)6(,#*(<(%!0K3#!'(#%(-#G+<@# on. Now we just try not to care about Ross is really great. I mostly just -')!#"!'(*#6("60(#!'+%@9#?,#0"%8#),# 0+,!(%#!"#*)6#.+N#!)6(,9#H#')/(#@+%&#"7# I’m happy with it, that’s as far as I’m 8+/(%#56#"%#85+!)*#.5,+<#)#0+!!0(#>+!9# willing to worry about it. From last year there was this record >K#A(,!*"K(*#!')!#H#0+@(#)#0"!#m^)65!!n;# -'+<'#+,#.K#7)/"*+!(#)0>5.#7*".#0),!# year. He’s such a great lyricist and

!'(#6*"&5<!+"%#+,#).)]+%89#H#0"/(#!'(# %(-#A*)@(#)0>5.9#='(*(#+,#)#%(-#='(# A*().#)0>5.#<".+%8#"5!#,""%#!')!# HI.#(N<+!(&#7"*#)%&#!'(#%(-#_+5#_+5# album should be out soon. The band we’re touring with, Parenthetical W+*0,;#+,#"%(#"7#.K#7)/"*+!(#>)%&,9# They put on a really good show. Zack is quite the front man. The /(%5(#+,#0+@(#'+,#F5%80(#8K.9#H!I,#45+!(# +%!(*)<!+/(9 Tough act to follow? U(,#)%&#%"9#?7!(*#'(#'),#&"%(# !'+%8,;#H#&"%I!#(/(%#%((&#!"#<"%,+&(*# doing them (laughs). Like three or four years ago when I was a quite a bit more healthy I used to climb on things and jump off things, but now H#F5,!#&"%I!#')/(#!'(#(%(*8K9#HI.#0+@(# )#,!"%(#)%&#)#')07#'()/+(*#!')%#H#-),# )%&#.K#@%((,#')/(#')&#"%(#7""!>)00# injury too many, so since Zack does all those things I can just stay on the stage. If I was to do it, the crowd would be like “Oh he’s just copying the guy that was on before.” I’m grateful for it. tyler FASSNACHT

?7!(*#)#8(!!+%8#'+,#<"/(!(&#0)6!"6#,!"0(%;#*(0(),+%8#)# chain of chart-toppers, and securing a three-win night at !'(#P\`P#W*)..K,;#J@*+00(N#'),#6*"/(%#'+.,(07#!"#>(#)%# (%!+*(0K#,5<<(,,750#AB#&(,6+!(#)#,((.+%80K#"/(*%+8'!#*+,(# !"#7).(9#='+,#85K#&"(,%I!#F5,!#')/(#)#@%)<@#7"*#<*()!+%8# some of the most addicting, widely-appealing dubstep )%&#(0(<!*"%+<#.5,+<#+%#!'(#'+,!"*K#"7#!'(#+%&5,!*K3#'(# 6",,(,,(,#!'(#<*()!+/(#.+%&#!')!#8)/(#>+*!'#!"#b:JX?;# a label that produces some of the most rapidly-growing artists in both the electro and dubstep genres. Porter G">+%,"%#)%&#A+00"%#V*)%<+,#)*(# two of these artists whose music is infecting the scene with becoming beats and catchy samples. ?!#F5,!#%+%(!((%#K()*,#"0&;#D"*!(*# G">+%,"%#,+8%(&#!"#b:JX?#)7!(*# +.6*(,,+%8#!'(#0)>(0#-+!'#'+,#$*,!# single, “Say My Name.” Since then, he has toured throughout the United States performing at a wide *)%8(#"7#/(%5(,;#+%<05&+%8#.5,+<# 7(,!+/)0,#0+@(#10(<!*+<#V"*(,!#)%&# J_J:9#P\``#)0,"#,)-#G">+%,"%# 60)K+%8#,'"-,#+%#?5,!*)0+)#)%&# New Zealand alongside Skrillex, ,6*()&+%8#)#.+N#"7#6*"8*(,,+/(# house, dubstep, and trance to all corners of the Earth with tracks ,5<'#),#Ep%+,"%i#)%&#EJ6+!$*(9i# It’s safe to say that although Porter Robinson has gained a bounty of ,5<<(,,;#'(I,#!)@+%8#!'(#$*,!#7(-# steps of a journey towards musical excellence, and fans around the world couldn’t be more excited. A+00"%#V*)%<+,;#&+,<"/(*(&#>K#A+60"#+%#0)!(#P\`P;#+,#!'(# %(-(,!#<"S,+8%#!"#b:JX?9#V*)%<+,#+,#0(%&+%8#)#%(-# interpretation of electronic dance music, and, in turn, <*()!+%8#)#*(/"05!+"%#+%#!'(#8(%*(9#R(I,#!5*%+%8#(0(<!*"%+<# music into something that kids can grow up with and <50!+/)!(#!'(+*#0"/(#7"*#-'+0(#!'(K#!*(@#!'*"58'#!'",(# !((%)8(#K()*,9#A+00"%#V*)%<+,#."/+%8#!'+,#.5,+<#>(K"%&# frat houses and East Coast shore clubs and making socially acceptable to enjoy electro without the fear of ,!(*("!K6(,9#R+,#1D#J".(!'+%8;#J".(!'+%8;#?-(,".(# dropped in February and includes the tracks “Falling Up,” “Now Hear This,” and a collaboration with Kill the Noise 60)K7500K#!+!0(&#EA+00#!'(#T"+,(9i#H!#+%<"*6"*)!(,#."&(*%#@+<@# &*5.,#)%&#,%)*(,#-+!'#)#.+N#"7#75%;#/+&("8).(S(,45(#

sounds that make for a unique and appealing song. March 13th marks the release of !'(#b:JX?I,#,(<"%&#<".6+0)!+"%;# V*((#=*()!,#a"09#P9#='+,#*(0(),(# will feature songs from the label’s prominent artists, such as Skrillex, Porter Robinson, and The M Machine and will also include a ton of tracks from newly-signed artists, producing a mix of sounds from electro-house to juke to dubstep. The album is free and embodies a .),,+/(#,(0(<!+"%#"7#.5,+<#6(*7(<!# 7"*#)%K#'"5,(#6)*!K#"*#6*+/)!(# enjoyment. Props to Skrillex for creating such a fantastic (%/+*"%.(%!#+%#-'+<'#%(-#)*!+,!,# <)%#<50!+/)!(#!'(+*#,@+00,#)%&#.5,+<)0#<*()!+/+!K9##H#!'+%@#H# ,6()@#7"*#!'(#.)F"*+!K#"7#!'(#b:JX?S0"/+%8#-"*0&#-'(%#H# say “Thanks.” alex ROSS photo from consequenceofsound.net

f 19

Features M(<".+%8#"%(#"7#!'(#.",!#<"%!*"/(*,+)0# :++8#F"@+%80K#.(%!+"%(&#M">#AK0)%;#>5!#H# )*!+,!,#"/(*%+8'!#+,%I!#)#7()!#!')!#.",!# look at Lana del Rey and see a connection. ),6+*+%8#.5,+<+)%,#<)%#)<'+(/(;#>5!#7"*# She got her start singing folk songs in ,+%8(*S,"%8-*+!(*#X)%)#A(0#G(K#+!#-),#!""# clubs in Brooklyn under Lizzy Grant, and easy. She plays on predisposed images now she’s pursuing an image, an idea, a that the public subconsciously holds with statement, Lana del Rey. She realized that her words, style, sound, and persona. the only way to get the life she wanted was ?.(*+<)#!'+%@,#"7#'(*#),#>(+%8#.)%+650)!(&# !"#$%&#6("60(#-'"#')&#!'(#0+7(#,'(#-)%!(&# by an industry, but Ms. del Rey is the one and study them in order to become the in power here, she is the master behind her 6(*,"%#,'(#-)%!(&#!"#>(;#%"!#5%0+@(#AK0)%# own manipulation. channeling Woody Guthrie. It’s crazy for me to think that she sold out, because H#)&.+!#!'(#$*,!#!+.(#H#,)-#X)%)#&(0#G(K# !')!I,#!'(#(45+/)0(%!#"7#,)K+%8#!')!#-(I*(# was the night of her now legendary SNL not allowed to change and grow as artists. performance. I was, mesmerized by what :')!#+7#AK0)%#')&#%(/(*#8"%(#(0(<!*+<Z# I thought was bizarrely beautiful girl in a ?*!+,!,#<)%#!*)%,7"*.#)%&#.)%+650)!(# striking white dress with an auburn quaf !'(.,(0/(,;#)%&#+%#!5*%;#>(<".(# sitting perfectly, with sad eyes and poutexpressions of their art. to-the-death lips. She began with the ')5%!+%8#Ea+&("#W).(,;#i#!'(#)66)*(%!# ?%&#!')!I,#-'"#X)%)#A(0#G(K#+,;#)# darling of the blogosphere last summer 6(*7"*.)%<(#)*!+,!9#?0!'"58'#H#0+@(#M"*%# c-'(*(#!'(#'(00#-),#HZd#?%&#!'(#-'"0(# !"#A+(#),#)#.5,+<)0#)0>5.;#H#0+@(#+!#."*(# time, I sat there in semi-awe, completely for the concept, for the phenomenon. Her (%!*)%<(&9#?!#!'(#(%&#H#')&#&(<+&(&# lyrics are stitched together commentaries that I had either witnessed the worst "%#(/(*K!'+%8#7*".#E='(#?.(*+<)%#A*().i# performance of all time, or a stroke of to Lolita references to party girl stories complete genius. from her past. More than anything, she is exploring the same issues we always Watching the blitzkreig that unfolded 7)<(;#7*".#-')!#X+]#D')+*#-*+!(,#+%#'(*#:JB# 6",!SJTX;#H#-),#75*!'(*#,(&5<(&3#-'"#-),# editorial, with a “radical-feminist” point this girl with her supposed lip-implants, "7#/+(-9#J'(I,#",!*)<+](&#>(<)5,(#E,'(I,# >+00+"%)+*(#A)&&K;#)%&#7"0@#,+%8+%8#6),!Z# wanting and taking like a man” and we all J'(#,((.(&#)%#(),K#!)*8(!#7"*#!'(#(/(*S know that scares the world. She uses sex <K%+<)0#?.(*+<)%#.(&+);#)%&#'(*#+%7).K# in the way that no one wants her to, she’s grew and grew, further blurring the line not just another slutty Britney Spears, >(!-((%#$<!+"%#)%&#*()0+!K9#^*+,!(%#:++8I,# ,'(I,#-')!#+,#T1_=9 “Weekend Update” skit addressed some of the ludicrousy of the backlash, C".+%8#7*".#/+*!5)00K#%"-'(*(;#6("60(# &(0+/(*+%8#)#&()&6)%#)6"0"8K#&*+66+%8# ')/(#<*+!+<+](&#'(*#E=*"F)%S'"*,(i#)!!)<@# with sarcasm for changing her name as that is unwarranted with her talent or )#.)*@(!+%8#8+.+<#%"!#5%0+@(#M">#AK0)%# (N6(*+(%<(9#?,#D')+*#,)+&;#EJ'(I,#-*+!+%8# and for failing to reach the high bar set for '(*,(07#+%!"#(N+,!(%<(9#J'(I,#8+/+%8#'(*,(07# past performances by Baha Men. Last I a part to play because God knows no checked, mediocore SNL performances one else will.” Clearly these critics are didn’t merit a reaction on par with hate talking about the wrong industry, because speech. all musicians come from nowhere and become something. She’s a manipulator There are two different issues at hand )%&#H#8+/(#'(*#<*(&+!;#,'(#+,#5,+%8# '(*(#-+!'#L,9#A(0#G)K9#b%(#+,#'(*#)<!5)0# (/(*K!'+%8#!"#'(*#)&/)%!)8(9# music and sound, and if her melancholy, half-tragic crooning paired with ghetto 6*(!!K#8+*0#45),+S*)6;#+,#+%#7)<!;#(/(%#8""&9# But although her music is what has got us talking, were more interested in her and her image, her self-described “Ghetto T)%<K#J+%)!*);i#!'(#/).6K#,(&5<!*(,,# persona.

LOVE vs. lana del Rey Is her career in itself is a commentary on '"-#(),K#+!#+,#!"#%)/+8)!(#)%&#.)%+650)!(# the music industry? How under the guise of being “a product” of the industry, she )<!5)00K#(N(.60+$(,#)%&#>(<".(,#!'(# commentary on the industry itself? I don’t >(0+(/(#7"*#)#.+%5!(#!')!#X)%)#&(0#G(K#+,# some dumb girl, manipulated by producers into becoming a sex-kitten popstar drone. She is smart as hell, and fascinating, and all the more desirable because she doesn’t :?T=#5,9#H%#M*+!+,'#a"85(;#,'(#&(<0)*(&# )#,(<"%&#)0>5.;#,)K+%8#!')!#EHI/(#,)+&# )00#HI/(#')&#!"#,)K;i#)%&#!')!#E.5,+<#+,# secondary.” She could become another B)KSY#6",!SM0)<@#?0>5.#)%%"5%<(.(%!;# )#6*+<(0(,,#D+<),,";#)#<)%<(0(&#?**(,!(&# A(/(0"6.(%!9#R(*#<)*((*#+,#!'(#>(,!# performance art, and an impending disappearing act would create insatiety. =)0@#.)K#>(#<'()6;#>5!#+!#6)K,9#?%&#-(I*(# all buying into it. 0+/+#MAGNANINI

X+@(#)#2).+%8#"%(S&"00)*# bill barely disguising an undercoating of feces, the amusing and ultimately ,'"*!S0+/(&#)66()0#"7#X)%)# A(0#G(K#'),#<".(#!"#6),,9# The brunt of countless jokes, dear Lana has maintained her lackluster composure and (%!+*(0K#<"%!*+/(&#6(*,"%)#c)%&# /"+<(;#!)0(%!;#+.)8(;#8(%(*)0# identity etc.) throughout the process, all while defending her unwarranted success by claiming that she actually doesn’t care.

HATE anal led yeR

Claiming not to care is actually really hilarious considering the photo from blackneonlondon.blogspot.com ">/+"5,#)."5%!#"7#(77"*!#,'(#)%&#'(*#0)>(0#')/(# 65!#+%!"#>(+%8#)#<".60(!(0K#$<!+!+"5,#<')*)<!(*9# J)K#K"5I*(#,"**K#X)%);#!'(*(I,#&($%+!(0K#)#-'"0(# legion of minions hard at work making your tunes ,"5%&#0"-S$#)%&#K"5*#6"5!#605.69#:'+0(#K"5I*(#)!#+!# you can also apologize for calling yourself the “ghetto Nancy Sinatra.” Not only does this moniker not make sense in any context, re: no talent and thoroughbred trust-fund baby, >5!#+!I,#*+&+<50"5,#!"#(/(%# associate herself in the same sentence as the “These Boots Were Made for Walkin,” music royalty songstress. If she’s feeling generous she can also apologize for her entire album, M"*%#!"#A+(, except for “Blue B()%,9i#:'KZ#M(<)5,(#H#&"#)#*()00K#8""&#EM05(#B()%,;i#+.6*(,,+"%9

Say you’re sorry Lana, there’s definitely a whole legion of minions hard at work making your tunes sound low‐fi and your pout plump.

“

Artists can transform and manipulate themselves, and in turn, become expressions of their art.

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he good news is that Lana has stated that she’s basically tapped all of her musical potential and isn’t planning on *(<"*&+%8#)#,(<"%&#)0>5.9#H,#!'+,#)%"!'(*#DG#!)<!+<#!"#!*K#)%&#0()/(#5,#-)%!+%8#."*(Z#U()'#6*">)>0K;#)%&#!'(*(# probably will be more hype, but I can guarantee that I won’t buy her album and probably won’t care. joyce EDWARDS

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Features

When did I first know I was in love? Let me start with when I first heard Sleigh Bells. Backtrack to the spring of 2010 when I attended a Yeasayer concert. Remember when you opened for that tour? I had read a little about you and Derek, but had never actually listened to the few tracks floating around the Internet at the time. I distinctly remember sitting on a barstool alone when the lights dimmed and you came running out. The following 30 minutes or so was a blur. Heavy guitars, pulsing beats and shrieks made me shudder and smile at the same time. Treats was a powerhouse and nearly blew out the speakers of my car when I played it loud enough to feel the rumble of shaking metal on rubber. My ')%&,#-"50&#/+>*)!(#"%#!'(#,!((*+%8#-'((0;#)%&#H# '()&S>)%8(&#)%&#$,!S65.6(&#-'(!'(*#H#-),#)0"%(# or with passengers. It was comforting. Whether I was angry, bored or sad, when I put on the album, 0+7(#-),#75%9#H#)&"*(&#!'(#>)%&9#?!#6)*!+(,#+!#-),#.K# 8"S!"#.5,+<#6+<@9#M0),!+%8#E?hM#L)<'+%(,i#%(/(*#0(7!# a person standing still.

V*".#!'(#$*,!#,(<"%&,#"7#K"5#F5.6+%8#"%#!')!#>(&# in slow-motion, wearing the red robe, the red lipstick )%&#()**+%8,;#!'(#*+2(;#!'(#J!(67"*&#:+/(,S(,45(# >0)%@#,.+0(;#H#@%(-#!')!#.K#)&"*)!+"%;#%)K;#.K#0"/(# ')&#8"%(#7*".#)#>)%&#!"#)#,6(<+$<#6(*,"%9#M(K"%&# the hot jean cut-offs and the badass studded leather jacket, was a more immediate connection. Your ,(&5<!+/(#(K(,#)%&#%"%<')0)%!#&(.()%"*#-'+0(# singing lines of assurance and support made me feel ,+00K#7"*#)00#!'(#!+.(,#+%#.K#0+7(#H#&+&%I!#$8'!#!"#.)@(#)# comeback. I felt myself in the meaning of that song. ?,#H#).#0+,!(%+%8#!"#EC*5,'i#"77#"7#!'(#%(-#)0>5.;#H# +.)8+%(#.K,(07#"6(%+%8#.K#<0",(&#(K(,#!"#$%&#K"5# there, singing “I got a crush on, I got a crush on, I got a crush on you,” at the foot of my bed. Our stares meet and we are alone, intimate and ready… #H#')/(#%"#+%,+8'!#+%!"#K"5*#6(*,"%)0+!K;#@%"-0(&8(#"7# your interests or the history of your life, but none of !')!#.)!!(*,9#H!#-),%I!#0"/(#)!#$*,!#,+8'!9#=')!#<0+<'q# *(.)+%,#!'(#60"!#"7#X+7(!+.(#."/+(,#)%&#7)+*K!)0(,# )%&#+,#%"!'+%8#+%#<".6)*+,"%#!"#!'(#,!*(%8!'#"7#0"/(# )!#$*,!#0+,!(%9#M(0+(/(#.(#?0(N+,;#!'+,#<*5,'#-+00#>(# *)!!0+%8#+%,+&(#"7#.(;#,')@+%8#-+!'#(/(*K#>),,S>()!# )%&#85+!)*#<*5%<'#5%!+0#H#<)%#%"#0"%8(*#.)@(#)#$,!# and thrust it into the air. ANONYMOUS

:'(%#H#$*,!#'()*&#!'(#G(+8%#"7#=(**"*#,+%80(;# “Comeback Kid,” I was taken aback. Clean production, layers of guitars and synths, the airy chorus, all these things confused me. It was so different from Treats, yet the more I listened to the song, the more my confusion turned to intrigue. From there I couldn’t go a day without listening to it )!#0(),!#"%<(9#H#,<"5*(&#!'(#H%!(*%(!#7"*#+%!(*/+(-,;# press pictures and any article shedding light on this new chapter of Sleigh Bells. Then I saw the music /+&("9

photo from font-free.com/offbeat-sleigh-bells/

Kurt Vile: Freeway in mind

+%#&"/(!)+0+%8#*(/(*>;#!'(#,"%8#<"%/(K,#)%#)0+(%#-"*0&# "7#,!)*@#&(!)<'(&%(,,;#&(/"+&#"7#45"!+&+)%#<"%<(*%,9# Woody Guthrie’s guitar carried the line “This machine kills 7),<+,!,3i#^5*!#a+0(I,#<"50&#(),+0K#*()&#E='+,#.)<'+%(#>()*,# !*)/(0(*,9i V"*#)00#+!,#6"-(*#!"#65,'#!'(#+%&+/+&5)0#7*".#7).+0+)*# 60)<(,;#a+0(I,#.5,+<#<"%!)+%,#)%#5%.+,!)@)>0(#-)*.!'#)%&# +%-)*&#*(2(<!+"%9#b%#'+,#.",!#*(<(%!#Smoke Ring For My Halo#cP\``d;#!'(#(<'"+%8#<'+*6,#"7#EM)>KI,#?*.,i#,6+%#)# ,'+..(*+%8#6*"!(<!+/(#>"-(*;#)#$!!+%8#)<<".6)%+.(%!#!"# )#0"/(#,"%8#"7#)00(/+)!+%8#*(!*()!9#X()&+%8#75*!'(*#+%!"#+!,# &*().K#*(<(,,(,;#"6+"+&#7(.)0(#/"<)0,#65%<!5)!(#!'(#(%&# with a sleepy sigh, the last periods in a softly murmuring ellipsis. Tracks like “Blackberry Song” off of 2009’s Childish Prodigy#<)**K#)#<(*!)+%#@+%&%(,,#"7#<"%/+<!+"%;# tacitly dismissing rhetorical bite for greener pastures of !*)%<(S+%&5<+%8#$%8(*6+<@(&#0""6,9#='(#<0+%<'(*#+,#!')!# !'(,(#,"%8,#*(.)+%#5%6+%%(&3#0)K(*,#.)K#%"!#,6()@#0"5&(*# than words, but they do beckon, calling listeners to project !'(.,(0/(,#"%!"#!'(#.5,+<#+%#-)K,#!')!#,"%8,#-+!'#$00(&# agendas simply cannot.

?!#!'(#>)<@#"7#+!#)00#0+(,#)#,(<"%&)*K#&)*@%(,,#!')!#8+/(,# ')5%!+%8#-(+8'!#!"#"!'(*-+,(#,6)*@0+%8#!5%(,9#?-),'# in steel strings, title track “Smoke Ring For My Halo” plays like a late summer night, looking out into the humid ?#.5,+<)0#<)*((*#<)%#>(#)#/(*K#+%/),+/(#!'+%89#D*"."!+"%# blackness from some porch to admire the nocturnal is an endless battle of personal branding and stepping ')](#!')!#,5%,'+%(#-+00#%"!#)00"-9#a+0(I,#/"+<(#<"%F5*(,# "5!,+&(#"7#"%(,(07#!"#<"%%(<!#-+!'#)#8*()!(*#)5&+(%<(3# "!'(*-"*0&K#,6(<!(*,#-+!'#,0)<@(*#6*"-(,,;#(/"<)!+"%,# *(<"*&#0)>(0,#')/(#!'(#6"-(*#!"#.(&+)!(#!'(#)*!+,!I,#.",!# "7#E)%8(0#&(."%#'5.)%i#/)%+,'+%8#-+!'#!'(#5%<(*!)+%!K# intimate and honest material in the name of prosperity. "7#6(*+6'(*)0#/+,+"%9#V*".#!'(#,).(#)0>5.;#!'(#&(<+&(&0K# It is in light of this potential struggle that the music of forlorn “Runner Ups” is too sour to be soothing, while the ^5*!#a+0(#,5*6),,(,#!'(#!K6+<)0#.(*+!,#"7#<"..(*<+)0# singular minor musings of “Slow Talkers” (2008) lay down )<<".60+,'.(%!;#.)+%!)+%+%8#)%#+%!*",6(<!+/(#*+<'%(,,# ,)/"*K#&+,&)+%#-+!'#!'(#.+0&#.+,)%!'*"6+<#&+,,"%)%<(#"7#)# !')!#,+%8,#!'(#/+*!5(,#"7#7*((&".#)%&#<"%!(.60)!+"%#!')!# drunk man in his candlelit chamber. Meditation is perhaps might otherwise be swept under the rug of rigorous touring a+0(I,#,6(<+)0!K;#>5!#'(#+,#%"!#<"%$%(&#!"#+!9 )%&#.(&+)#(%&"*,(.(%!9#H%#,'"*!;#^5*!#a+0(#8(!,#!"#')/(# his guitar and play it too. One path that artists may take is to smooth out their quirks "%#,5>,(45(%!#-"*@,9#:+!'#*(8)*&,#!"#)#%(N!#)0>5.;#a+0(# A((60K#(.>(&&(&#+%#'+,#,"%8,#+,#)%#)*!+<50)!+"%#"7# tells music blog The Line of Best Fit, “I’m probably going unchained wandering. From the entrance of his debut to get really experimental but still make it a cool record.” album Constant Hitmaker (2008), “Freeway” bursts forth :+!'#)<<0)+.;#^5*!#a+0(#<"%!+%5(,#!"#.)@(#.5,+<#!')!# +%#)#F5>+0)%!#0)%&,<)6(#"7#,5%%K#85+!)*,;#!'(+*#."!+/(#7"*<(# retains his imprint, his brand of freedom. supplanting the need for a car in entertaining fantasies of interstate abandon. In contrast to such electrically ^5*!#a+0(#r#!'(#a+"0)!"*,#-+00#>(#60)K+%8#!'(#R+8'#T""%# charged declarations of life, liberty and the pursuit of Saloon in Madison on May 21st with Black Bananas. transience, “Losing Momentum” from Square Shells EP (2010) embraces the slower side of independence, the matt CHRISTIE *"00+%8#0"%(,".(#%"!(,#+005.+%)!+%8#)#-)!(*K#/)50!9#A*(,,(&# photo from www.fakeplastictunes.com/

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emmie’s best albums of the school year

If it weren’t for their disgusting name, I really think that more people would be singing praise 7"*#A+)**'()#D0)%(!9# Their debut album is full of anthemic and catchy punk music, with memorable hooks in each song. They shred, they head bang, they ,'"5!#)%&#!'(K#')/(#7"5*# guitarists. Enough said. tyler FASSNACHT

HI00#)&.+!#!')!#-'(%#H#$*,!#'()*&;#EJ".(>"&K# That I Used to Know”, perhaps the most 6"650)*#!*)<@#"77#"7#?5,!*)0+)%#6"6#,+%8(*#:)00K# de backer, I hated it immediately. Maybe K"5I/(#,((%#!'(#.5,+<#/+&("s+!I,#(45)0#6)*!,# nakedness, stop-motion, paint party and pop *".)%<(#>(!-((%#M)<@(*#)%&#/"<)0+,!#^+.>*);# -'+<';#&(6(%&+%8#"%#!'(#-)K#K"5#(%/+,+"%# that, can seem either extremely awesome or despicable. I, myself disliked the whole (%!(*6*+,(;#)%&#+!#-"50&I/(#,!)K(&#!')!#-)K#!""# if not for hearing “Somebody That I Used to ^%"-i#"/(*#)%&#"/(*#)8)+%#"%#!'(#*)&+";#)%&# !'(%#"/(*#)%&#"/(*#)8)+%#+%#.K#'()&#)7!(*-)*&,9## H#(/(%!5)00K#<)/(&#)%&#&"-%0")&(&#!'(#*(,!#"7# the album, which in its entirety is surprisingly original and irresistibly catchy. Check out “Easy :)K#b5!i#$*,!s+!I,#(),+0K#!'(#>(,!#,"%8#"%#!'(# album. sam EICHNER

Keeping with the theme of music that is 5%)66()0+%8#!"#!'(#K"5!';#-(#."/(#"%#!"# ethnic music and the Owiny Sigoma Band, a collaboration between trendy Londoners and a 6)+*#"7#!*)&+!+"%)0#?7*+<)%#.5,+<+)%,#7*".#b-+%K# J+8".);#)#*5*)0#/+00)8(#%()*#T)+*">+;#^(%K)9#='(# <"00+,+"%#>(!-((%#X"%&"%I,#/+>*)%!#(0(<!*"%+<# ,<(%(#)%&#!'(#*+<'#'(*+!)8(#"7#1),!(*%#?7*+<)%# .5,+<#+,#.5<'#."*(#<"'(,+/(#)%&#%)!5*)0#!')%# "%(#-"50&#(N6(<!9#='(#*(6(!+!+"5,#6(*<5,,+/(# >()!,#"7#?7*+<)%#.5,+<#)*(#)#.)!<'#.)&(#+%# '()/(%#-+!'#!"&)KI,#&*5.#.)<'+%(,;#)%&#7"0@# melodies are shared between handcrafted nyatitis (a string instrument) and synthesizers. The 10 !*)<@#)0>5.,#6*"/+&(,#)#,."*8),>"*&#)#,6(<!*5.# "7#.5,+<)0#+%25(%<(#7*".#1%80)%&#!"#?7*+<)# ranging from Wires, a track would feel at home on the radio, and Owegi Owandho, which features /"<)0,#)%&#*'K!'.+<#,+8%)!5*(,#!')!#.)%K#-"50&# $%&#)0+(%;#K(!#)66()0+%89#H!#8+/(,#(0(<!*"%+<#.5,+<# the soul that it was always missing. anthony LEE

?#$/(#K()*#(77"*!#'()&(&#>K#,(07S +&(%!+$(&#)5!(5*#A)%8(*#L"5,(#)%&# H!)0+)%#<".6",(*#A)%+(0(#X566+;# Rome extracts the essence of the "0&#J6)8'(!!+#:(,!(*%#$0.,#"7#!'(# 1960s and puts it on record. Featuring 5%(N6(<!(&0K#"*8)%+<#!*)<@,#7*".#B)<@# :'+!(#)%&#T"*)'#B"%(,;#!'(#)0>5.# sends forth creeping tendrils from deserted mining towns and moonlit canals, intertwining to form a piece of music that conjures cowboys drinking chianti with haunting allure. matt CHRISTIE

G(0(),(&#!'+,#J(6!(.>(*;#M?AM?ATb=WbbAI,# BBNG attempts to modernize and reshape a sound that much of my generation is unfamiliar with, jazz. H#'"6(#H#).#%"!#,6()@+%8#6*(,5.6!+/(0K;#>5!#.",!# of us tend to dismiss jazz as an “old people” music, (+!'(*#),,"<+)!(&#-+!'#(0(/)!"*#,.""!'#F)]]#"*#!'(# Q\I,#>(>"6#(*)9#:')!#-(#)*(#."*(#*(<(6!+/(#!"#+,# the reappropriation of jazz by hip-hop artists such ),#='(#G""!,#)%&#?#=*+>(#C)00(&#t5(,!;#>5!#(/(%# %"-#!'+,#"%<(#!'*+/+%8#,!K0(#+,#7)&+%8#!"#)#%(-#-)/(# "7#(0(<!*"%+<#+%25(%<(,9#MMTW#)!!(.6!,#!"#<0)-#+!,# way back into the mainstream by tying these two worlds together: they reject the stagnant motifs of traditional jazz by fusing them with modern production techniques and electronic elements and hip-hop 8*""/(,9#T"!)>0(#!*)<@,#+%<05&(#=+!0(#='(.(hJ)*5)I,# J"%8hJ"%8#"7#J!"*.,;#)#<"/(*#"7#,(/(*)0#X(8(%&#"7# Zelda songs, is bound to be an instant hit to anyone grew up in the 90s. The World Is Yours/Brooklyn Zoo <"/(*#"7#T),#)%&#bAM#&(."%,!*)!(,#!'(+*#<'"6,#-'+0(# "*+8+%)0,#,5<'#),#X+,!(*+",+,#)%&#!'(#H.6*"/+,(&#B).# )00"-,#MMTW#!"#,'"-<),(#!'(+*#"-%#<*()!+/(#<)6)<+!K9# D(*')6,#!'+,#*(/+/)0#"7#K"5%8#F)]]#!)@(,#"77#)%&#-(# can return to a time when mechanical, instrumental !)0(%!#+,#F5,!#),#/)05(&#),#<*()!+/+!K9 anthony LEE

:+!'#)#/"+<(#0+@(#?>(0I,#)%&#)# stage name that lacks a necessary c"*#5%%(<(,,)*KZd#E(;i#<"/(*+%8#)# L+<')(0#B)<@,"%#<0),,+<#0+@(#EA+*!K# A+)%)i#+,#%"!#"%0K#)00"-(&#>5!# applauded. Other than the more ">/+"5,#7)<!#!')!#?>(0#=(,7)K(# '),#)#/"+<(#!')!I,#6)*!#L)*/+%# Gaye part angel, his third mixtape out of his album trilogy Echoes of Silence exudes a rhapsody of *'K!'.;#>05(,#)%&#'()/K#&*5.,9# sara PIERCE

H7#K"5#')/(#(/(*#!'"58'!#"7#,)+0+%8#)#'".(.)&(# decorated houseboat down the Mississippi with only 20 pounds of potatoes and two dozen chickens, you could either be the reincarnation of Huckleberry Finn or the Montreal-based artist, Grimes. Her 2012 record, Ea+,+"%,;i#+,#)#,6+*+!5)0#F"5*%(K#!')!#6+(<(,#!"8(!'(*# +%25(%<(,#"7#+%&5,!*+)0;#(0(<!*"%+<;#)%&#BSD"6#!"#<*()!(# a unique musical fare that is easy to get lost in. Notable !*)<@,O#9#Eb>0+/+"%i;#E1+8'!i;#Ea"-(0,#k#J6)<(#)%&# =+.(i;#EC"0"5*#"7#L""%0+8'!#c?%!+"<'5,di aj BECKER

?#-(0<".(#<"%!+%5)%<(#)%&# embellishment of Fleet Foxes’ self-titled debut LP, Helplessness Blues bristles and blooms with the band’s expansion of folk .5,+<9#V*".#!'(#7*"%!(&#/"<)0# harmonies to the delicately unfurling acoustic arrangements, this album puts to rest any ,5,6+<+"%,#"7#2(&80+%8#05<@+%(,,9# Instead, the album cements frontman Robin Pecknold’s place as a master songwriter, harnessing his meticulous thoughtfulness to produce music that feels both *(F5/(%)!+%8#)%&#,(),"%(&9 matt CHRISTIE

HI00#>(#!'(#$*,!#!"#)&.+!#!')!#H#')/(#)#,.)00#K()*%+%8#!"# want to be like Beyonce. Her talent is unmatched by most artists, and her music has somehow been able to ,!)K#<"%,+,!(%!#(/(*#,+%<(#!'(#,60+!#-+!'#A(,!+%KI,#C'+0&# in the early 2000’s. 4, the followup to the 2008 mega )0>5.#H#?.9999#J),')#V+(*<(;#&*)-,#"%#!'(#+%25(%<(,# "7#V(0)#^5!+;#L+<')(0#B)<@,"%;#)%&#X)5*K%#R+009#:'+0(# not her strongest album to date, 4 does hold Platinum ,!)!5,#-+!'#!'(#GH??;#,(00+%8#"/(*#`9[#.+00+"%#<"6+(,# since it’s release in the summer. The album features many girl power anthems, including “Run The World cW+*0,di#)%&#EM(,!#='+%8#H#T(/(*#R)&;i#>5!#)0,"#+%<05&(,# ,.""!'(*#GrM#F).,#0+@(#EX"/(#b%#="69i#='+,#)0>5.#+,# a great representation of what Beyonce is known for: power ballads, self empowering lyrics, and fast paced dance tracks. On a whole, 4 doesn’t disappoint, and 75*!'(*,#M(K"%<(#),#"%(#"7#!'(#.",!#/(*,)!+0(#6"6# artists in the game today. conor MURPHY

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Features on the production you @%"-# !"# 8+/(# ,".(!'+%8# more produced work more with melodies, harmonies, …because we used to practice a lot of percussion on stage we really wanted to add percussion on the second album, I think, maybe its more deeper too, its not as light or 75%# ),# !'(# $*,!# album …it was ."*(#%)++/(#)%&# happy. This one is more deeper, not sad, not sad is the word, but more meaning… maybe. What did you want to be when you were Bonjour! Nice to meet you. Do you enjoy in school before you started recording? being in America? U(00(O# H# -)%!(&# !"# >(# )# ,+%8(*# (/(*# ,+%<(# U(00(O#U(,g#?#X"! I was a little girl. I grew up in a musical How do the concerts you have [in the (%/+*"%.(%!;# .K# 7)!'(*# -),# )# .5,+<+)%fH# US] compare with the ones you have in wanted to be a singer for a long time. I France? had a different project but I was not really Yelle: I think here because people don’t into the music and we began to work with understand the lyrics they are more into Grandmarier I realized this is the music that the music, and more into partying, dancing, I wanted to do. It was really easy for me ')/+%8#75%#K"5#@%"-Zf+%#V*)%<(#>(<)5,(# in this music. to express what I wanted to people can understand they are maybe do. I realize that its another part of me…I more focused on the lyrics and they are <)%# *()00K# ,'+%(# )%&# .)@(# +!# )0+/(;# )%&# >(# more waiting, analyzing… and they need …crazy on stage. more time to be in it and enjoy it and dance You were at New York Fashion Week? and stuff. Maybe the main difference, you U(,f+!# -),# ,"# +%!(%,(;# H# &+&%I!# ')/(# )# @%"-# '(*(# +%# pJ;# (/(%# +7# 6("60(# !*K# !"# chance to see a catwalk you know it was so translate the lyrics, and sometimes they intense and so busy in the day, we had lots know the lyrics they are more into the of promo stuff to do...in france for example &)%<(#."/(9# H#F5,!#&+&#!-"#7),'+"%#,'"-,#cB()%SC')*0(,# Do you think you can tell from the sound &(#C),!(0>)F)<#)%&#B()%SD)50#X(,6)8%)*&d# ("+5'"8.''.-"'3($"7-59"'3."#-/': because it was the perfect timing and Yelle: I think because we grew up of H# 0+@(# !'(.# )# 0"!9# ?00# !'(# !+.(# +!,# *()00K# course, and we really wanted to work more complicated and I’m not really comfortable

Quelques mots avec yelle

in this world…I always feel like wearing nothing…so I prefer to watch the fashion show on the internet. I’m not really… (/(%# +7# HI.# 7),<+%)!(&# K"5# @%"-;# H# &"%I!# really feel comfortable in this world. For !'(# # B()%SC')*0(,# &(# C),!(0>)F)<# 7),'+"%# ,'"-#H#)**+/(&#+!#-),#"@)K#!'(*(#-(*(#0"!,# "7#6)66)*)]+#)%&#!'(#8+*0#!"0&#.(#K"5#')/(# to sit there and I was like there was a lot of papparazi and I thought they don’t care about me and in fact it was Kanye West, and they told me I had to sit there and actually I was waiting and he was sitting right next to me…It was really weird, you know he was really nice we sat and talked for 5-10 minutes I had really cool shoes so he was like WOW! So it was fun it was a cool moment but at the end I was like okay…I don’t like that, its weird. What do you think is gonna be next for your band? U(00(O#:(#-+00#>(#!"5*+%8#!+00#.+&#A(<(.>(*;# we are really into that at the moment. We -)%!# !"# .)K>(# f-(# ')/(%I!# &(<+&(&# K(!# -(#&"%I!#@%"-#+7#-(I00#')/(#!'(#!+.(#!"#&"# that…but we want to work on the acoustic /(*,+"%# "7# &+77(*(%!# ,"%8,# "7# !'(# $*,!# )%&# second album. It’s a project and we don’t @%"-#+7#-(#<"50&#&"#!')!#>5!#-(#')/(#0"!,# of things at the moment…I think the tour will end next year and It’s cool…I like that You played Coachella,three times right? Do you enjoy festivals or do you like these small venue shows or both? Yelle: I like them both, because its different K"5# @%"-# H# 0+@(# >+8# 7(,!+/)0,# >(<)5,(# K"5# play in front of lots of people and its so <*)]K#(%(*8K;#K"5#@%"-#)%&#(/(%#+7#+!#<)%# be really technically off because you don’t ')/(# !+.(# !"# 60)K# ,"5%&# <'(<@# )%&# ,!577# but its huge you know. But I like to play +%# 0+!!0(# /(%5(,# >(<)5,(# K"5# <)%# 7((0# !'(# crowd and you can spend some time with them after the show, I like that you know (/(*K# %+8'!# H# ,6(%&# `# '"5*# )!# !'(# .(*<'# stand signing posters and taking photos I really like this moment because it’s a real connection with the people meher AHMAD#)%&#0+/+#MAGNANINI

need a toothpick? There is a dark opalescence !"#!'(#.5,+<#"7#A*+/(;#0+@(# a smooth stone beneath *5%%+%8#-)!(*9#?#<"%,!)%!# tension exists between -)N+%8#*(2(<!+"%,;#-)%+%8# refractions and the tug of a current that threatens to pull the stone out of frame, out of existence. A+*(<!"*#T+<'"0),#:+%&+%8# Refn’s patient, atmospheric direction delicately balances the sweet and terrible, ,)<*+$<+%8#%(+!'(*#*".)%<(# nor danger for the duration of the picture. It is a rather <)6!+/)!+%8#(N6(*+(%<(9 D"6#.5,+<#+%#!'+,#$0.# functions like an abstracted inner monologue, a nearly ,)<<')*+%(#(."!+/(#"5!0(!# for our mythically stoic hero (a man crush on Ryan Gosling does not make me biased, it makes me human). On the more prominent songs of the soundtrack, hypnotic beats and earnest /"<)0,#')/(#)%#+..(&+)<K# 6500(&#7*".#B"'%#R58'(,I# /(*,+"%#"7#!'(#`uo\,;#-'(*(# (/(*K"%(#0()*%,#)#0(,,"%# about compassion and the boy gets the girl after pining away for most of the ."/+(9#G(7%#(/(%#+%<05&(,# whole songs the way Hughes did, using the music to guide pacing and cuts, trusting the track to carry much of a scene’s emotional weight, especially regarding the *(0)!+"%,'+6#>(!-((%#!'(#6*+%<+6)0#)%&#'+,#0"/(#+%!(*(,!9# U(!#!'(#<')*)<!(*,#"7#A*+/(#8*)&5)!(&#7*".#'+8'#,<'""0#)# &(<)&(#)8"#c+7#!'(K#8*)&5)!(&#)!#)00d3#)%&;#(/(%#-+!'"5!# (N6",+!+"%;#"%(#<)%#,5*.+,(#!')!#!'(K#')/(#(%<"5%!(*(&# a great many more challenges than from-across-thetracks Molly Ringwald in Sixteen Candles.

The limited insight on the protagonist comes largely from the scenes of him &*+/+%8#+%#!'(#<+!K#)!#%+8'!;# )0"%(9#?#,')00"-#&(6!'#"7# $(0&#7"<5,(,#"%#'+,#7)<(# +%#!'(#*()*#/+(-#.+**"*;#"*# at a low angle from the passenger side wheel well. A*+/+%8#&"(,#%"!#,((.# an act, but a solitary and meaningful existence to this man. ?#0"/(#,!"*K#+,#<(%!*)0#!"# the plot, despite criminal (*56!+"%,#"7#/+"0(%<(9#MK#!'(# director’s own admission, A*+/(#<"%!)+%,#(0(.(%!,#"7# '"**"*#$0.#+%#)#,(!!+%8#!')!# is distinctly non-horror: Refn continually asked that the original score be made a little more “leatherface” to accompany the tense or /+"0(%!#,<(%(,#c'+,#7)/"*+!(# ."/+(#>(+%8#!'(#"*+8+%)0# Texas Chainsaw Massacre). This seeming contradiction between courtship, &(!)<'.(%!#)%&#,)/)8(*K# does nothing to mar the $0.I,#+.6)<!9#G)!'(*;#!'(# juxtaposition makes it more >()5!+7509#B)**+%8#/+"0(%<(#+%# 8)0/)%+](&#,+0(%<(#)%&#>0+,,750# *(2(<!+"%#!+%8(&#-+!'#&*().K;# nostalgic pop both play a role in establishing Gosling as the archetypal protector, a man whom you root for in the best and worst of circumstances. Warm reds, greens, )%&#K(00"-,#&".+%)!(#!'(#$0.9#='(K#<)**K#>"!'#)#&((6# intimacy and a sense of foreboding, and highlight the cool, stable blue, which emanates almost solely from the %).(0(,,#&*+/(*9#='(#/+,5)0#.(0&,#-+!'#!'(#)5&+!"*K;#!'(+*# dominance oscillating seamlessly. I think I hear the colors and smell the nighttime. I cannot think of a better role for a soundtrack than to simulate synesthesia. cameron HOLMES photo by missemmamm at missemmamm.com

f 27

Features

ry David Ford ter fu Protes ” by ion Un the of

a non comprehensive list of songs for every mood

liticians out there With all the squirrelly po(*/(,;#,".(#,!().# I,#% %( K" /(* %#( 8(!!+%8#" #>(#0(!#"779#?%&# -+00#(/(%!5)00K#%((&#!" (*9#J'*+(@+%8;#E?%&# ,#)% "*&#+,#!'( M*+!+,'S')+0+%8#A)/+&#V talk and they don’t f**cking listen!” they will talk and they helps, if only a little. ian What a model of Christ Scream-loudest lyrics: +!'#!'(#.(,,)8(#"7#E8"#7vv@#!'K# %#'#" >(')/+"*#h#D*()< neighbor.” k you, y didn’t mean jack / F** F**k all those kisses, the ck. u ba you h*, I don’t want yo

baby‐ makin’ anger

me surprise Old fla ” by Marques Houston “Naked

Tamera Mowry’s GO HOME, ROGER! Yes, Tia and er from Sister, Rog r hbo neig or annoying next-do K#GrM#,+%8(*9# J+,!(*#+,#)%#GrM#,+%8(*#w#)#&+*!K;#&+*!!#0"/(Z#='+,# #6), 5!#) )>" 08+<# ",!) 0(#% )#0+!! 0+%8# V(( d to rekindle the is the tune to get you in the moo 2).(9 7#-')!#K"5#8"!# G+,45q#0K*+<O#A"%I!#>(#),').(&#" hs. thig e thos between

Confident exultance

“Feel Good” by Chip Tha Ripper

happy

This song helps its listeners channel their inner teddy bear (that being Chip Tha Ripper), as they strut their stuff down the street. A"%I!#>(#,5*6*+,(&#+7#K"5#,'"5!# at unsuspecting passersby about your greatness.

Head nod lyric: B**ch I feel good h#A"%I!#H#0""@#,!56(%&"5,Z#h#LK# ,'+%(#+,#,"#(%&0(,,#h#?+%I!#,'v!#K"5# can do to end this.

Lost lover dejection

“Better Love” by Steel Train

sad

Finding the right song to match your mood is always key. Whether your fish just died (depressed!), your WiscMail stopped loading at 80 percent and you’ve been “looking for a chair at the Union” for 10 minutes now (angry!), last semester’s babe‐alicious TA asked you out to “get coffee” (baby makin’!) or Mad Men’s new season is back with its usual adultery, sexism and lies (happy!), there is always a tune out there to help you cope or celebrate.

“State

M(7"*(#B)<@#?%!"%"77#'+!#!'(#<')*!,#-+!'# 75%9I,#,+%80(#E:(#?*(#U"5%8;i#'(#-),h,!+00# is in a band called Steel Train. He also &)!(&#8""&#"0I#J<)*0(!!#B"')%,,"%;#)%&# !'+,#,"%8#+,#)00#)>"5!#'(*#0()/+%8#'+.#!"# run off to Hollywood and become famous. Ugh, I hate when that happens.

Cry-hardest lyrics: Scars are in her name / ?%&#,'(#,<)*,#.(#+%#>0).(#h#R(K#J<)*0(!;# you’re not the same.

ge VolatileWora rld” by Lil Wayne & Eminem

ter fury Protes of the Union” by David Ford

“Drop the

“State

one is bad. Listening Physically hurting someout threatening to ab rap e els e to someon ctly normal. Plus, now hurt someone is perfe from whiny and mean ne that Eminem has go kind of great. to scary and irate, he’s B**ch, I’ma pick the Scream-loudest lyric: p it on your f**kin’ world up and I’ma dro head.

liticians out there With all the squirrelly po(*/(,;#,".(#,!().# 8(!!+%8#"%#(/(*K"%(I,#%#>(#0(!#"779#?%&#M*+!+,'S -+00#(/(%!5)00K#%((&#!" #)%,-(*9#J'*+(@+%8;# ')+0+%8#A)/+&#V"*&#+,#!'( #!'(K#!)0@#)%&#!'(K# E?%&#!'(K#-+00#!)0@#)%&helps, if only a little. don’t f**cking listen!” What a model of Scream-loudest lyrics: )<'#"%#-+!'#!'(# D*( *#h# C'*+,!+)%#>(')/+" neighbor.” message of “go f**k thy

us From the same group that brought “On the “Grind with Me,” “Your Body” and you salt Hotline,” comes this ’06 jam for all Warning: sts. usia enth gar cou per/ pep and *(#"7#,".(# A5(#!"#!'(#,(N5)00K#8*)6'+<#%)!5 those only g ucin sed to stick of the rapping, under the age of 70. #.)%# G+,45q#0K*+<O#J'"-#K"5#!')!#)%#"0& . can I like y can’t do yo bod

Senseless glee

“I’m Gonna Be (500 Miles)” by The Proclaimers Sometimes there aren’t any words to express the happiness you feel…but if there were, they would be the lyrics to this song. R()&#%"&#0K*+<O#A)#&)#&5'g#cA)#&)#&5'gd# A)#&)#&5'g#cA)#&)#&5'gd#A5.&+&0)# A5.&+&0)#A5.&+&0)#A5.&+&0)#A+&0)# ahhh!

Addiction withdrawal

n the true There was time in childhood whe!#*+8'!#"/(*# .()%+%8#>('+%&#!'+,#*(<"*&#-(% %#56# "5*#'()&,9#M5!#%"-#!')!#-(I/(#8*"-and pin’ bum of cts effe the and learned d;#+!I,#0+@(# 8*+%&+%I#c,((#E,!)*S<*",,(&#0"/(*, g. we’re listening to a whole new son )%<+%8# G+,45q#0K*+<O#J!(6#>)<@;#K"5I*(#& ing kinda close / I feel a little poke com through / On you.

Soulful delight

“Hold On I’m Coming” by Sam and Dave This is the song for when a sista needs !"#Lba1g#='(#-)K#J).#)%&#A)/(#8(!# down while performing this song is the -)K#o\#6(*<(%!#"7#?.(*+<)%,#&)%<(# -'(%#!'(KI*(#)0"%(#w#>5!#-+!'#0(,,# coolness and more sweat. Bring back the soul! R()&#%"&#0K*+<O#A"%I!#K"5#(/(*#>(#,)&#h# Lean on me, when times get bad.

with For those of you sneaking aroundg will teach son this ’t, uldn sho you e someon wrong you one thing: There ain’t nothin’0+,!(%#!"# -+!'#)#0+!!0(#>5.6#e%I#8*+%&9#B5,!# your heart…I mean body. (#%";#>5!# G+,45q#0K*+<O#LK#.+%&#+,#!(00+%8#. my body, my body’s telling me yes.

Childish bliss

“Aaron’s Party (Come Get It)” by Aaron Carter Say you’re throwing the party of the ."%!'#w#%"#!'(#6)*!K#"7#!'(#U1?G#w#)%&# K"5I/(#65!#56#2+(*,#c-(00;#,".(>"&K# &+&d;#)%&#K"5I*(#>5,!+%I#"5!#."/(,#0+@(# +!I,#L=a;#-')!#,"%8#,'"50&#K"5#0+,!(%# to? Let’s just say nobody can do it like ?)*"%#<)%9 Head nod lyric: Walkin’ ‘round the house like who’s da man? / Nobody can do it like (insert name here) can.

Solitary sadness

“I Feel Like Dying” by Lil’ Wayne

“All By Myself” by Celine Dion

:((]K#*(0)!+%8#!"#)00#!'(#&*588+(,#w#!(00# me something I don’t know.

M(7"*(#!'(*(#-),#?&(0(I,#EJ".("%(#X+@(# You,” this song was lonely single girls’ !'(.(#,"%89#U"5I*(#7*+(%&0(,,;#0"/(*S0(,,# and completely and utterly alone. Grab a bottle of Moscato and spin a little Celine. Hey, did you know she just had twins )%&#+,#!'(#')66+(,!#,'(I,#(/(*#>((%Z#b'# gahhh!

C*KS')*&(,!#0K*+<,O#a+"0(!,#)*(#>05(#h# G",(,#)*(#*(&#h#A)+,+(,#)*(#K(00"-#h#='(# 2"-(*,#)*(#&()&9

school when you Remember in middle by knowing all the ol thought you were co obscenities OUT words (and saying the %&#K"5#,<*+>>0(&#K"5*# XbpAgd#!"#!'+,#,"%8Z#? #!'(#0K*+<,Z#:(00;#+!I,# (NS0"/(*#)#%"!(#45"!+%8 ne-ridden, angsty, time to channel your acagain. eighth grade self once F**k what I said it Scream-loudest lyrics: F**k the presents / w don’t mean sh*t no out / F**k all those might as well throw ‘em jack / F**k you, you an me n’t did y kisses, the ck. ba u yo h*, I don’t want

“Bump

“Too Clos

“Nothin

“F**k

rossed lovers Star‐c ‘N’ Grind” by R. Kelly

or romance Dance e”flo by Next

affection Geezerg but a Number” by Pretty Ricky

ring hate SmolItde Eamon (I Don’t Want You Back)” by

C*KS')*&(,!#0K*+<O#X+/+%I#)0"%(#h#H#!'+%@#"7# )00#!'(#7*+(%&,#HI/(#@%"-%#h#:'(%#H#&+)0#!'(# telephone / Nobody’s home.

Probably going to die alone

“I’ve Been Lonely (For So Long)” by Frederick Knight

H7#K"5I*(#7((0+%8#0+@(#')66+%(,,#-+00#%(/(*# come your way, and you’re weeping "%#!'(#8*"5%&#-+!'#Rx)8(%SA)],#&*+(&# on your face, Freddy will help you understand you aren’t alone in being alone. Wait, isn’t he married now? Cry-hardest lyric: These ain’t rain clouds "/(*#.K#'()&#h#1/(*K>"&KI,#!'*"-+%8# rocks in my bed.

kaitlynn SCHNELL

f 29

Features

a chat with ben kweller Singer‐songwriter Ben Kweller has been a steady presence on the pop‐rock music scene since he was a mere twenty years old. In the past ten yeas he’s released five albums and created his own record label, while regularly touring and raising his two sons. His latest album Go Fly a Kite is an album filled with catchy songs with cutting lyrics. Kweller caught up with Emmie about his tour, his latest album, and his man‐ crush on Conor Oberst.

85(,,#HI00#>(#M(%#^-(00(*#%"-9i#?%&# !')!#-),#+!g#?#7(-#."%!',#0)!(*#-(# &(<+&(&#!"#."/(#!"#T(-#U"*@#)%&# !')!I,#-'(*(#(/(*K!'+%8#!""@#"779 That’s awesome. So your tour just started about a month ago right? How’s it going? U()'9#H#-(%!#,!*)+8'!#!"#B)6)%9# H!I,#8"+%8#8""&9#B)6)%#-),#8""&;# ?5,!*)0+)#-),#8""&9#T"-#HI.#>)<@# +%#?5,!+%#)%&#-(#,!)*!#J"5!'#>K# J"5!'-(,!#!"."**"-;#-(I/(#8"!#0+@(# four gigs a day or something crazy 0+@(#!')!;#)%&#)#0"!#"7#+%!(*/+(-,9#?%&# the album’s out as you know, and then we head up to Hartford for the $*,!#8+89

Hi Ben, thanks for talking with me today. No worries. I’m always happy to call a 203 area code. That always makes me And then you have a couple of dates in Texas which is where you happy. live right? Does that ease you into touring again? Really? Are you familiar with Yeah, it’s fun. I kind of like it both Connecticut? H#).g#?<!5)00K#.K#-+7(#+,#7*".#W5+07"*&# ways—sometimes it’s fun to start off in Texas and sometimes it’s fun and so we met in Boston, she went to end in Texas, you know? It really !"#L),,#?*!#mL),,)<'5,(!!,#C"00(8(# depends on the routing. Yeah, but "7#?*!#)%&#A(,+8%n;#)%&#!'(%#,'(# concert to concert … getting onstage ."/(&#>)<@#!"#W5+07"*&#)%&#H#-),#+%# is fun whether I’m in my backyard or Texas and we had a long distance at Madison Square Garden. relationship for awhile and then I &(<+&(&#!"#."/(#56#T"*!'#!"#0+/(#-+!'# And you have a wife and two sons '(*9#J"#H#0+/(&#+%#W5+07"*&#7"*#)>"5!#j# now. Do they go on tour with you? months. Well that’s the thing: so in the past K(,;#!'(KI/(#)0-)K,#<".(#"5!#"%#!'(# That’s awesome! I’m from *")&#-+!'#.(;#>5!#"5*#$/(#K()*#"0&# ;&%1.#.+%< A"*+)%#%"-#,!)*!(&#^+%&(*8)*!(%;#,"# Oh cool! Yeah, totally! now he’s in school, and so he can’t come and I’m heart broken because We were like neighbors. %"-#H#')/(#!"#8"#"%#!"5*#>K#.K,(079 #U()'#.)%g#J"#K()';#H#*()00K#0"/(# Connecticut. That’s kind of the So do you think they’ll be rock >+*!'60)<(#"7#.K#,"0"#<)*((*9#H#0+/(&# stars? in Guilford and I started writing really Well I certainly wouldn’t encourage it, '()/+0K#)5!">+"8*)6'+<)0#,"%8,O#H# >5!#H#-+00#,)K#!'(K#')/(#,".(#,(*+"5,# wrote “Lizzy” there, and “Falling,” 6),,+"%#7"*#.5,+<#)0*()&K9#?!#0(),!# EV).+0K#=*((9i#?00#!')!#,!577;#H#-*"!(# F5,!#0+@(#0+,!(%+%8#!"#.5,+<;#!'(K#0"/(# )00#!')!#!'(*(9#H#*()0+](&#H#&+&%I!#')/(# music and dancing so we’ll see what a band and I was like “Well shit … I happens.

So you’ve been raising your two kids, and you’ve also been touring and writing music consistently since Changing Horses in 2009. What made you want to open your own record label, The Noise Company, on top of all of that? m,+8',n#H#85(,,#F5,!#65*(#+%,)%+!K#-'(%# K"5#,)K#+!#0+@(#!')!#m0)58',n9#M(<)5,(#H# &($%+!(0K#')/(#)#0"!#"%#.K#60)!(#!')!I,# for sure. That’s fair. H#F5,!#7(0!#0+@(#')/+%8#.K#"-%#0)>(0# was kind of the last step in complete artistic independence. From touring K()*#)7!(*#K()*#HI/(#8"!!(%#!"#)#60)<(# -'(*(#HI.#,(07#,57$<+(%!;#H#<)%#8"# "%#!"5*#)%&#-(#')/(#"5*#"-%#!"5*# >5,;#H#')/(#.K#"-%#'".(#)-)K# 7*".#'".(9#J"#-(I/(#8"!#!'(#!"5*+%8# side of things independent, and as )#,(07S,57$<+(%!#!'+%8;#)%&#!'(#"%0K# other aspect for me was really the way that my records were released. I just wanted to add that to our whole "6(*)!+"%9#?%&#)0,";#HI/(#)0-)K,#0"/(&# >)%&,#!')!#%"!#!')!#.)%K#6("60(#')/(# heard of and always wanted to help other artists out. So I look forward to putting out music for other people down the road. So how did producing it through your own label change your approach to writing and the release of the album? Well the writing of it didn’t change. I -+00#,)K#!'(#<*()!+/(#,+&(#"7#-')!#H#&"# has always remained a certain way. ?,#7)*#),#!'(#)<!5)0#*(0(),(#"7#+!;#!')!I,# been a big difference because I for !'(#$*,!#!+.(#8(!#!"#*()00K#.)@(#!'(# decisions and decide like if we want !"#')/(#<*)]K#)0>5.#)*!-"*@;#!'+,#+,# how much it’s going to cost and this is how much we’re going to put into it and I can make those decisions myself instead of someone else saying “No you can’t do it! “ or “yes!

you can do it!”, you know? So that’s been really great. Alright so a pesky question: any plans to sign new bands yet? Well that is our plan, there’s nothing that’s close to happening so it’s &($%+!(0K#+%#"5*#60)%#7"*#,5*(9#:(# want to take it slow. We don’t want to be one of those labels that starts up and signs a bunch of bands and then goes out of business. Makes sense. So we’ll talk a little bit more now about the newest album Go Fly a Kite. Firstly I have to ask, where does the title come from? :(00#K"5#@%"-#K"5I/(#'()*&#!'(# phrase before. It’s kind of a cute way of saying “Go fuck yourself” really m0)58',n9

just didn’t stand the test of time. ?%&#HI/(#,((%#6("60(#8"#!'*"58'# different things, and that’s where I get my inspiration from. People and experiences and stories … and times and places. I can trace a lot of the lyrics back to exact times and places, but there’s nothing that I would really pinpoint on the record just being like, “Yeah, this one guy, fuck him. R(#*()00K#,<*(-(&#.(#"/(*i9#='(*(I,# nothing like that. They’re really just songs at the end of the day. They’re open for interpretation. Good? m0)58',n

Right. It’s multi-faceted. U()';#(N)<!0Kg#H#0"/(#!')!#)%&#H#0"/(# double meanings, and that’s what I 0"/(#)>"5!#!'(#1%80+,'#0)%85)8(9#H!I,# why I’m drawn to these lyrics and words and poetry, because there’s always more than meets the eye with words and how you put them together.

Fair enough. So we’ll talk a little bit more about the sound then. It reminds me a lot more of your earlier albums, especially compared to Changing Horses which had a little bit more of the country feel to it. Is there a reason you went back to that? Well it was always in the plan. I had been working on the songs for C')%8+%8#R"*,(,#7"*#K()*,9#?%&#(/(*K# time I would write a country song, I would put it on my list. I knew one day I would make this record when )00#!'(#,"%8,#-(*(#&"%(9#?%&#+%#P\\o# the songs were done, so I went in and recorded Changing Horses. But I also had been working on some "7#!'(#,"%8,#0+@(#EB()0"5,#W+*0i#)%&# “Gossip” and so I knew that Changing Horses would be a slight departure, F5,!#8"+%8#&"-%#)#&+77(*(%!#*")&9#?%&# most of my albums go down different roads each time.

Speaking of, a lot of the songs on Go Fly a Kite like “Gossip,” “Jealous Girl,” “Full Circle,” they all deal with betrayal and hurt feelings, and it seems to be a theme. Is there a story behind that? ='(*(#)*(#)#>5%<'#"7#,!"*+(,9#HI/(# experienced a lot of that in the past few years, with friendships that

You seem very comfortable with your musical style, like you said Changing Horses was kind of a departure. But still, you don’t really follow trends by any means considering what’s trendy in music right now being more electronic. Is &'"%&7#)*+'"=$56&$1"'3('"63('",5*>-." putting out might not necessarily

So it’s a clever way of saying it while setting a nice example for your kids. 1N)<!0K#m0)58',n9#M5!#,((;#!')!I,#!'(# beauty of that phrase, it’s kind of like ER(K;#8"#2K#)#@+!(;#&"%I!#-"**Kg#R)/(# no worries”, you know?

f 31

Features be what’s popular at the time? Oh well God, you’re talking to ,".(>"&K#-'"I,#%(/(*#>((%#6"650)*# (/(%#),#)#@+&9#m0)58',n#U"5#@%"-;# HI/(#)0-)K,#>((%#.K#"-%#6(*,"%;# )%&#HI/(#)0-)K,#')&#.K#"-%#7),'+"%# ,(%,(9#1/(%#>)<@#+%#'+8'#,<'""0;#H# always marched to the beat of my "-%#&*5.9#?%&#!')!I,#,".(!'+%8#.K# parents always instilled in me and my sisters too: to really embrace being &+77(*(%!9#J"#HI/(#)0-)K,#)66*")<'(&# art that way and it’s always been an extension of who I am. My music would not be there if I worried about -')!I,#6"650)*9#:'+<'#H#')/(#%"#+&()9# What is? You don’ t want to know. G+8'!Z#H#-"50&#%(/(*#(/(%#-*+!(# songs. You know, I just feel like my music is my music and it’s not trying to be mainstream. I’m not trying to jump on any bandwagon. I remember when the Strokes were popular, I opened for them and went on tour with them when we were friends in New York but I still hear bands today when I turn on the radio, and I’m just like “Holy fuck what a Strokes rip"779#E#?%&#HI.#*()00K#')66K#)>"5!#!')!# >(<)5,(#H#0"/(#B50+)%#)%&#?0>(*!#)%&# all those guys, but I know it’s kind of funny when they hear some of these new bands too. It’s just amazing. But (/(%#-'(%#T+*/)%)#<).(#"5!;#-'+<'# I will say, when I was a teenager I -)%!(&#!"#>(#^5*!#C">)+%#m0)58',n#f# so that was probably the one time in life where I was just starting out and H#-)%!(&#!"#,"5%&#0+@(#T+*/)%)9#M5!#H# think that’s pretty normal you know? But yeah as far as what’s trendy f#.)%;#H#')/(#%"#+&()9#HI.#F5,!#)# songwriter. That’s it … simple. ?.(34"&'"%.#$&'.+,"/..9"+&=."$.6" bands before they’ve established who they are as a band or a 9*/&)&($"#$%"&'".(/,"'5".9*+('."

others. b'#K()';#)%&#K"5I/(#8"!!)#&"#!')!9# H#.()%#+7#K"5#0+,!(%#!"#!'(#$*,!#M"># AK0)%#*(<"*&#+!I,#0+@(#)#!"!)0#:""&+(# Guthrie tribute album practically. @.#$&'.+,<"A3.$",5*"6.-."6-&'&$1" this album, did you have any different musical inspirations that maybe have popped up since writing your older albums? That’s kind of a funny thing too, because people always ask “What inspires you musically?”, and again I don’t know. I get inspiration from people and stories and things !')!#H#8"#!'*"58'9##?%&#HI/(#%(/(*# been able to keep a diary, I always )&.+*(#6("60(#-'"#')/(#!')!#@+%&#"7# discipline to keep a journal and diary. ?%&#H#85(,,#H#*()0+](&#,".(-'(*(# along the way that for me, my songs )*(#@+%&#"7#-')!#$00#!')!#/"+&;#)%&#0(!# me just document where I am and what I’m doing. So I don’t get inspired from music I guess is what I’m trying !"#,)K9#?0!'"58'#-')!#H#0+,!(%#!"#f# H#&"#0"/(#='(#J5>5*>,#cP\`\d#>K# ?*<)&(#V+*(9#H#!'+%@#!')!I,#)%#+%<*(&+>0(# )0>5.9#H#0"/(#M*+8'!#1K(,;#H#.()%#H# think Conor is one of the best writers of our time.

shows? Well, its’ actually really exciting because now there is so much music that I can pool from. So we’re doing a 7(-#,"%8,#7*".#(/(*K!'+%8#f#H#-+00#,)K# though with Changing Horses I played that album for two years on acoustic guitar around the world so I kind of got sick of playing acoustic guitar. It’s mostly an electric set. I’m doing a few acoustic songs like “On My :)Ki#)%&#EX+]]K9i#HI/(#>((%#60)K+%8# EV+8'!i#-'(%#-(#-(*(#+%#B)6)%#)%&# ?5,!*)0+)9#:(#&+&#EJ)-&5,!#L)%;i#,"# kind of what to expect is a collection "7#(/(*K!'+%8#!')!#H#&"9#='(*(I,#)#0"!# "7#,"%8,#"77#W"#V0K#)#^+!(#">/+"5,0K# because it’s new and fresh so I’m excited to play it all. But then you just kind of get the best of the other )0>5.,9#?%&#HI.#!)@+%8#*(45(,!,#f# you know me. I’ll take requests. Alright perfect let me think about it. [laughs]. So you’re going to be in Madison in two weeks, and it looks like this will be your second time in Madison then, right? U56g#H#0"/(#L)&+,"%;#/(*K#<""0#!"-%9# H#0"/(#-)0@+%8#)*"5%&#!'(#!"-%;# just going into the little shops and *(,!)5*)%!,9#U"5I00#')/(#!"#8+/(#.(# some pointers on where to go.

I saw you and Conor in 2008 at Terminal 5 in Manhattan. bR#U1?R#<""0gg

Sounds great. Well we’re so excited to have you here. And your US tour ends in May; what’s the plan for the You guys covered Kodachrome summer? (Paul Simon). It was probably my W"+%8#"/(*#!"#15*"6(#7"*#)#6"+%!#"7# favorite concert moment ever. shows, then probably going to come mJ+8',n#J"#8""&9#J"#8""&g back to the US and do southeast V0"*+&);#?!0)%!)#W("*8+);#M+*.+%8').# You guys looked like you were ?0)>).);#)%&#!'(%#"!'(*#<+!+(,#!')!# having so much fun. -(#@+%&#"7#.+,,(&#"%#!'+,#!"5*9#?%&# ="!)00K9#:(#0"/(#()<'#"!'(*#.)%9#H7#-(# !'(%#H#8"#>)<@#!"#B)6)%#)%&#?5,!*)0+)# -(*(#8)K#-(#-"50&#>(#0"/(*,;#H#@%"-# +%#T"/(.>(*;#)%&#!'(%#'"6(7500K#)# !')!#7"*#)#7)<!#m0)58',n9 >5%<'#"7#<"00(8(#,'"-,9#B5,!#@+%&#"7# keep on goin’! I’m busy, I know that. [Laughs] So what can fans look forward to in your upcoming lisa FOX photo from obladoo.se

forum with the joy formidable Northern Wales’ The Joy Formidable brings a certain infectious energy to their live performances. Despite consisting of just three members, The band is able to produce a colossal sound which features layers of distorted guitar and double bass drumming. This past March the band was back in the US touring to promote their latest effort, The Big Roar. I was able to talk with lead singer/guitarist Ritzy Bryan about playing shows in the states, the band’s songwriting process, and her favorite part about playing live. What’s the biggest difference between playing live shows in the UK versus here in the states? No glaring differences. No two ,'"-,#)*(#!'(#,).(9#:(#')/(#)#/(*K# committed and loyal fan base in both the US and the UK, both equally exuberant and passionate. How involved were you guys in the production work on your debut album? We produced a lot of the debut album and had a great ally in Rich C",!(K#-'"#6*"&5<(&#,(/(*)0#!*)<@,# and mixed the record and also Neak L(%!(*#-'"#<"%!+%5(,#!"#>(#"5*#0+/(# sound engineer. Is that something you enjoy having a hand in?

Your shows feature some pretty crazy energy, what is your favorite thing about playing live? Do you give any thought to the live performance aspect when writing songs? I like the unconscious side of performing. The best shows are the ones that you can’t remember >(<)5,(#K"5I/(#,6(%!#!'(#0),!#P#'*,# in a trance-like state. That loss of <"%!*"0#+,#')*&#!"#$%&#+%#0+7(9#='(*(# +,#)#*(0)!+"%,'+6#>(!-((%#!'(#0+/(# side and the writing, but they don’t *(,!*+<!#"*#8"/(*%##()<'#"!'(*9

U(,9#H!I,#/(*K#+.6"*!)%!#!"#5,9#:(I*(# <"%$&(%!#6*"&5<(*,#)%&#+!I,#)% integral part of the songwriting and the building of an album. How has the writing or recording process evolved throughout your EP and most recently your album? :(I/(#)0-)K,#>((%#).>+!+"5,9# :(#-)%!#!"#<')00(%8(#"5*,(0/(,# <*()!+/(0K;#!5*% our hand to something new. It’s not )>"5!#+!#>(+%8#7"*<(&;#-(I/(#(/"0/(&# %)!5*)00K#"/(*#!+.(;#>K#,'((*#&"+%8;# by the amount of time we spend together and how much writing we do on the road. The possibilities are wide open as long as the songs come from somewhere clear and meaningful .

You guys have played at festivals like Lollapalooza, Reading and Leeds over in the UK. Do you have a preference between playing a festival setting versus a smaller venue? T"#6*(7(*(%<(9#a)*+(!+(,#)#8""&# !'+%89#W+/(#5,#)#,!)8(#)%&#-(I*(# happy. The band came together in North Wales, were there any local music genres or bands that &$B*.$).%",5*-"/5*$%: T";#-(I/(#)0-)K,#7(0!#0+@(#-(#-*+!(#+%# a bubble. There was a club in North :)0(,#<)00(&#='(#=+/#!')!#(N<+!(&#"5*# !((%)8(#6),,+"%#+%#0+/(#.5,+<9#:(# 8*(-#56#+%#)#,0((6K#*5*)0#/+00)8(#,"# when a band came to town we were ready for them. After this current tour ends, what other plans does the Joy Formidable have for the future? We’ll be releasing our second album this year. That’s set to keep us busy. chris MADSEN

photo from olikristinn at www. 2+<@*9<".

f 33

shows

A Bit Part In Your Life: A Secret Fan Club

lemonheads show

?,#H#,0+&#!"#!'(#R+8'#T""%#J)0""%# on newly formed glaze ice to hear X(."%'()&,#7*"%!.)%#1/)%#A)%&"I,# ,-((!(%(&#!)@(#"%#W(%(*)!+"%#_;# I was swept back twenty years to a time of grunge prominence and fair-featured acoustic guitar celebrity. One of People Magazine’s most >()5!+750#6("60(#"7#`uu[;#A)%&"I,# fresh face, long hair and sentimental ,"%8,#>*"58'!#'+.#)#0(/(0#"7# ,56(*7)%&".#)."%8#)#&(/"!(&# demographic of women born in the .+&#,(/(%!+(,#0""@+%8#7"*#,".("%(# !"#0"/(9#=')!#<"00(<!+/(#<*5,'#%(/(*#

withered, but rather matured into an undying commitment which came out to the High Noon in spades. While the show was a welcome memory of the band’s pioneered pop sensibilities, it was also a window +%!"#!'(#0+/(,#"7#!'(#,!)*S,!*5<@# <"%8*(8)!+"%#"7#A)%&"#6+08*+.,#7"*# whom the Lemonheads are more than musicians. Under normal circumstances, tuning )%&#,"5%&#<'(<@#)*(#)%#5%(/(%!750# routine which both crowd and artist understand as a bland and

necessary step in the concertgoing experience. Restaurant 6)!*"%,#)<<(6!#!'(+*#,+0/(*-)*(#),# ,5>,+&+)*K3#]""#)!!(%&((,#*(<"8%+](# !'(#6)/(.(%!#),#6(*+6'(*)03#%"!#,"# for fans of the Lemonheads. Within seconds of exiting the greenroom, the yesteryear heartthrob’s presence elicited an immediate energy from !'(#<*"-&#.)F"*+!K#7(.)0(#&(/"!((,9# While the pigtails and braids had been put up before the show, the doe eyes of the smitten thirtysomethings snapped into position ),#+7#>K#6'K,+<)0#0)-s8*)/+!K;#-()@# %5<0()*#7"*<(;#A)%&"9#H%!(8*)0#!"#!'(# A)%&"#177(<!#-),#!'(#)8(S>(%&+%8# 7"*<(#$(0&#"<<56K+%8#!'(#,6)<(# )*"5%&#<(%!(*#,!)8(9#?#6)*!+<50)*0K# affected member of the audience commented, “Look at him! He looks the same as he did twenty years )8";i#)#<0()*0K#&"<!"*(&#/+,+"%#"7#!'(# )0!S*"<@#/(!(*)%I,#.+&0+7(#<*(),(,9# V5*!'(*#7"*<(#$(0&#6*)+,(#-),#K(!#!"# <".(O#EA"#K"5#!'+%@#'(I,#)!!*)<!+/(Z# R(I,#>()5!+750;#K"5#')/(#!";#(/(%#+7# you’re a guy.” The theme of the night and the F5,!+$<)!+"%#7"*#)#!"5*#-),#)#60)KS !'*"58'#"7#!'(#>)%&I,#&($%+%8# )0>5.;#H!I,#?#J').(#?>"5!#G)K9# ='(#$*,!#60)K750#0+<@,#"7#)0>5.S starter “Rockin Stroll” launched into a spritely cascade of distorted chords that, when taken with the sky blue power pop of the follow56#EC"%7(!!+;i#')/(#)00"-(&#!'(# X(."%'()&,#!"#!"(#)#%"/(0#0+%(# between pleasant catchiness and punk excitation. The paring down of acoustic and electric guitars to !'(#0)!!(*#+%#0+/(#6(*7"*.)%<(#,6(&# up the tempo on expected crowdswayers like the album’s title track and the wistful “Rudderless,” bringing the description “pastoral Hüsker Ayi#)#,!(6#<0",(*#!"#60)5,+>+0+!K#c!'+,# did not completely suppress the

,-)K+%8d9#b0&#7)/"*+!(#?S,+&(,#6*+.(&#!'(#)5&+(%<(#7"*# 6)*!+<+6)!+"%#"%#,5>,(45(%!#!*)<@,3# amplifying the insular sunset comfort "7#ELK#A*58#M5&&Ki#-),#)#>*()!'K# alto coo, an aggregate assurance that A)%&"I,#),,(*!+"%#EHI.#!""#.5<'#-+!'# .K,(07i#-"50&#%(/(*#/(%!5*(#+%!"#!'(# realm of truthfulness, consent pending. The show of auditory affection reached +!,#&($%+%8#)6(N#"%#EM+!#D)*!;i#<".60(!(# -+!'#/(*,(#(<'"(,#),#+7#!'(#>)%&#')&# passed out sheet music. It was here that the binoculars gazing upon this cultural

“

anomaly expanded into bay windows. The repetition of “I just want a bit part in your life/a walk"%#-"50&#>(#$%(i#-+!'#)<'+%8#,+%<(*+!K# brought into focus the astounding ,(/(*+!K#"7#&(/"!+"%s6(*')6,#!'+,#-),# +%/"05%!)*K9#H.)8(,#"7#6),!(0#>(&*"".# walls and soured romantic pursuits from the Clinton years sharpened into crisp reality. Ending the contractually obligated portion of the concert was a 5%+,"%#)#<)6(00)#*(<+!)!+"%#"7#!'(#<"/(*# EV*)%@#L+00,;i#A)%&"I,#7)+!'750#.)%K# &5!+7500K#$00+%8#+%#!'(#0K*+<,#'(#')&#!*"5>0(# remembering.

The doe eyes of the smitten thirty‐ somethings snapped into position as if by physical law

“

:*)66+%8#56#!'(#,'"-;#!'(#>(0"/(&#7*"%!.)%#!""@#56#!'(# acoustic guitar to play material from less seminal albums !')!#-),#/+,+>0K#."*(#75%#!"#6(*7"*.9#='(#<"%$&(%<(# >"",!#7*".#!'(#6*(/+"5,#,(<!+"%I,#"/(*-'(0.+%80K#6",+!+/(# 7((&>)<@#'(06(&#!"#>*+%8#A)%&"#<0",(*;#!*)%,7"*.+%8#!'(# stage atmosphere into one of equal-footed friendship in place of the adolescent tensions lingering from unrequited 0"/(#c!'+,#)0,"#8*)%!(&#'+.#!'(#*+8'!#!"#*(,6(<!7500K#+8%"*(# the shouts from an especially persistent and forward ,"%8S,588(,!(*d9#='(#>)<@&*"6#!')!#%+8'!#<"50&#')/(# gone unnoticed from behind the brick wall of adoration >0"<@+%8#)%K#,(%!+.(%!#,'"*!#"7#-"*,'+63#'"-(/(*;#+!# <)00(&#56"%#)#<(*!)+%#0(/(0#"7#+%!+.)<K#),#-(00;#"%(#."*(# subtle than the default closeness of thoughtful strumming. On the rear wall, the band projected footage taken from )#6(*,"%)0#6(*,6(<!+/(;#.",!#%"!)>0K#7*".#>('+%&#!'(# wheel at a nighttime car wash in suburbia. It was curious how relatable this footage was—scenes from plainsstate highway, bits from sunny small towns. It was also <5*+"5,#'"-#)>,(%!#6("60(#-(*(#+%#!'(#7*).(9#?>,!*)<!(&# outward, the cult loneliness of the fan base seemed less alien, meriting muted empathy. While the Lemonheads’ )005*(#.)K#>(#0)*8(0K#)#.)!!(*#"7#$%&+%8#,".(#')%&,".(# /+,)8(#!"#<0+%8#!";#>(%()!'#+!,#!'+<@#,6*()&#0+(,#8(%!0K# gnawing hooks and an appeal to a broader sense of affection. matt CHRISTIE

photos by Piper Ferguson and radpartyonline.blogspot.com

s 37

shows

REVEREND HORTON HEAT

8*)6'+<#>K#GK)%#A5%0)/(K#)!#&5%0)/(K9&(/+)%!)*!9<".

I wasn’t sure I would be able to catch !'+,#>)%&#60)K#)#0+/(#,'"-#)%K!+.(# &5*+%8#!'(#*(,!#"7#.K#0+7(3#),#H#-),#%"!# sure they were still a band making music and touring, but lo and behold, ='(#G(/(*(%&#R"*!"%#R()!#60)K(&#!'(# L)F(,!+<#!'+,#6),!#L)*<'#$*,!;#)%&#!'(K# ,!+00#8"!#+!g#='(K#60)K(&#)00#!'(#7)/"*+!(,;# 0+@(#Ez\\#M5<@,i#)%&#E?<(#"7#J6)&(,;i# -+0&#),#(/(*9#H#&+&#%"!#,((#)#')%&750# of old guys in wheelchairs, supported by canes creeping across the stage. T"!#(/(%#<0",(g#='(#(%(*8K#!'(K#')/(# on stage can’t be touched. It’s as if time has left them alone because they were rocking as hard last week as !'(K#-(*(#P\#U1?GJ#?Wbg#='(#>)%&# .)K#')/(#<')%8(&#7)<(,#)#>+!#,+%<(# the eighties and the nineties, with just one original member since 1985, that >(+%8#"7#<"5*,(#!'(#"%(;#!'(#"%0KO#B+.# EG(/(*(%&#R"*!"%i#R()!'#"%#85+!)*# )%&#/"<)0,g#='(,(#&)K,;#B+.>"#:)00)<(# +,#60)K+%8#!'(#/(*K#0)*8(#56*+8'!#>),,# like a mad man, swinging it around as if it were light as a feather, and you ')/(#!'(#/(*K#7)>50"5,#D)50#J+.."%,# 65.6+%8#"5!#<*()!+/(;#7),!#)%&#75%#>()!,# 7*".#!'(#&*5.,9#LK#7)/"*+!(#.".(%!# of the show was probably the same ),#(/(*K>"&K#(0,(I,#-'(%#B+.>"#,(!# his mighty bass on its side facing the audience (so that the neck of the bass -),#6)*)00(0#!"#!'(#2""*d;#)%&#'(#>(8)%# !"#,!*5.#+!#7),!;#-'+0(#L*9#G(/(*(%&# Horton Heath himself jumped on top of the body of the bass (the part which would technically be called the C-bout). He proceeded to play his guitar and belt "5!#/"<)0,#7*".#'+,#'+8'#6",+!+"%#)!"6# the bass! So, the take home message here? Next time you need to reach a high place in your house, forget reaching for the ladder or your step stool… grab an 56*+8'!g#R);#HI.#F5,!#@+&&+%8#K)3#='(# G(/(*(%&#R"*!"%#R()!#)*(#!*)+%(&# 6*"7(,,+"%)0,S#A"%I!#!*K#!'+,#)!#'".(9 lisa KOHLMANN

tracks built upon what ,((.(&#0+@(#&()!'#-)*.(&#"/(*9#R(# seems to be the band’s +,#05<@K#!"#')/(#,5<'#)#/+/)<+"5,# 7"5%&)!+"%;#'()/K#85+!)*# guitarist, who had such a fast beat rhythms paired with 8"+%8#!')!#(/(*K!'+%8#-),#650,)!+%8# thick drumming and !'*"58'#.K#,K,!(.9#b%#E?<!#"%# borderline dreary and Impulse,” Palmer looked like he was mournful crooning. 8"+%8#!"#&+(;#*()&K#!"#8+/(#'+,#>"&K# 56#),#,)<*+$<(#!"#!'(#85+!)*#8"&,9#='(# The boys took the small -'"0(#*"".#,((.(&#!"#>(#8+/+%8#+%# stage of the Majestic, !"#)%#+%(*!+)0#7"*<(3#+!#,((.(&#6'K,+<,# immediately tearing into were at work, the speed of the guitar the meat of their newest 6500+%8#(/(*K!'+%8#+%#!"#!'(#,!)8(9#H# In my mind, I was going to Scotland )0>5.#0+@(#)#,!)*/(&#1-)%#L<W*(8"*# 7(0!#0+@(#H#-),#-)0@+%8#&"-%#)#/(*K# for the night. Home to the land of +%#7*"%!#"7#)#&+%%(*#"7#$,'#)%&#<'+6,# long subway tunnel, taunted half by my ancestors: a magical place of and Guinness. “Hard to Remember” paranoia, half by adrenaline, the loud ')88+,;#@+0!,;#M(00(#r#J(>),!+)%#)%&# ')&#(/(*K>"&K#,-)K+%8;#7"00"-+%8# echoes making my heart thud against Trainspotting. In a sea of leather 0()&#,+%8(*#?&).#='".6,"%I,# my chest. F)<@(!,#)%&#DMG#!)00>"K,;#H#(%/+,+"%(&# self-deprecating refrain “It’s hard the Majestic as some smoky, seedy Hungry with intensity, We Were 65>#+%#W0),8"-#-'(*(#(/(*K"%(#-),# !"#*(.(.>(*#)#<"0&(*#T"/(.>(*;i# >(<".+%8#>)*(0K#&+,<(*%)>0(#"/(*# D*".+,(&#B(!6)<@,#')&#)%#"0&#<"%<(*!# *(&S7)<(&#)%&#25,'(&#-+!'#&*+%@# 85+!)*+,!#L+<')(0#D)0.(*I,#'()/K# hall feeling like a gritty pub on any and anticipation. We Were Promised strumming. You could almost feel the 8+/(%#J)!5*&)K#%+8'!9#L)&+,"%#.)K# B(!6)<@,I#J)!5*&)K#%+8'!#,'"-# icy chill off the loch blowing through not be Glasgow, but the boys kept me was just as beer soaked, hormones Southern Wisconsin, despite the wanting to get on the next plane the )>"5%&;#)%&#0"5&#),#H#<"50&#')/(# !*"6+<)0#-()!'(*#-(I/(#>((%#')/+%89# mother country, clearly a place that hoped my homeland would produce. produces music worth a trip. Thompson almost seems like a We walked in mid-performance of # ##########0+/+#MAGNANINI !'(#"6(%(*S&(,(*/+%8S"7S)S'()&0+%(*# background guy who just happens to # 6'"!"#7*".#---9'+!<*)/(9<". >(#!'(#0()&#,+%8(*3#'+,#,!)8(#6*(,(%<(# &5"#M)&#a(+%,;#-'"#')&#8(%(*)!(&#)# sizeable crowd of bopping heads and 65.6+%8#$,!,9#H#).#)0-)K,#,@(6!+<)0# of no-name openers, but I was kicking .K,(07#+%#!'(#(%&#7"*#%"!#')/+%8# 8+/(%#!'(,(#85K,#)#<')%<(;#-+,'+%8# !')!#H#<"50&#')/(#,((%#!'(+*#-'"0(# act. Belting out the last song into a bizarre blue telephone attached to a .+<*"6'"%(;#M)&#a(+%,#0(7!#!'(#*"".# *(/(*>(*)!+%8#-+!'#(N<+!(.(%!#7"*#-')!# was next.

we were promised jetpacks etpacks

Hailing from Edinburgh, We Were D*".+,(&#B(!6)<@,#7"*.(&#)7!(*# winning their high school “Battle of the Bands” competition and quickly relocated to Glasgow where they were able to land better gigs. Their sophomore album released last fall, In the Pit of the Stomach, features many

s 39

shows

the promise ring

the heart of a Midwest musical ."/(.(%!#!')!#+%25(%<(&#!'(# rest of the country. That night at the sold-out Turner Hall felt less like a concert and more like a high school reunion, and I mean that in a good way. It ,((.(&#),#!'"58'#(/(*K"%(# was catching up with someone, as though the band didn’t only release some great records, but represented a lost time in these people’s youths. Since I was "%0K#!'*((#-'(%#!'(+*#$*,!#*(<"*&# <).(#"5!;#H#&+&%I!#')/(#)%K#"7# these personal connections, but it was comforting to be in such an excited and friendly crowd.

#:'(%#!'(#>)%&#$%)00K#!"*(#!'*"58'# the fast-pulsing opening track to their classic Nothing Feels Good “Is This Thing On?”, a mosh pit broke out, albeit mild and full of late 20- and early 30-year-olds in sweaters, and the rest burst into pogo dancing and shouting along with the chorus. They played )00#!'(#7)%#7)/"*+!(,#7*".#!'(#*(<"*&,# and a lot of B-sides and obscure EP tracks, including the amazing “E. =(N),#?/(i#7*".#)#,60+!#{i#-+!'#7(00"-# (."S/(!,#=(N),#+,#!'(#G(),"%9#

“

THE REST BURST INTO POGO DANCING AND SHOUTING ALONG WITH THE CHORUS

”

Opening the show was Milwaukee’s own Celebrated Workingman. The hometown <*"-&#,((.(&#!"#0"/(#+!;#>5!#!'(+*# When they came out for their encore, pPS(,45(#85+!)*,#)%&#!'(#"/(*S a"%#M"'0(%I,#K"5%8#,"%#<).(#"5!#)%&# !'(S!"6;#)0.",!#!'()!*+<)0#/"<)0,# danced onstage for their breakthrough and antics of lead singer Mark ,+%80(#E:'K#A+&#:(#1/(*#L((!Zi9#H!# ?.+&,!#!'(#&(!(*+"*)!+"%#"7#'+,#$*,!# Waldoch didn’t quite capture me. Their was heartwarming to see the band, 8*"56#C)6I%#B)]];#,+%8(*h85+!)*+,!# E'()*!S"%S,0((/(i#)(,!'(!+<,#&+&#$!# %"-#)&50!,#-+!'#7).+0+(,#)%&#0+/(,# A)/(K#a"%#M"'0(%I,#,+&(#6*"F(<!#<).(# well with the headliners, though. outside the realm of indie music, come to the forefront. That project was the together without it seeming just like a Promise Ring. While it is arguable G5%%+%8#"5!#"%#,!)8(#!"#!'(#0(/(0#"7# trip down memory lane. Where there -'+<'#8*"56#-),#."*(#+%25(%!+)0#!"# applause a band usually gets after was certainly an element of nostalgia !'(#()*0K#!"#.+&Su\I,#E(."i#."/(.(%!# !'(K#')/(#60)K(&;#!'(#D*".+,(#G+%8# 6*(,(%!;#+!#-),#">/+"5,#!'(#D*".+,(# (before the genre made one shudder), opened the show with “Size of Your Ring was just playing music like they the Promise Ring made a bigger X+7(;i#7*".#!'(+*#5%&(*)66*(<+)!(&#$%)0# @%(-#'"-;#-+!'#a"%#M"'0(%#)-@-)*&0K# %).(#7"*#!'(.,(0/(,#+%#!'(+*#!+.(#!')%# album Wood/Water and immediately dancing while the rest of the band C)6I%#B)]]9#?7!(*#*5%%+%8#)#,(/(%SK()*# >*"@(#+%!"#ER)66+%(,,#+,#?00#!'(#G)8(;i# F5.6(&#)*"5%&#"%#,!)8(9#?!#"%(#6"+%!# course and releasing four critically off a(*K#1.(*8(%<K . For the rest of the a"%#M"'0(%#,)+&;#E:'(%#-(#-(*(#@+&,;# acclaimed albums, the Promise Ring $*,!#')07#"7#!'(#,'"-#!'(K#7"<5,(&#"%# we’d play for 30 minutes before we called it quits and went on to other their later material, which constituted 8"!#!+*(&#)%&#?AA#)%&#-)%!(&#!"#&"# 6*"F(<!,9#?0.",!#)#&(<)&(#0)!(*;#!'(# a generally slower and quieter sound something else,” but continued, “… band announced a reunion, with the that yielded longer lines at the bar Tonight, we’re going to play until you $*,!#,!"6#>(+%8#!'(+*#'".(!"-%#"7# and made the crowd noticeably -)%!#5,#!"#0()/(9i#1/(%#)7!(*#"/(*#`\\# Milwaukee. restless for their earlier post-hardcore .+%5!(,#"7#.5,+<;#!'(#<*"-&#%(/(*#0",!# their enthusiasm for the band and after Wisconsin has had its select musical ,(0(<!+"%,9#?7!(*#)&.+!!+%8#!')!#'+,# /"+<(#-),#E)#0+!!0(#,'"!;i#a"%#M"'0(%# !'(#(%<"*(#(%&(&;#+!#-),#">/+"5,#!')!# groups reach worldwide recognition apologized, jokingly saying “If we (/(*K"%(#,!+00#-)%!(&#."*(#7*".#!'(# ca+"0(%!#V(..(,;#W)*>)8(;#M"%#H/(*d;# -(*(#6*"7(,,+"%)0,#-(#-"50&#')/(# Promise Ring. but with the Promise Ring comes a cancelled.” certain amount of pride. They were at tyler FASSNACHT

m machine

?0!'"58'#H#')&# looked forward to seeing The M Machine at The Majestic Theatre for days prior, I walked to the show with a strange ,(%,(#"7#!*)%45+0+!K9#L)K>(#+!#-),#>(<)5,(#+!#-),#.K#$*,!# time attending my show as a 21-year-old and I didn’t ')/(#!"#-"**K#)>"5!#,%()@+%8#)#2),@#+%#.K#,'+*!;#>5!#+!# was probably because I didn’t know a lot about The M Machine--no one really does. The M Machine, a power duo that made its mark on the music world by signing !"#b:JX?;#)#6*"&5<!+"%#0)>(0#7"5%&(&#>K#J@*+00(N;#'),# managed to consistently release appealing, engaging tracks and tour with big-name artists while maintaining )#0"-#6*"$0(9#?,#H#(%!(*(&#!'(#!'()!*(#!')!#B)%5)*K#%+8'!;# H#+&(%!+$(&#.K#!*)%45+0+!K#),#!'(#<)0.#>(7"*(#)#,!"*.#"7# orgiastic electro-mania.

was watching the two members of the group onstage. The guys played the set with so much contagious enthusiasm that it hardly seemed like Madison was already the 30th stop on their tour. It took all my willpower not to jump "%,!)8(#)%&#*5%#.K#$%8(*,#!'*"58'#,".(#"7#!'(#,'"50&(*S 0(%8!'#')+*#!')!#-),#*+660+%8#-+!'#!'(#>()!9#H!#-),#">/+"5,# !')!#='(#L#L)<'+%(#0"/(,#-')!#!'(K#&";#)%&#>K#8"00K;#!'(K# &"#+!#-(009#='(#,(!#+%<05&(&#,).60(,#7*".#A()&.)5Q#)%&# ?/+<++#!')!#7(0!#<".7"*!)>0(#>5!#%"!#*(6(!+!+/(#c<5(#EX(/(0,id# and a lot of the music was new to me considering that the group has recorded only two songs. The M Machine ended its set with “Promise Me a Rose Garden,” a surprisingly beautiful track that features a riff of female /"<)0,#<".60+.(%!(&#>K#)#*"00+%8#,%)*(#0+%(#)%&#,(<!+"%,# "7#5!!(*#.)8%+$<(%<(9#H#,6(%!#!'(#*(,!#"7#!'(#%+8'!#&"%%+%8# a pretty prominent afterglow. Thanks, M Machine! alex ROSS

The majority of the crowd was there to see Paper A+)."%&;#!'(#.)+%#)!!*)<!+"%#"7#!'(#%+8'!9#G(8)*&0(,,;#!'(# (%(*8K#."5%!(&#!'*"58'"5!#!'(#$*,!#"6(%(*#)%&#<"%!+%5(&# while The M Machine was getting their equipment set up. ='(#/(%5(#,!)*!(&#$00+%8#56#45+<@0K#),#>*",;#*)/(#*)!,;#)%&# "!'(*#,"*!,#"7#,!"%(S<"0&#-(+*&",#2"<@(&#%()*#!'(#,!)8(# to watch the impending performance that would soon alter .K#"6+%+"%#"7#(0(<!*"%+<#AB,#7"*(/(*9#:+!'+%#.+%5!(,;#!'(# multi-colored lights began a ritualistic dance across the -)00,#"7#!'(#!'()!*(#)%&#!'(#$*,!#>"".#"7#)#,K%!'(,+](&# >),,#,'""@#!'(#(.6!K;#"/(*6*+<(&#>((*,#"%#!'(#!)>0(#+%# front of me. The two men who comprise The M Machine, sporting huge grins, began mixing sounds to present the )5&+(%<(#-+!'#!'(#$*,!#,"%8#"7#!'(#%+8'!;#EW0"-9i#H!#-),#)# *(7*(,'+%8#!)@(#"%#."&(*%#(0(<!*"%+<#.5,+<9#1/(%#!'"58'# I consider myself a fan of the dubstep genre, it was a welcome change of pace to hear something other than a ,5>&+/+&(&#>),,#0+%(#!"#&*+/(#!'(#>()!#'".(9### ?,+&(#7*".#!'(#.5,+<#+!,(07;#.K#7)/"*+!(#6)*!#"7#!'(#,'"-#

s 41

shows

orphan bloom & tiger clutch release show

For one of the most memorable nights in for local music in )-'+0(;#='(#R+8'#T""%#J)0""%#-),#!'(#.",!#6)<@(&#!')!#HI/(# (/(*#,((%#+!#7"*#!'(#b*6')%#M0"".#)%&#=+8(*#C05!<'#)0>5.# release show. I posit that it was due to the amount of excited 7)%,#-)+!+%8#!"#8(!#!'(+*#$%8(*,#"%#!'(#0)!(,!#*(0(),(,9#L)@(# no mistake that these fans were only here to hear new Orphan Bloom and Tiger Clutch music, the room was just as full of Colorphase fans ready to belt out a chorus along with lead ,+%8(*#Eai9#='(,(#6("60(#-(*(#+%#7"*#)#!*()!9#='+,#0+%(S56#')&# enough energy to bring the house down and the stir in the eagerly waiting crowd pulled about the same. To get the show 8"+%8;#C"0"*6'),(#>(8)%#!'(#6*"/(*>+)0#!()*+%8#&"-%#"7#!'(# house. ?,#C"0"*6'),(#(%!(*(&#!'(#,!)8(;#!'(#<*"-&#')&#)0*()&K#*""!(&# itself in the closest proximity. The instant they began playing, the crowd burst into dancing, and for good reason! Bassist Lexi Steinweg was slapping the funk right out of her strings, -'+0(#-'+66+%8#)>"5!#'(*#-)+,!#0(%8!'#&*()&,#0+@(#)#2)+0+%8# morningstar. Those who weren’t taking part in dance were busy .(0!+%8#!"#!'(#2""*#)!#!'(#,(*(%)&(#"7#0()&#,+%8(*#aI,#6"-(*750# /"+<(9#C"0"*6'),(,I#,!K0(#<)%#>(#*(0)!(&#&+*(<!0K#!"#!'(+*#%).(3# )0.",!#+%$%+!(#6",,+>+0+!K#&(6(%&+%8#"%#-')!#.""&#"*#,!K0(#!'(K# feel. One of the crowd pleasers Colorphase ripped through is called EA()!',!)*9i#='+,#')*&S'+!!+%8#!5%(#>(8+%,#-+!'#,!*)+8'!7"*-)*&# *"<@#*'K!'.,#7*".#()<'#+%,!*5.(%!)0+,!#>(7"*(#85+!)*+,!#BB#*+6,# +%!"#)#,'*(&&+%8#0()&9#='(#/(*,(#"7#!'+,#,"%8#,0"-,#&"-%#!'(# >()!#)#>+!#!"#)%#+**(850)*#,!)<<)!"#,!K0(#-+!'#5%+$(&#)<<(%!,#7*".# each member I think that I enjoyed listening to it as much as Colorphase appeared to enjoy playing it. ?7!(*#C"0"*6'),(#')&#<0()*(&#!'(#,!)8(#)%&#*(."/(&#!'(+*#8()*;# H#')&#"%(#"7#!'(#,!*)%8(,!#(N6(*+(%<(,#(/(*9#='(#=+8(*#C05!<'# road crew was setting up and performing sound check, and I <"50&I/(#,-"*%#H#'()*&#!'(#,"5%&#"7#)#<'"66(*#"/(*'()&9#H#')&# >((%#60)K+%8#)#>+!#"7#C)00#"7#A5!K#!')!#-((@;#,"#+!#-),#(%!+*(0K# 6",,+>0(#!')!#H#-),#F5,!#')/+%8#)%"!'(*#E2),'>)<@9i#:'(%#H# !'"58'!#!')!#H#.+8'!I/(#>((%#"%#!'(#>*+%@#"7#0",+%8#+!;#!'(#*")&# <*(-#)%%"5%<(&#!')!;#+%#7)<!;#=+8(*#C05!<'#')&#F5,!#)**+/(&s"%# the High Noon Saloon Helipad! I’m entirely sane after all! Tiger Clutch hit the stage like a sack of bricks to your face. Wait, maybe beers since they really are into partying. Yeah, a sack of beer to your face! It’s kind of weird if you aren’t familiar with Tiger Clutch. They basically dominated the globe throughout their many world stadium tours. We should feel thankful and rewarded that such a band of this prominence would dare to take a middle spot at )#/(%5(#0+@(#='(#R+8'#T""%#J)0""%9#?%K'"-;#=+8(*#C05!<'#+,# >),+<)00K#!'(#>+88(,!#6)*!K#>)%&#+%#!'(#-"*0&9#U"5#,((#?%&*(-# :9^9#-"*@+%I#!'(#6)*!K#"5!#!'(*(3#[bRg[#!'+%@#!'(K#!'*"-#)#6*(!!K# bumpin’ kegger. These parties pale in comparison to the parties

that Tiger Clutch makes. Ultimately, Tiger Clutch is like a Spinal Tap after party. ?!#!'(#,'"-#=+8(*#C05!<'#*(0(),(&#!'(+*#&(>5!#)0>5.#"7#6)*!K# anthems entitled Full Length, and the fans were just as excited !"#*(<(+/(#!'(#0"%8#)-)+!(&#+,,5(9#='(#(%(*8K#"7#!'(#6)*!K# continued as Tiger Clutch constantly upped the party ante. The >)**)8(#"7#EV5<@#J'+!#p6i#)%&#EH<(&#=()#c-hX(."%#V0)/"*di#0(7!# the crowd jeering as they cheered, drank, and cheered some more. Finally, Tiger Clutch closed their set with “Party Bonanza” and lead singer Thor addressed the crowd of fans stretching their arms towards him, “You’re welcome!” ?7!(*#!'(#=+8(*#C05!<'#*")&+(,#$%+,'(&#<0()*+%8#(45+6.(%!;# b*6')%#M0"".#!""@#!'(#,!)8(#!"#*(/()0#!'(#.5<'S)%!+<+6)!(&# 7"00"-S56#!"#!'(+*#(6"%K."5,#&(>5!#)0>5.9#?7!(*#)00;#b*6')%# M0"".#-),#/"!(&#!'(#>(,!#')*&#*"<@#)0>5.#"7#P\``#>K#!'(# L)&+,"%#?*()#L5,+<#?,,"<+)!+"%9##='(#2""*#')&#$%)00K#*()<'(&# capacity as Orphan Bloom wasted no time getting down to the new material. They kicked off their set with introduction of their %(-#1D#='(#:()*K#=*)/(0(*#+%#+!,#(%!+*(!K9#='(#.+N#"7#8*5%8(;# prog, and metal is just what the audience was waiting for. The $*,!#!*)<@;#ER"0(#+%#!'(#b<()%;i#>(8+%,#)#,0"-#).)08).#"7# ((*+(#,"5%&+%8#85+!)*#6*"8*(,,+"%,#!')!#8+/(#-)K#!"#!'(#)00S"5!# *'K!'.+<#,6),.,#"7#&*5..(*#=*)/+,#A*5..9#?7!(*#!'(#+%!*";# lead guitarist Sai Nelaturi unleashes a frenzied burst of wah and "<!)/(#.)%+650)!(&#%""&0(,#!')!#.)@(#56#6)*!,#"7#!'(#Eb*6')%# Bloom” sound. Their next song, “Siren’s Eyes,” wanders deeper into the 6*"8*(,,+/(S.(!)0#*()0.9#H!#'),#)%#+%!*"&5<!+"%#"7#>),,#)%&# guitars taking turns playing the opening exchange that changes into a section of booming unison eighth notes. The resulting <".>+%)!+"%#!'5%&(*,#),#+!#*(/(*>(*)!(,#!'*"58'#.K#*+>,#)%&# entrails until the composition takes the exact opposite turn and dims to a sombrous lull of classical guitar. ='(#!+!0(#!*)<@#E='(#:()*K#=*)/(0(*i#,'"-,#!'(#(N!(%!#"7# 60)K+%8#!(<'%+<)0+!K#!')!#b*6')%#M0"".#'),9#='(#<'58#&*+/(%# introduction soon transforms into harmonized guitar diddles

with opposing ascending and &(,<(%&+%8#')..(*S"%,#)%&#6500S"77,9#='(#8*+!!K#/"<)0,#>K# ?0(N#^*(,,#.)@(#6(*7(<!#<".60(.(%!)!+"%#!"#!'(#8*5%8(h.(!)0# !"%)0+!K9#?0.",!#,().0(,,0K;#!'+,#,"%8#!*)%,<(%&,#+%!"#!'(#0),!# ,"%8#"7#!'(#%(-#1D;#Ea)%+!KI,#1%&9i#J5&&(%0K#!'(#!(.6"#&*"6,# and things begin to get a little sludgy. This song’s slow growl 8*+%&,#"%#)%#)!K6+<)0#>()!;#-'+<'#,0"-0K#*(/()0,#!'(#85!!5*)0# %"+,(,#"7#!'(#7((&>)<@#$%)0(9 b*6')%#M0"".#(%&(&#!'(#(/(%+%8#-+!'#!'(+*#<5,!".)*K#(%&+%8;# EV*)+0#R)%&9i#H!I,#.K#"6+%+"%#!')!#!'+,#+,#"%(#"7#!'(+*#7)/"*+!(# songs to play. It certainly looks like a lot of fun to play. Bassist Nate Wiswall breezes through this little natural harmonics 25,!(*9#L",!0K;#H#!'+%@;#+!I,#!'+,#7((0+%8#"7#!"8(!'(*%(,,#>(!-((%# the band, a special moment. Midway through the song, all of !'(#85+!)*,.(%#,(!#&"-%#!'(+*#)N(,#)%&#0()/(#!'(#,!)8(#7"*#)# >((*#*5%9#U"5#.)K#$%&#)#.+0&#,(%,(#"7#)>)%&"%.(%!;#7"*#!'(.# !"#0()/(#!'(#&*5..(*#)00#)0"%(#!"#7(%&#7"*#'+.,(07;#>5!#+!I,#45+!(# !'(#<"%!*)*K9#=*)/+,#A*5..#,!)*!(&#,'"-+%8#"77#!'(#(N!(%!#"7# his incredible drumming talent. It’s almost as if he has a few +%/+,+>0(#0+.>,;#,"#'(I,#)!#)%#)&/)%!)8(9#?<!5)00K;#'(#F5,!#.+8'!9# ='(#>),,+,!#)%&#85+!)*+,!,#(%!(*#!'(#,!)8(#)8)+%3#!'(K#6+<@#56# !'(+*#85+!)*,#)%&#6((*#!"#=*)/+,;#-)+!+%89#:+!'#)#<"00(<!+/(#%"&#"7# !'(+*#'()&,;#!'(K#>(8+%#*"<@+%8#!'*"58'#!'(#$%)0#<'"*5,#"7#!'(# ,'"-#)%&#$%+,'#!'(#,(!9 ?7!(*#!'(#,'"-#-),#"/(*;#!'(*(#-),#"%(#.)+%#!'(.(#)."%8,!# !'",(#+%#!'(#(/(%+%8,I#)!!(%&)%<(O#()*#!"#()*#8*+%,#),#!'(K#0(7!#)# wonderful night of good music. mike ANDREWSKI

6'"!",#>K#L+@(#?%&*(-,@+

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tennis sails through high noon 65*6",(#"7#!'+,#>0"8;#+7#+!#(/(%#'),#"%(;#+,#!"#(%<"5*)8(# "!'(*,#!"#,((@#+!#"5!#)%&#65*,5(#+!#>*)/(0K;#0+@(#!'(#,)+0"*,# who came before us.”

=(%%+,#+,#)#j\I,#6"6S+%25(%<(&#>)%&#.)&(#56#"7#?0)+%)# Moore and Patrick Riley, who, after dating in college, took a sailing trip during which they started to make music !"8(!'(*9#R"-#0"/(0K#)%&#*".)%!+<#)%&#999#>"5*8("+,#"7# them, right? Well, they get the jokes about what some might call coasties here: boat-shoe-wearing, clean-cut, Langdon Street dwellers who are often stereotyped as >(+%8#*+<'#)%&#+8%"*)%!9#?,#,!)!(&#+%#)%#+%!(*/+(-#-+!'#!'(# ?9a9#C05>;#L""*(#)%&#G+0(K#%).(&#!'(.,(0/(,#=(%%+,#!"# .)@(#75%#"7#'"-#:?JDSK#!'(K#.+8'!#,((.9#W+/(%#!'(K# took a 7-month-long sailing expedition down the East C"),!;#-*+!+%8#)#!*)/(0#>0"8#<)00(&#:'+!(#J)!+%#W0"/(, )0"%8#!'(#-)K;#H#<)%#,((#'"-#!'(K#.+8'!#')/(#7"*(,((%# that connection. Tennis did not necessarily intend to *(!5*%#!"#,".(#:?JD#<50!5*(;#>5!#,+.60K#-)%!(&#!"#0()*%# about life at sea while “maintaining an intimacy with the 5%@%"-%i#c,((#!'(#$*,!#6",!#"%#!'(+*#>0"8d9#='(+*#$*,!# album, C)6(#A"*K;#*(2(<!,#56"%#)#F"5*%(K#!')!#>(8)%#7"*# %"#"!'(*#65*6",(#!')%#!"#')/(#)#F"5*%(K9#?,#!'(K#-*"!(#+%# !'(#>0"8;#E='(*(#+,#%"#+%'(*(%!#/)05(#+%#,)+0+%8#"*#!'(#,();# nor is there any inherent demarcation of status or ability. Sailing is only a means to an end and that end is not the ,).(#7"*#(/(*K"%(9#1/(*K"%(#'),#!'(+*#"-%#"<()%9#='(#

6'"!"#7*".#!*5((%&()/"*,>0"89<".

“

julie JARZEMSKY

SAILING IS ONLY A MEANS TO AN END AND THAT END IS NOT THE SAME FOR EVERYONE. EVERYONE HAS THEIR OWN OCEAN. THE PURPOSE OF THIS BLOG, IF IT EVEN HAS ONE, IS TO ENCOURAGE OTHERS TO SEEK IT OUT AND PURSUE IT BRAVELY, LIKE THE SAILORS WHO CAME BEFORE US.

“

In a time when YouTube can transform any old kid sitting around with a webcam into a minor celebrity, sometimes it’s nice to get a little break from the internet buzz. This constant buzz, in all of its forms, is what causes us to take a step back once in a while and get nostalgic. It’s -')!#."!+/)!(,#.(#!"#8+/(#!'(#?00.)%#M*"!'(*,#)%&#X(&# Zeppelin some attention from time to time. It’s also what ."!+/)!(&#.(#!"#0+,!(%#!";#+*"%+<)00K#(%"58';#)#>5]]#>)%&;# named Tennis.

Being immersed in this music of an escape to the sea seemed like the perfect break from the usual dreariness of V(>*5)*K#+%#:+,<"%,+%9#?%&#+!#-),;#+%#.)%K#-)K,9#J6+*+!,# -(*(#'+8'#)%&#!'(#!-"#"6(%+%8#>)%&,#60)K(&#0+/(0K#,(!,9# I didn’t catch myself looking at the clock in anticipation of the main act like I sometimes do. Surgeons in Heat, an ambitious powerpop group from Milwaukee, ushered +%#!'(#<"%<(*!8"(*,#),#!'(K#8*(-#!"#$00#!'(#2""*#"7#R+8'# T""%9#M*+8'!"%;#L?;#"5!#"7#C'+<)8";#@(6!#!'(#(%(*8K# 56#-+!'#!'(+*#*),6KS/"+<(&#/"<)0,#)%&#,!()&K#>5+0&S56,# "7#85+!)*#)%&#6+)%"#F).,9#=(%%+,;#')/+%8#F5,!#*(0(),(&# their second album U"5%8#r#b0& earlier in February, &+&%I!#,(00#"5!#!'(#R+8'#T""%9#='(K#&+&;#'"-(/(*;#0+/(#56# !"#!'(#,"5%&#"%#!'(+*#)0>5.9#L""*(I,#>*+8'!#/"<)0,#)%&# the band’s sun and sea-inspired, chilled-out melodies !*)%,0)!(&#>()5!+7500K#!"#)#0+/(#,(!9#='(#<*"-&#,((.(&# !"#<*)/(#!'(#/+(-#"7#L""*(;#-+!'#'(*#7500#'()&#"7#<5*0,# and petite frame, and when she stepped away from her keyboard to march up to center stage, her sha-la-la’s *(,"%)!(&#!'*"58'#!'(#<*"-&#-+!'#(/(%#."*(#(%(*8K9# 1)<'#,"%8#2"-(&#+%!"#!'(#%(N!;#>5!#,".(;#0+@(#!'(#>)%&I,# hits “Marathon” and “Origins,” stood out as big crowdpleasers. The band played well into the night and when !'(K#$%+,'(&;#!'(#<*"-&#-),#<"%!(%!9#T"#"%(#)!!(.6!(&# !"#8(!#)%#(%<"*(#"5!#"7#=(%%+,;#-'+<'#.)K#')/(#>((%# >(<)5,(#"7#!'(#0)<@#"7#/)*+(!K#>(!-((%#!'(+*#,"%8,#"*#&5(# !"#!'(#"/(*)00#,)!+,7)<!+"%#+%#!'(#)0*()&K#0(%8!'K#,(!9#H%# the future, it does seem that Tennis could face limitations due to the monotony of their sound, but for now, the light-heartedness of their music allows for an escape to a sunny mood ideal for a Friday night out.

BELA FLECK AND THE FLECKTONES R"-#-"50&#"%(#<0),,+7K#Mq0)#V0(<@#)%&#!'(#V0(<@!"%(,#+%# !'(#8*()!#"/(*)*<'+%8#,6(<!*5.#"7#.5,+<Z#?7!(*#%()*0K#P\# years, the original Flecktones reunited in 2010 to record G"<@(!#J<+(%<(;#)%&#')/(#%"-#(.>)*@(&#"%#)#!"5*# ,6)%%+%8#[Q|#/(%5(,#)<*",,#!'(#p%+!(&#J!)!(,9#V*(,'#"77# their Grammy win for Best Instrumental Composition, the quartet came to the Union Theater in Madison on March 1st to kick off their tour. V"*#,".("%(#-'"#'),#%(/(*#0+,!(%(&#!"#!'(#V0(<@!"%(,;# research was needed. I listened their most recent release, Rocket Science, and tried to gauge what genre they may >(#c!"#%"#)/)+0;#H#.+8'!#)&&d9#LK#7*+(%&,#-'"#)*(#)/+&# V0(<@#7)%,#!"0&#.(#!')!#Mq0)#+,#)#.),!(*#"%#!'(#>)%F"#)%&# !"#(N6(<!#+.6*"/+,)!+"%)0#,"0",#!')!#-"50&#0),!#7"*#$/(#!"# ten minutes at times. My friends also informed me that the rhythm man for the band is rather strange. With those statements in my head, I walked into the theater, hoping for the best.

T(/(*!'(0(,,;#!'(#'+8'0+8'!#"7#!'(#(/(%+%8#-),#'(0&#+%# !'(#.+&&0(#"7#!'(#+.6*"/+,)!+"%#,(<!+"%#"7#!'(+*#W*)..KS -+%%+%8#,"%8#EX+7(#+%#10(/(%iO#R"-)*&#X(/K;#!'(#>*+00+)%!# pianist in the band, began playing “On Wisconsin.” This then spread to the audience who began singing it, while Fleck and Roy “Futureman” Wooten” began to play Before the band took the stage, I looked around at the backing music to “On Wisconsin.” One of the appeals of 6("60(#-'"#,)!#%()*#.(9#V*".#.K#/)%!)8(#6"+%!;#H#<"50&# this band, as shown in their interactions with the audience see a large hodgepodge of the Madison community, !'(#(%!+*(#(/(%+%8;#+,#!'(#>)%&I,#7)%!),!+<#*(0)!+"%,'+6# -+!'#)8(,#/)*K+%8#7*".#(0(.(%!)*K#)8(#<'+0&*(%;#<"00(8(# -+!'#!'(+*#7)%,#)%&#)5&+(%<(9#='(#V0(<@!"%(,#-(*(#)00#/(*K# students, young professionals, and quite a few baby happy to be playing for the people in the theater, and the boomers. Completely selling out the Union Theater, the <"%<(*!#>(8)%#)!#{O[\#-+!'#)#!'5%&(*"5,#"/)!+"%9#='(#7"5*# people were exuberant that the Flecktones came here. men walked on stage, took their places, and began to do So, where should the Flecktones be placed on the something twenty years in the making. musical spectrum? Fleck, taking a break between songs, ,!)!(&#!')!;#E-(I/(#>((%#<)00(&#75,+"%;#F)]];#>05(8*),,;# R)/+%8#60)K(&#+%#F)]]#>)%&,#+%#'+8'#,<'""0;#H#8*(-#!"# blues, and anything in between.” In there then lies the )66*(<+)!(#!'(#+.6*"/+,(&#,"0"9#='+,#<).(#+%!"#60)K#)!# )%,-(*#!"#!'(#8(%*(#45(,!+"%9#M5!#(/(%#+7#!'",(#8(%*(,# the concert, as songs featured on Rocket Science would sound highly incompatible, the literal fusion of the sounds !'(%#&+,,"0/(#+%!"#,"0"#"66"*!5%+!+(,#7"*#()<'#"7#!'(# somehow makes for a joyous set of songs. These songs, >)%&#.(.(>*,9#L",!#%"!)>0K;#a+<!"*#:""!(%I,#7)%!),!+<# accompanied by the energy and talent of the four men bass solo in the song before the intermission led to a "%#,!)8(;#8+/(#Mq0)#V0(<@#)%&#!'(#V0(<@!"%(,I#*(!5*%#!"# ,!)%&+%8#"/)!+"%#+%#!'(#"*<'(,!*)#,()!+%89#='(#%).(,)@(# !"5*+%8#)#/+>*)%!#)%&#0"%8#)-)+!(&#,6)*@9# himself took time out near the end of the concert to take a solo turn on the stage and show off some of his banjo conor MURPHY -"*@9#1/(%#!"#,".("%(#+%(N6(*+(%<(&#+%#>)%F"#.5,+<;# Fleck’s talent in itself is fascinating, showing how one’s 6(*,(/(*)%<(#)%&#&(&+<)!+"%#<)%#(/(%!5)00K#0()&#!"# mastery of a craft.

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CAROUSING WITH DEER TICK ?66)*(%!0K#>(+%8#7*".#G'"&(#H,0)%&# and being a real rock and roll band )*(#%"#0"%8(*#.5!5)00K#(N<05,+/(;# like I and the rest of the world had 6*(/+"5,0K#),,5.(&9#A((*#=+<@I,#!"5*# promoting their latest and greatest A+/+%(#D*"/+&(%<(#&+&#%"!#&+,)66"+%!;# bringing the already larger-than-life sound to stages all across the US last 7)009#H%#T"/(.>(*#!'(#85K,#,!"66(&# in Madison at the Majestic Theater along with openers Thomas Harding, )%&#W5)*&,#)%&#65!#"%#)#!K6+<)0#A((*# Tick show. That being said, toilet 605%8(*,#-(*(#+%/"0/(&;#!'(*(#-),#%"# shortage of on-stage make outs and it was a hell of a good time. R)*&+%8#!""@#!'(#,!)8(#$*,!;#60)K+%8# a low-key electric set. By the time Guards took the stage the crowd was riled up, and responded well to the high energy set by the band <".6*+,(&#"7#-')!#0""@,#0+@(#$/(# ?.+,'#!((%)8(*,9#1N<+!(.(%!#8*(-# ),#A((*#=+<@#85+!)*+,!#H)%#bIT(+0# chucked ice cubes at the band from backstage while they attempted to $%+,'#!'(+*#,(!9 1/(%!5)00K#A((*#=+<@#&+&#<".(#"5!;# starting off with their latest album’s opener “The Bump”, an energetic

"&(#!"#0+/+%8#7),!#)%&#&K+%8#K"5%89# From the outset the show was out "7#<"%!*"0sB"'%#L<C)50(K;#!'(# functioning alcoholic took the stage with a 6-pack that I assume was '+,#,(<"%&9#?#-(+*&;#.",'#6+!S!K6(# situation happened among three guys too drunk to stand. McCauley and O’Neil shared a slobbery make-out session. The band also <"/(*(&#.5,+<#+%<05&+%8#B"'%#D*+%(;# !'(#A+N+(#C'+<@,;#T+*/)%);#)%&#!'(# Replacements. Some of the best parts of the show happened when some of the other guys took the microphone and McCauley took the back burner. A*5..(*#A(%%+,#GK)%#,)%8#!'(# hauntingly beautiful “Clownin’ ?*"5%&i#)%&#!'(#*(,!#"7#!'(#>)%&# F"+%(&#'+.#7"*#!'(#/"<)0#')*."%+(,9# O’Neil also blew the crowd away with '+,#85!S-*(%<'+%8#/"<)0,#)%&#85+!)*# solo in “Now It’s Your Turn”. The only time the Majestic was quiet that night was during the ,!5%%+%8#>)00)&#EA+*!K#A+,'(,i#-'+<'# showcases the bands uncanny harmonizing abilities. Other fan 7)/"*+!(,#60)K(&#+%<05&(#*"<@#>)00)&# “Smith Hill” and “Easy”.

Throughout the show, Guards got !'(+*#*(/(%8(#7"*#!'(#+<(#<5>(#)!!)<@9# They too began by throwing ice <5>(,;#>5!#(/(%!5)00K#6"5*(&#>((*#"%# !'(#85K,#7*".#!'(#>)0<"%K#)>"/(;#)%&# $%)00K#0"-(*(&#)#!"+0(!#605%8(*#"%#!"6# of McCauley’s head as he sat at the piano. ?!#!'(#(%&#"7#!'(#%+8'!;#>"!'#W5)*&,# and Harding returned to the stage to '(06#A((*#=+<@#60)K#!'(#>""]K#EX(!I,# ?00#W"#!"#!'(#M)*i;#)#*"-&K#,"%8# about getting drunk by any means possible. The stage was packed and so was the crowd as people 65,'(&;#,'"/(&;#)%&#>+!#c,(*+"5,0Kd# their way to the front to catch the plethora of memorabilia they threw from the stage including a full beer can, drum stick and guitar picks. The $%)0#,"%8#-),#)#,)!+,7K+%8#(%&+%8# !"#)#-+0&#(/(%+%8;#-*)66+%8#56#)!# )*"5%&#.+&%+8'!#)%&#0()/+%8#.",!# &+,)66"+%!(&#!')!#+%#!'(#*()0#-"*0&3# tomorrow was Monday. What day -),#+!#+%#A((*#=+<@#-"*0&;#K"5#),@Z# Who knows. lisa FOX photo from www.speakersincode.com/

Andrew Bird, renaissance man ?%&*(-#M+*&#+,#)#*(6*(,(%!)!+"%# "7#(/(*K!'+%8#!')!#+,#E*+8'!i#+%# music, a rejection of the formulaic and stagnant pop genres, a *(/+/)0#"7#)%#)8(#"7#.5,+<#-'(*(# artists were rewarded for their .(<')%+<)0#6*"$<+(%<K;#<*()!+/(# 6*"-(,,;#)%&#(."!+/(#,!*(%8!'9#R(# is a Renaissance man of music. ?%&*(-I,#$*,!#6(*7"*.)%<(#!')!# night, a solo piece, showcased his multi-instrumental mastery as he orchestrated a one-man band with his signature array of loop pedals. ='(#0""6+%8#*'K!'.#"7#'+,#0+8'!#/+"0+%# plucking supported an intense exhibition of just what a Bachelor’s in /+"0+%#6(*7"*.)%<(#7*".#T"*!'-(,!(*%# -+00#8(!#K"59#="#(/(*K"%(I,# expectations, the whistling soon followed, complemented by the bright and illuminating tones of the glockenspiel, piercing the room with )#6+!<'#!')!#%"#*(<"*&+%8#<"50&#(/(*# &"#F5,!+<(9#R+,#>"-#."/(&#-+!'#,5<'# ferocity that the hairs of his bow began to loosen and fray within the $*,!#!(%#.+%5!(,9##R+,#,"0"#(%&(&;# as the rest of the band approached the stage and transitioned into songs from his new album, Break It Yourself. With the recent release of V(/(*#U()*, )#&"<5.(%!)*K#$0.#<'*"%+<0+%8#!'(# !*)/(0,#"7#?%&*(-#'+.,(07;#*5."*,# began to surface of his ailing health )%&#E6(*6(!5)0#7(/(*9i##R"-(/(*;#)00# anxieties were allayed that night as

each song was reinforced and propelled by a man -'"#-),#/(*K#.5<'# +%/(,!(&#+%#'+,#-"*@9#='(# ,'"-#&+&#')/(#+!,#7)+*# share of hiccups, though. V)%#7)/"*+!(#ED0),!+<+!+(,i# -),#*(,!)*!(&#$/(#"*#,+N# times on account of Bird’s thumb getting caught +%#!'(#&+7$<50!#605<@(&# opening, but he merely laughed it off remarking that, “You get a few &"S"/(*,;#)%&#!'(%#+!#8(!,#)-@-)*&9# ?7!(*#!')!;#+!#,!)*!,#!"#8(!#75%%K;#>5!# then it’s awkward again.” It was refreshing to see a musician handle an embarrassing situation with humility and grace. ?!#!'+,#6"+%!#+%#!'(#*(/+(-;#H#-"50&# like to dedicate a paragraph solely !"#L)*!+%#A",';#(0(<!*"%+<#.5,+<+)%# and drummer extraordinaire. While ?%&*(-#M+*&#+,#<(*!)+%0K#!)0(%!(&#+%# his own right, the trademark sound often attributed to him would not >(#!'(#,).(#-+!'"5!#A",'9#b7!(%# "/(*0""@(&;#A",'I,#5,(#"7#0""6+%8# )%&#5%<"%/(%!+"%)0#*'K!'.,#8+/(,# !'(#>)%&#)#&*+/(#)%&#&+*(<!+"%9# :')!#,(6)*)!(,#A",'#7*".#!'(#*(,!# is his ability to make his kit integral to the music. The dynamism of /"05.(#)%&#<"%!*"0#'(#(N(*!,#"/(*# '+,#6(*<5,,+/(#(%,(.>0(#+,#)#,!)*@# contrast to the talentless timekeeping that is relegated to the drummers of ,"#.)%K#"!'(*#>)%&,3#A",'I,#@+!#+,# absolutely essential to the sound all *(<"8%+](#),#?%&*(-#M+*&9#="#65!#+!# simply, a lot of bands could probably get by if their drummer died and was replaced by a drum machine. You <)%%"!#*(60)<(#A",'9 Towards the middle of the night, Bird and company pulled out the standing bass and acoustic as they ."/(&#!"-)*&,#!'(#<(%!(*#"7#!'(#

,!)8(#!"#60)K#,(/(*)0#5%60588(&# ,"%8,9#?,#!'(#!(00+%8#%"!(,#"7#E17$8Ki# 8*)<(&#!'(#/+"0+%;#7)%,#>5*,!#+%!"#)# raucous roar and Bird belted out the lyrics. The cascade of applause that immediately followed was incredible and stood toe-to-toe with that of the <0",(*9#?7!(*#!'(#<0)66+%8#<"%!+%5(&# for a good twenty seconds or so, Bird 8)/(#)%#"77#85)*&#E-"-;i#,'((6+,'0K# chuckled and thanked the crowd. ?7!(*#8+/+%8#!'(.,(0/(,#,".(#!+.(# to bask in the appreciation, the band continued on with their acoustic set. ?7!(*#<0",+%8#-+!'#E=)>0(,#)%&# Chairs” and “Fake Palindromes,” the band reclaimed the stage with a breath, taking rendition of Handsome Family’s “So Much Wine” for the encore. Charlie Patton’s “Goin’ Home” was also featured as a song that had made a great impact on M+*&#*(<(%!0K9#?7!(*#!'(K#')&#)00#0(7!;# Bird returned for a second encore performance of “Weather Systems.” ?,#'+,#-'+,!0(,#-)*>0(&#)%&#'+,# /+"0+%#,)%8;#!'(#&"5>0(S'()&(&# gramophone on stage began to accelerate and spin, distorting the music as Bird exited the stage. For most of the concert, Bird had sung and played with his eyes shut, swaying with the music and dictating with his hands. This was a man that could feel the music. anthony LEE 6'"!"#>K#B),"%#J!"77;#G+/(*7*"%!#=+.(,

s 47

ALBUMS

8536

Happy To you

Beer belly protruding, a sloppy thirty-something guy schleps around his apartment in silence, waiting for something to happen. Suddenly, space intruders enter his shabby house, kidnap him, )%&#8+/(#'+.#)#<".60(!(#.)@("/(*#c+%<05&+%8#,".(#'(+%"5,# <",.(!+<#,5*8(*Kd9#?7!(*#!'(#&(>)<0(;#'(#&"%,#)#6*",!'(!+<#%",(;# a slimy black wig, and super tight pleather pants. He is reborn, a new man, prepared to be sent back to Earth armed with some %(-#@+00(*#&)%<(#."/(,#)%&#)#,(*+"5,0K#*(+%/+8"*)!(&#.5,+<)0# &+(!9#?0>(+!#>+])**(;#!'+,#+,#!'(#6*(.+,(#"7#!'(#%(-#.5,+<#/+&("#7"*# “Paddling Out,” off of Miike Snow’s new album Happy to You. ?7!(*#!'(#$*,!#0+,!(%;#,!*)%8(0K#(%"58';#H#7(0!#H#<"50&#,K.6)!'+](# -+!'#!'(#(<<(%!*+<#.)%#+%#!'(#/+&("#)%&#')&#+%#7)<!#(N6(*+(%<(&# c!"#)#0(,,(*#&(8*((d#.K#"-%#V*)%@(%,!(+%+)%#.5,+<#*(F5/(%)!+"%9

Happy to You is best described as baroque pop in space- I’m thinking like the Phantom of the Opera and Mozart chilling with some robots. The album features clanging piano rhythms, catchy disco undertones, handclaps, echoes, and a steady stream of drumming, making you feel at times like you are trapped inside large timpani. The Swedish trio’s sophomore attempt is weirder, louder, faster, and feels more conceptual. There are hints of a more ominous melancholy, showcased best

M5!#!'(#*()0#-+%%(*#7"*#.(#+,#E?*<'+6(0)8"i;#)#6(*7(<!#>0(%&#"7# *(0)N(&#<"%/(*,)!+"%#!*)%,+!+"%+%8#!"#&)%<(#(N!),K;#0+@(#)%K# *()00K#8*()!#<"00(8(#6)*!K9#H#')&#0+@(&#L++@(#J%"-I,#$*,!#*(0(),(;# K(!#%(/(*#,)-#.K,(07#),#)#!*5(#7)%3#'"-(/(*;#Happy To You '),#<(.(%!(&#!'(.#),#<*()!"*,#"7#"%(#"7#.K#7)/"*+!(#)0>5.,# of the year. The music on this album combines the ultra crazy techno-induced party jam with calming whispers of confusion )%&#/50%(*)>+0+!K;#K(!#!'(#6*"&5<!#+,#,".(!'+%8#*(.)*@)>0K# )<<(,,+>0(9#?%&#!')!I,#-')!#L++@(#J%"-#+,S#)#>0+,,750#(,<)6(#!"#)# place that isn’t so foreign. 0+/+#MAGNANINI

Which Side Are You On? 6750

J".(#,(/(%!((%#)0>5.,#0)!(*#)%&#?%+#A+V*)%<"#+,#,!+00#<*()!+%8# unique music, jam packed with meaningful lyrics in her new album ~:'+<'#J+&(#?*(#U"5#b%Z#='(#?%+#7)%#-+00#$%&#<".7"*!#+%# the singer/songwriter/producer’s take on what her life has meant )%&#.()%,#!'5,#7)*;#),#85)*)%!((&#-+!'#)%K#?%+#)0>5.;#>5!#"7# <"5*,(#+!#+,#%(/(*#!'(#,).(#),#!'(#0),!9#R"-#<"50&#+!#>(Z#:(#)*(# <"%,!)%!0K#<')%8+%8#)%&#(/"0/+%8#),#'5.)%,;#)%&#?%+#A+V*)%<"# )%&#!'(#.5,+<#,'(#<*()!(,#+,#%"#(N<(6!+"%9#="#>(#)%#?%+#7)%#+,#!"# ')/(#0+,!(%(&#!"#'(*#)0>5.,;#7"00"-+%8#'(*#6*"8*(,,+"%#7*".#!'(# young twenty year old to the mature adult that she is now, each )0>5.#<"/(*+%8#)#&+77(*(%!#,(8.(%!#"7#'(*#0+7(;#()<'#*(2(<!+%8# !'(#">,(*/)!+"%,#)%&#0+7(#0(,,"%,;#'(*#6"(!*K#(N6*(,,(&#+%,6+*(&# by the time. We hear her comment on growing up in the second track of this album, “Unworry,”: “…and I gotta say I’m amazed/ not in )#8""&#-)Kh#'"-#.5<'#H#&"%I!#*(.(.>(*;i#)%&#EHI/(#>(<".(# ."*(#6()<(750h#%"#."*(#$8'!+%I9i#='+,#+,#)#/(*K#&+77(*(%!#?%+# !')%#!'(#()*0+(*#)%8*K#?%+#-(#-(*(#+%!*"&5<(&#!"#"%#'(*#)0>5.,#

in “Black Tin Box” )%&#EM)/)*+)%#}`# (Say You Will)”, but mostly Happy to You is oddly charming. E1%!(*#!'(#B"@(*I,# X)+*i#+,#!'(#$*,!#!*)<@# and the best example of the baroque-popin-space concept they are going for, with fading sound bites and ultra high-pitched clangs on the piano keys. The weirdness <"%!+%5(,#+%#EW"&#R(06#='(#A+/"*<(i;#K(!#!'(#%)**)!"*#>(<".(,# *(0)!)>0(9#1/(%#+7#K"5#&"%I!#E8"#!"#!'(#>)*#)%&#,)K#,(.+S,(N+,!# things” or “take your tea in silence”, you sympathize with what he’s saying.

A+0)!( and Like I Said. Our ?%+#A+V*)%<"#+,#)00#8*"-%# up. (Sniff!) But don’t be sad because our passionate )*!+,!#'),#)#$*(#>5*%+%8#+%,+&(#'(*#,!+00;#)%&#+!#+,#&+,60)K(&#-+!'# perfection in the title song. This soulful, musically exciting remake of the old classic written by Florence Reece in 1931, E:'+<'#J+&(#?*(#U"5#b%Zi#<)00,#"%#5,#!"#<"%!+%5(#!"#,!)%&#56# 7"*#"5*#*+8'!,9#='+,#,"%8#)0,"#<)00,#"%#5,#!"#&)%<(3#H#60)K#!'+,# !5%(#)%&#H#')/(#!"#8(!#56#)%&#."/(g#H!I,#)%#(,6(<+)00K#*(0(/)%!# tune to dig out of the old tunes box, as the United States ,!*5880(,#!"#"/(*<".(#6"0+!+<)0#<"**56!+"%9#='+,#,"%8#+,#)%#)&50!# *(,6"%,(#!"#!'(#6"0+!+<)0#6*">0(.,#7)<(&#!"&)K3#)#.5<'#."*(# grown up response than, “Fuck you and your untouchable 7)<(h75<@#K"5#7"*#(N+,!+%8#+%#!'(#$*,!#60)<(;i#7*".#A+0)!(. Rest ),,5*(&;#!'+,#)0>5.#+,#(/+&(%<(#!')!#"5*#?%+#'),#8*"-%#56#>5!# she has not sold out. . lisa KOHLMANN

a eulogy for the damned 7500

Since Coup de Grace in 2002, Orange Goblin ')/(#'()&(&#+%# a slightly new direction from their old stoner/doom classics, although !'(+*#+%25(%<(,# ')/(#0)*8(0K# remained the same: bikes, beer and babes. Happily, it appears their newest effort ?#150"8K#7"*#!'(#A).%(& keeps these in the forefront of !'(#<*()!+/(#6*"<(,,9 ='(#$*,!#!'+%8#!')!#H#%"!+<(&#)>"5!#!'(#)0>5.#-),#+!,#<0()%(*;# ."*(#*)&+"S7*+(%&0K#6*"&5<!+"%9#D*(/+"5,#)0>5.,#%(/(*#7(0!#!""# 0"S$;#>5!#!'(#&+77(*(%<(#"%#150"8K#+,#5%.+,!)@)>0(;#(,6(<+)00K# -+!'#!'(#-"*@#&"%(#!"#M(%#:)*&I,#8*"-0+%8#/"<)0,9#H!I,#%"!# necessarily a bad change, and I hope it encourages more 6("60(#!"#8+/(#b*)%8(#W">0+%#)#<')%<(9 D*"&5<!+"%#/)05(,#),+&(;#Eulogy is a good combination of the old and new Orange Goblin. The muscled riff-rocking opener eG(&#=+&(#G+,+%8I#*()00K#,'"-<),(,#!'(#."*(#<"%/(%!+"%)0#.(!)0# )%&#')*&h,"5!'(*%#*"<@#+%25(%<(,#"7#!'(+*#%(-(*#-"*@;#-'+0(# .)+%!)+%+%8#!'(#<'588+%8;#)&&+<!+/(#*+7$%8#."*(#*(.+%+,<(%!# of their Big Black days. In fact, the opening of the album is so good, in true Orange Goblin fashion, that it can be hard to continue on to the rest of the album before hitting that repeat button again.

6600

Unfortunately, the rest of the album also rules. These guys ')/(#*()00K#$85*(&#"5!#'"-#!"# 6)<(#!'(+*#)0>5.,#"/(*#!'(#K()*,;#-+!'#!'(#,0"-#)%&#!'(#7),!# <".+%8#+%#)!#F5,!#!'(#*+8'!#!+.(,9#:)*&I,#/"<)0,#')/(#%(/(*# ,"5%&(&#>(!!(*;#+%#,6+!(#"7#!'(#>('+%&S!'(S,<(%(,#/""&""#"7# the studio, and the sweet, sweet riffs just keep dropping like two-ton bombs in an air raid. Eulogy easily features some of Orange Goblin’s most catchy work to date, and feels like their $*,!#*()0#>+&#7"*#,".(#*)&+"#)+*#!+.(9#='(K#60)K#-')!#!'(K#0+@(#!"# hear, and record what they like to play, which is really all anyone can ask of them. While it may stray close to “douche-rock” territory a few times, ?#150"8K#7"*#!'(#A).%(&#is a boozefueled combination of fuzzed-out, olde-school doom metal and southern-tinged hard rock that is easy to recommend to both b*)%8(#W">0+%#/(!,#)%&#%("6'K!(,#)0+@(9 pat CASSIDY

Daffy’s Elixir

Listening to A)77KI,#10+N+*, one !'+%8#+,#<(*!)+%9#1/(*K#'""@;# 0+%(#)%&#0K*+<#(/+&(%<(,#M*K)%# J<)*KI,#,+8%)!5*(#)&/(%!5*+,.9# The album, two years in the making, combines the experimentation of the Flaming Lips and M(%#V"0&,I#,5%%K#@(K#0+%(,#-+!'#/"<)0,#!')!#-)/(*#>(!-((%#)+*K# )%&#<"..)%&+%89#L5<'#0+@(#B)<@#:'+!(#"%#'+,#P\``#,6)8'(!!+# western-inspired release Rome, Brooklyn talent Bryan Scary tells stories. Scary narrates tales of miners, train stations and moody outlaws. b5!#!'+,#?6*+0;#A)77KI,#10+N+*#7()!5*(,#/"<)0,#*(.+%+,<(%!#"7#='(# Beatles’ casual but bright drawl especially clear on “Wicked Fontier” and “Cable Through Your Heart.” Scary’s howls on EY+(8$(0&#J!)!+"%i#-+00#*(.+%&#0+,!(%(*,#"7#:)**(%#Y(/"%I,# E:(*(-"0/(,#"7#X"%&"%i#*(0(),(&#"77#!'(#)0>5.#Excitable Boy in 1978. A+/(*,(#@(K#0+%(,#,')6(#!'(#)0>5.9#J".(!+.(,#!'(K#2")!#)*"5%&# 0+,!(%(*,#+%#)#25**K#"7#%"!(,#)%&#,<)0(,#cEC)>0(#='*"58'#U"5*# R()*!i9d#?!#"!'(*,;#!'(K#>5+0&#.".(%!5.#!"#.)!<'#!'(#,5>F(<!#"7# !'(#!*)<@#cEY+(8$(0&#J!)!+"%9id

='(#)0>5.I,#.""&#+,#,+.+0)*0K#/)*+(&9#EC)>0(#='*"58'#U"5*# Heart” begins more ominously than the other tracks, while the exuberance of “Ballroom Kid” will transport listeners to the speakeasy clubs of the ’20s. “You Might Be Caught in Tarentella” channels the darker ambience of “Eleanor Rigby” 6)+*(&#-+!'#)#6(66+(*#>()!;#)%#(N60",+/(#&*5.#.)<'+%(#0+%(#)%&# /"<)0#&+,!"*!+"%#)!#+!,#<"%<05,+"%9#='(#+%<"*6"*)!+"%#"7#!'(#/+"0+%# 75*!'(*#(%')%<(,#!'(#+%,!*5.(%!)0#&+/(*,+!K#"7#!'(#)0>5.9 Lyrics off A)77KI,#10+N+*#6*"/"@(#0+,!(%(*,#-+!'#!'(+*#&(6!'#)%&# "&&+!K9#b%#Et5+<@,+0/(*#A)+,K#A)K;i#J<)*K#<*""%,#E='(*(I,#%"# tomorrow on the island of today.” In contrast, quirky lyrics that rhyme ‘tarantella’ with ‘umbrella’ on “You Might Be Caught in Tarantella,” reinforce the album’s humor and eccentricity. J".(#,"%8,#"77#!'(#)0>5.#0()%#'()/+(*#"%#*"<@#,(%!+.(%!)0+!+(,# cE?%"!'(*#?<(#+%#!'(#R"0(i9d#b!'(*,#7()!5*(#(N!(%&(&# +%,!*5.(%!)0#,(<!+"%,#cEA+)."%&,gid9#='"58';#)00#7"*-)*&#)%# energy that’s impossible to deny. emily GENCO

A 51

ALBUMS

8800

give you the ghost

Poliça is simultaneously soothing but !"*!5*(&;#0)K(*(&#>5!#<"'(,+/(;# 75*!+/(#>5!#*(/()0+%89#='(# L+%%()6"0+,#>)%&#!'*+/(,#"%# mystery and momentum. Since its debut in 2011, Poliça has 60)K(&#T(-#U"*@I,#CLB#7(,!+/)0;#"6(%(&#7"*#C0)6#U"5*#R)%&,# Say Yeah and released W+/(#U"5#!'(#W'",! to much local acclaim. ='(#>)%&#'),#<"00)>"*)!(&#-+!'#L+@(#T"K<(#"7#M"%#H/(*#cEX)K# Your Cards Out” and “Wandering Star”) and sells out shows )!#V+*,!#?/(%5(9#X+,!(%+%8#!"#W+/(#U"5#!'(#W'",!; there’s no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i#7()!5*(,#!'(#0K*+<,;#EHI.# always chasing after somebody/someone else, by myself.” On E='(#L)@(*;i#X()%()8'#."5*%,;#ER(#-"%I!#0"/(#.(#0+@(#!')!9i# R(*#,5>!0(#)%&#(<'"+%8#EU(SK(SK()',i#6*"/+&(#)7$*.)!+"%#)%&# closure. While the album deconstructs the realities and pitfalls of passion, synth lines straight off a funhouse soundtrack and !'(#)88*(,,+/(#6(*<5,,+"%#'+!,#"7#!-"#&*5..(*,#%(/(*#0(!#!'(#

)0>5.#+&0(9#H!#+,#),#0+!'(#)%&#2"-+%8#),#!'(#>)%&I,#6*(,(%<(#-),# onstage when they played FRZN Fest at the High Noon Saloon +%#B)%5)*K9 G(6(!+!+"%#,')6(,#!'(#!(%,(#.""&#"7#!'(#)0>5.9#b%#EA)*@# J!)*i#X()%()8';#6*"/+&(,#-'+,6(*,#+%#<)00#)%&#)%,-(*#<*()!+%8# )#,"%+<#,<'+]"6'*(%+)#75*!'(*#&(/(0"6(&#!'*"58'#!'(#(<'"+%8# /"<)0#&+,!"*!+"%,#"7#EV"*.9i#b7!(%;#!'(#/"<)0,#)*(#+%)5&+>0(;# unintelligible, incomplete, rendering them all the more <)6!+/)!+%89 Masterful instrumentals also contribute to the tension of the record. Synth lines skirt between percussion parts that pelt the *+.,#+%#)#<),<)&(#"7#'+!,9#E?."%8,!(*i#>5+0&,#!'*"58'#/"<)0# layering and concludes in a crash of percussion and effects. Electronic embellishments add complexity to the album. E?."%8,!(*i#>(8+%,#-+!'#)#'()/K#'5.;#-'+0(#0"-(*S!"%(#,+*(%,;# a didgeridoo-esque effect and a grimy synth line kick starts Ea+"0(%!#W).(,9i#='(#>*),,#,(<!+"%#<"560(&#-+!'#'"00"-;# ascending scales situates listeners at the cross section of a New b*0()%,#F)]]#<05>#)%&#!'(#<0+.)N#"7#)#,<+S$S$0.9 ='(#/"<)0,;#&*5.,#)%&#>),,#85+!)*#>0"".#"%#W+/(#U"5#!'(# Ghost tracing the journey of four talented musicians digging to $%&#!'(#/(*K#*""!#"7#!'(+*#<"00(<!+/(#,"5%&9#?!#!+.(,#!'(#.5,+<# 0)6,#"/(*#0+,!(%(*,#0+@(#)#8(%!0(#!+&(9#?!#"!'(*,;#+!#-)+0,#)%&# moans slamming listeners against a wall of intense sound, but +!#)0-)K,#&+6,#)%&#-()/(,#)/"+&+%8#!'(#(N6(<!(&;#<')00(%8+%8# audiences. emily GENCO

breakfast

Chiddy Bang’s debut Breakfast (2012) is just the album to thaw out your iTunes library this spring. Rapper Chidera EC'+&&Ki#?%).(8(# and producer Noah E_)6'""%#B"%(,i# M(*(,+%#')/(#<".(#)#0"%8#-)K#7*".#8*5%8K#A*(N(0#C"00(8(# >),(.(%!,;#*+&+%8#)#-)/(#"7#7*(,'#+%&+(#,).60(,#)%&#-+!!K# *)6,9#:+!'"5!#)#&"5>!;#C'+&&K#M)%8#'),#<)*/(&#"5!#)#%+<'(# +%#?.(*+<)%#R+6SR"69#M*()@7),!#"77(*,#)%#56>()!#)%&#(%!+<+%8# >0(%&#"7#<'+<#<5!,#7*".#56#)%&#<".+%8#)*!+,!,#+%<05&+%8#aa# Brown on “Happening”, and Ellie Golding on “Out 2 Space.” U(,;#H#,)+&#(%!+<+%83#!'(#D'+0)&(06'+)#%)!+/(,#')/(#<*()!(&#)%# )!!*)<!+/(#8(%*(#7"*#+%&+(#6"6#'+6,!(*,#)%&#'+6S'"6#%(-<".(*,9# H7#K"5I/(#>((%#)#7)%#"7#!'(#8*"56I,#.+N!)6(,#H#6*".+,(#M*()@7),!# will NOT disappoint. “Hop in the line and we cut to the front/ ='(%#H#6*"<((&#!"#')/(#)#,'"*!K#*"00#.(#)#>05%!h#H#,)K#!')!#+7# K"5I*(#,-(00K#K"5#<)%#%(/(*#>(#,!"66(&h#HI.#+%#!'(#@+%&)#.""&# F5,!#!"#8(!#-')!(/(*#H#-)%!9i#='(,(#0K*+<,#7*".#E:')!(/(*#:(# :)%!i#(7$<+(%!0K#,5.#56#M*()@7),!9#T(-#,<'""0#,-)88(*9# Shorties up in smoke. Basically, the swelly life in all its glamour. Standout tracks include “Ray Charles,” a jazzy piano fussed tribute to the pioneer of soul, and “Mind Your Manners,” 7()!5*+%8#)#<'+0&0+@(#/"<)0#<'"*5,#7*".#J-(&(%I,#(0(<!*"%+<# duo Icona Pop. On the third track of the album, “Handclaps

7350

and Guitars,” Chiddy raps, EL5,+<#)%&#."%(K#>(!#H#%(/(*# let it change my heart,” let’s hope the duo stays true to their words and doesn’t end up selling out like B.o.B. It’s a Saturday morning in Spring. Wake up, grab your solo cup, ray-bans, and head towards the lake, but don’t forget about Breakfast. combined with !'(#%)!5*)0#')005<+%"8(%#!')!#+%25(%<(,#!'(#,5>,!)%<(#"7#!'(# album is a delicate balance of both material and nature-based composition. To place this album into a genre would degrade its (,,(%<(3#!'(#.5,+<)0#(7$<)<K#"7#a"&@)#)%&#?K)'5),<)#+,#>),(&# completely on its ability to combine the rawest examples of electro, rap, and world music into a pressure-cooker and create an acoustic stew. This mixture results in a simply addicting <".60+<)!+"%#"7#,"%8,#!')!#-+00#0()/(#K"5#,')@+%8#)%&#,-()!+%8# in the best way possible. anton MAHKIBORODA

the clearing 7500

The bowerbird is an ?5,!*)0+)%;#>0)<@;# medium-sized bird of the Ptilonorhynchidae family genre…It is also the name of an indie-american folk band from North Carolina. Surprisingly, the band’s 2+!!+%8#)00S"/(*S!'(S60)<(# music mimics that of a <"%75,(&#>+*&;#)#>"-(*>+*&#.)K>(Z#='(#>)%&;#"7#!'*((#/(*K# !)0(%!(&#/"<)0#)%&#+%,!*5.(%!)0#.5,+<+)%,#*(0(),(&#+!,#7"5*!'# album, The Clearing early this March. U"5#(+!'(*#0"/(#"*#)*(#/(*K#<"%75,(&#>K#!'+,#)0>5.9#

U"5#0"/(#+!#>(<)5,(#D'+00+6#L""*(I,;#M(!'#=)<50)*I,;#)%&#L)!!# A).*"%I,#/"+<(,#)*(#,""!'+%8#0+@(#)#&)K#>K#!'(#0)@(9#X+@(# <').6+"%#,')*(*,;#()<'#M"-(*>+*&,#.(.>(*#,+%8,#0()&#/"<)0,9# The musicians create a close-your-eyes and sway-your-headto-the-music sound, suitable for long car rides or en-route to <0),,9#='(#<)!<'K#>()!,;#')*."%+"5,#.(0"&+(,;#)%&#75%#/+"0+%S 85+!)*#<".>+%)!+"%,#)*(#,56(*#)005*+%8#!"#8+/(#!'(#7"00"-+%8# track a listen. You are confused by this album, simply because I am. Maybe it is my own lack of musical genius that causes me to get lost in The Clearing songs’ complexity, or maybe the band couldn’t agree on one rhythm or key to play in throughout each song. G(8)*&0(,,;#H#).#<"%75,(&9#G'K!'.+<#)%&#.(0"&+<#/)*+)!+"%#

within each song is discouraging )!#!+.(,9#?!#$*,!;#H#8*""/(#-+!'#!'(# music for a solid thirty seconds of each song, then I lose interest when I can’t determine when to ,%)6#.K#$%8(*,#!"#!'(#>()!g#='+,#+,#%"#<*+!+<+,.#"7#='(#C0()*+%8# ,"%8,I#.5,+<)0#+%8*(&+(%!,9#W*()!#,"5%&;#/"<)0,;#.(0"&+(,# )*(#)00#!'(*(9#='(#)0>5.I,#5%7"*!5%)!(#&"-%7)00#)**+/(,#-+!'#!'(# "/(*S.(*8+%8h.+N+%8h,K%!'(,+]+%8#"7#!'(#.5,+<)0#(0(.(%!,9#=""# many cooks ruin the stew. If Bowerbird’s The Clearing were a <"00(8(#(,,)K;#+!#-"50&#*(<(+/(#)#M|#7"*#).)]+%8#/"<)>50)*K# and correct grammar. Points are deducted for unfortunately horrible and confusing structure. W+/(%#!')!;#H#).#'K6"<*+!+<)0#>(<)5,(#H#,!+00#0+,!(%#!"#='(# Clearing and am hooked on Bowerbirds’ perplexing style. Hey, I like being confused. molly TREROTOLA

jumpin’ jack flash 6750 When Kingston Rocker &*5..(*#D(!(#B"'%,!"%# handed this EP to me, I could !(00#>K#!'(#$*,!#8)](#!')!# this album would be worth listening to. The album insert itself looked to be of higher 45)0+!K#!')%#.",!#0"<)0#>)%&,#-"50&#<"%,+&(*#)660K+%89#?# &(!)+0#0+@(#!'+,#.)K#,((.#)(,!'(!+<#!"#.",!3#+!#)0,"#*(6*(,(%!,# the considerable amount of time and thought spent writing, recording, engineering and producing this extended play album. I gladly stuffed it in my pocket eagerly waiting the listening. ='(#B5.6+%I#B)<@#V0),'#1D#<"%,+,!,#"7#!-"#/(*,+"%,#"7#,"%8,# +%#!-"#,(!,9#='(#$*,!#/(*,+"%#"7#()<'#,"%8#+,#<".6*+,(&#"7# an upbeat traditional style of reggae fused with elements of "!'(*#.5,+<)0#8(%*(,O#,"50;#*"<@#)%&#'+6#'"69#='(,(#$*,!#!-"# ,"%8,#*(/()0#!'(#8*"56,I#.5,+<)0#&+/(*,+!K#>K#!'(#<".60(!(# 6"0)*#45)0+!+(,#"7#*(88)(#+%25(%<(#>(!-((%#!'(.9#?!#$*,!#0+,!(%;# EB5.6+%I#B)<@#V0),'i#+,#)0.",!#+%&+,<(*%+>0(#!"#)%#5%!*)+%(&# ear before the singing sets in. The leading horns and backing 85+!)*#"77(*#)#%"/(0#)66*")<'#!')!#*(2(<!,#!'(#5%&(*0+%+%8# reggae theme, yet yields into the same rocking Rolling Stones *+77,#!')!#-(#)00#@%"-#)%&#0"/(9#p%&"5>!(&0K#!'(#)&&+!+"%#"7# >)<@+%8#/"<)0,#>K#T+<"0(#:)!(*,#<*()!(,#)#%(-#0(/(0#"7#,"50750# release that highlights the genre-fusion elements of the band. ?&&+%8#!"#!'(#E,"50S(77(<!i;#!'(#'"*%#,(<!+"%#>0),!,#-+!'#!'(# '+8'0+8'!#0()&#,)N#,"0"9#='+,#<"/(*#"7#EB5.6+%I#B)<@#V0),'i#+,# !'(#(6+!".(#"7#-')!#<"/(*,#,'"50&#>(;#)#<*()!+/(#(N!(%,+"%#"7# the original that still rocks as hard.

The second song is an original that brings elements of hip-hop into a more modern style of reggae. “King Soun” slowly >(8+%,#5%/(+0+%8# the transformation in sound taking place throughout the EP. Certainly those inhaling some smoke feel the changes setting in. Nothing will stop your mind from slipping into this psychedelic realm of delayed effects now. The horn section departs making way for the wail of the organ and ska-style guitar strums. Guest *'K.(,)K(*#B"*&)%#=)88)*!#,6+!,#!'(#0()&#/"N#+%#)#>0)<@#)%&# -'+!(#<"%!*),!#!"#!'(#$*,!#!*)<@9#1/(%#!'"58'#!'(#&K%).+<#"7# !'+,#,"%8#<".60(!(0K#<')%8(&#7*".#!'(#$*,!;#!'+,#!*)<@#@(6!#.K# '()&#>">>+%I#)%&#-()/+%I#!'(#,).(9# ='(#7"00"-+%8#!-"#*(.+N(,#"7#!'(#6*+"*#!-"#,"%8,#*(/()0#+!#)009# ='(,(#,"%8,#(%&5*(&#)#<".60(!(#!*)%,7"*.)!+"%#+%!"#&5>3#)# <*()!+"%#-'(*(#7(-#L)&+,"%#>)%&,#')/(#/(%!5*(&#"*#&)>>0(&9# Kingtown Rockers come full circle with their collaboration of electronic mixery and sample looping. This time, just sit back )%&#0(!#!'(#-)/(,#2"-#+%9#='(#(%,5+%8#,K%!'(,+](*,#650,)!(# through transient cycles of crescendo peaks and echoing *(.+%&(*,#"7#/"<)0#,).60(,9#='(#,!()&K#>)<@>()!#+,#0)+&# &"-%#+%#!+8'!#6*(<+,+"%#"7#!'(#0"-S#(%&#>),,#8*""/(#.+N(&# with strategically placed high-hat barrages and the boom of !'(#@+<@9#?7!(*#!'(,(#!-"#&5>#.+N(,;#.K#.+%&#+,#%5.>#-+!'# 8*)!+$<)!+"%9## Kingtown Rockers occasionally play around Madison at places like the Crystal Corner and High Noon Saloon where "%(#<"50&#(),+0K#)<45+*(#)#<"6K#"7#!'+,#CA9#H#-"50&;#-+!'"5!#)# doubt, recommend taking a step back from the stranglehold "7#M)>K0"%;#)%&#8"#"5!#7"*#)%#(/(#)%&#+%&508(#K"5*,(07#-+!'#)# dosing of “dis rasta riddim” and pick up a copy of this EP. mike ANDREWSKI

A 53

ALBUMS

And The Time Axis Manipulation 5800 Corporation H!I,#!'(#K()*#PPP\;#)%&#!+.(#!*)/(0#'),#>(<".(#!'(#.",!#6"650)*# pastime. But while most enjoy discussing philosophy with A+,*)(0+#"*#,'""!+%8#56#-+!'#C">)+%;#!'(*(#+,#"66",+!+"%#+%#!'(# 7"*.#"7#)%#)>"*+8+%)0#!*+>(;#"%(#-'+<'#>(0+(/(,#!')!#!'(K#<)%# "%0K#)<'+(/(#,6+*+!5)0#>0+,,#!'*"58'#)%#),<(!+<#0+7(,!K0(9#='*"58'# their abstinence, they are the only ones to notice the subtle yet +**(/(*,+>0(#(%/+*"%.(%!)0#&).)8(#<)5,(&#>K#+%!(*)<!+%8#-+!'# the past. Unfortunately, all of their attempts to warn society )>"5!#+!,#)<!+"%,#')/(#>((%#.+,+%!(*6*(!(&#),#&+,85+,(&# ways for them to push their religious agenda, forcing these "5!,+&(*,#!"#+%/(%!#."*(#/+"0(%!#.(!'"&,#"7#6(*,5),+"%9#='(# <"%2+<!#>(<".(,#<)!),!*"6'+<#"%<(#)#'+8'#,<'""0#+,#&).)8(&# (N!(%,+/(0K#+%#)#6*"!(,!#8"%(#!""#7)*;#@+00+%8#'5%&*(&,#"7#,!5&(%!,# in the process. With terrorist attacks increasing and discussions of genocide becoming less outlandish, Mickey Moonlight, a <"..(*<+)0#6+0"!#7"*#)#!+.(#!*)/(0#<"%80".(*)!(#-'"#'),#@(6!# his pastoral genealogy a secret his entire life, has consolidated the ubiquitous sounds of unrest from this era onto one disc )%&#&(0+/(*(&#+!#!"#!'(#6),!#+%#"*&(*#!"#-)*%#5,#"7#"5*#75!5*(# misdeeds. ?!#0(),!#!')!I,#-')!#H#+.)8+%(&#-'(%#H#6+<@(&#!'+,#)0>5.#56# and found a group of multicolored druids staring back at .(9#H%#*()0+!K;#L+<@(K#+,#F5,!#,".(#<')/#-'"#&(,<*+>(,#'+,# .5,+<#),#E,<+(%<(S$<!+"%#(N"!+<)i#)%&#,".(!'+%8#-'+<'# “encourages relaxation and limitless imagination.” The latter +,#<(*!)+%0K#!*5(#7"*#!'(#<*()!"*3#)7!(*#)00;#,"%8,#')/(#0)>"*+"5,# titles like “Simulation Crocodile Skin Handbag” and “Music for G(,6"%,+>0(#G(6*"8(%(!+<,#D5>0+<#J(*/+<(#M*")&<),!;i#)%&#!'(#

0K*+<,#!"5<'#"%#!'(.(,#0+@(#>+"!(<'#<"*6"*)!+"%,;#)*!+$<+)0#0"/(*,;# /"05%!)*K#(5!')%),+);#)%&#<",.+<#).>+/)0(%<(9#J)&0K;#'+,#-+0&# +.)8+%)!+"%;#<"560(&#-+!'#!'(#).>+85+!K#"7#'+,#+%/(%!(&#,5>S genre, causes him to descend into musical madness. There is ,+.60K#!""#.5<'#8"+%8#"%3#E='+,#J"%#H,#C".+%8#p6i#<"%!)+%,# 6*+.+!+/(#>()!,#)%&#<')%!,#*(.+%+,<(%!#"7#!'(#J!*)/+%,@+#>)00(!# “Rite of Spring,” but it is immediately followed by “Pelu Tulo,” a ,"%8#-'+<'#<"50&#')/(#(N+,!(&#"%#T•#P#>K#J-(&+,'#,!"%(*,#FF9# Mickey also recklessly explores the music of Kraftwerk (“Close ="#1/(*K!'+%8i#)%&#EA+)."%&,#+%#!'(#L+%&,#"7#=)050)id;#='(# V0).+%8#X+6,#cEC')%8)0)NKid;#)%&#(/(%#J(*8(#W)+%,>"5*8#cE:(I00# L((!#?8)+%id;#)."%8#"!'(*#7)."5,#)<!,;#>5*K+%8#)%K#0+,!(%(*#+%# )%#)/)0)%<'(#"7#,"5%&9# A"%I!#8(!#.(#-*"%8;#L+<@(K#+,#5%&"5>!(&0K#!)0(%!(&9#='(#+&(),# '(#(N60"*(,#)*(#+.)8+%)!+/(;#)%&#)00#"7#'+,#,"%8,#)*(#<"%,+,!(%!0K# decent. He just needs to focus on a few ideas and really (0)>"*)!(#"%#!'(.#*)!'(*#!')%#&(,<*+>(#(/(*K!'+%8#'(#7(0!#-'+0(# *()&+%8#?,+."/I,#V"5%&)!+"%#,(*+(,9#=')%@7500K;#'(#,+8%(&#7"*# Ed Banger, a company renowned for unearthing and polishing (0(<!*"#8(.,#0+@(#J(>),!+?%#)%&#L*9#b+]"9#:+!'#)#0+!!0(#."*(# guidance and a lot more restraint, his next LP can take us on a much more memorable journey. kyle GREIBER

metal moon 7950 J6"%,"*(&#>K#?(,"6#G"<@;#!'(#&(>5!#)0>5.#>K#J)%#V*)%<+,<"# >),(&#A+*!K#W'",!,#7((0,#0+@(#!'(#6(*7(<!#%"+,(S6"6#&(>5!# album. Brash and loud, but still with innocent, passably poppy 0K*+<,;#L(!)0#L""%#,'"-,#!'(#!)0(%!#"7#>"!'#7*"%!#-".)%#?00K,"%# Baker, and former band mate Carson Binks. Prior, both were members of San Francisco based band Parchman Farm, but %"-#<"00)>"*)!(#-+!'#M)@(*I,#'5,>)%&;#?(,"6#G"<@9#R"0&+%8# '(*#"-%#0()&#85+!)*;#),#-(00#),#/"<)0,;#M)@(*#'),#!'(#)>+0+!K#!"# >(#*(,!*)+%(&#-+!'(*#'(*#/"<)0#!(<'%+45(;#K(!#<)%#'"0&#()<'# emotion brought out through the lyrics neatly with care. With M+%@,#"%#>),,;#!'(#,"%8#+,#)>0(#!"#."/(#)0"%8#,-+7!0K#)%&#,!+00#)!#

)#,!()&K#6)<(9#='(#"%0K#F)**+%8#<"%<(*%#+,#)!#!+.(,#!')!#?(,"6# ,((.,#!"#')/(#<*)%@(&#'+,#&*5.#6*"8*)..+%8#)#!)&#!""#'+8';# drowning out the bass in songs lik e “Surround the Controls” and “Beast Size.” Still, this long awaited album shows promise 7"*#!'(#&5"9#?7!(*#>(+%8#7()!5*(&#)!#J_J:#>"!'#!'+,#K()*#)%&#0),!# year, Metal Moon should be able to catapult them through their spring tour across the United States. conor MURPHY

mississippi isabel 8800 ?7!(*#7)00+%8#45+!(#')*&#7"*#1%80+,'#+%&+(#,+%8(*S,"%8-*+!(*#^+%8# C')*0(,;#>"*%#C')*0(,#B"'%,!"%;#+%#b<!">(*#"7#0),!#K()*;#HI/(# been anticipating an album release from him the way thirteenK()*S"0&#8+*0,#)%!+<+6)!(#B5,!+%#M+(>(*I,#(N+!#7*".#)#'"!(09#L)K>(# +!I,#^+%8#C')*0(,I,#0K*+<)0#7"*!(;#"*#.)K>(#+!I,#'+,#,!K0(#w#>()*&# )%&#.),,+/(#')+*#.)!<'(&#-+!'#,@+%%K#F()%,#)%&#/(,!,#w#>5!# "%(#<)%I!#&(%K#!')!#0+,!(%+%8#!"#'+,#$*,!#*(0(),(&#!*)<@#"77#"7# L+,,+,,+66+#H,)>(0;#EX"/(#X5,!;i#.)@(,#"%(#-)%!#!"#8*)>#)# partner and pound on one’s thighs with lyrical excitement. This +,#!'(#,"%8;#)%&#!'(#.5,+<#/+&(";#!')!#*((0(&#.(#+%#!"#^+%8# Charles and his majestic music. EX"/(#X5,!i#+,#'+,#,(<"%&#,"%8#"77#!'(#1D;#)%&#+!#6"5%&,#-+!'# (/(*K#>+!#"7#F5>+0)%<(9#H!I,#!'(#@+%&#"7#F5>+0)%<(#K"5I&#(N6(*+(%<(# when listening to a track from his tour mates Mumford and Sons, full of rhythmic piano taps, unrelenting lyrics that are just as intelligent as they are catchy, and guitar riffs coming in mid,"%8#!')!#.)@(#(/(%#!'(#>+88(,!#<K%+<#!)@(#"5!#'+,#"*#'(*#)+*# guitar. That upbeat, rhythmic, and enthusiastic song parallels the (%!+*(!K#"7#!'(#L+,,+,,+66+#H,)>(0#1D9#R+,#$*,!#!*)<@#EM).#M).i# keeps its beat with the drums more than the piano heard in

6349

EX"/(#X5,!;i#<".+%8#+%#)%&# "5!#"7#!'(#,"%8#!"#0(!#B"'%,!"%# recite his fast-paced lyrics. The song is eerily reminiscent "7#E:(#A+&%I!#J!)*!#!'(#V+*(i#>K#M+00K#B"(0;#-'+<'#^+%8#C')*0(,# 5%,5*6*+,+%80K#<"/(*(&#<+*<)#P\`\9#C".6)*+,"%#"7#B"'%,!"%#!"# B"(0#+,%I!#45+!(#6(*.+!!(&#K(!;#>5!#EX"/(#X5,!i#&"(,#.)@(#.(#),# (%!'5,(&#),#)%K#M+00#B"(0#,"%8#&"(,9# ='(#1DI,#!+!0(#%).(#)%&#$%)0#!*)<@#EL+,,+,,+66+#H,)>(0i#!(00,# )#,!"*K#"7#"5*#1D#8+*0;#>+<K<0(#*+&(,#)%&#@+,,(,#)0+@(9#a+>(,#+%# the song resemble a Hawaiian surf-rock track, but with some (0(<!*+<#85+!)*#-()/+%8#+%#)%&#"5!9#H7#H#-(*(#!'+,#H,)>(0;#HI&#>(# '"%"*(&#!"#')/(#)#,"%8#-*+!!(%#)>"5!#.(#)%&#)%#)0>5.#%).(&# )7!(*#.(;#>5!#.)K>(#!')!I,#F5,!#>(<)5,(#H#')/(#)#,!*)%8(#!'+%8# for King Charles and his funky style. Either way, he’s a musthear new artist that is far too unknown, so take a listen to Mississippi Isabel. Hopefully come King Charles’s album release X"/(M0""&#+%#L)K#"7#!'+,#K()*;#K"5I00#>(#*()&K#)%&#-+00+%8#!"#!)@(# '+.#,(*+"5,0K#c-(00#),#.5<'#),#K"5#<)%#-+!'#'+,#.),,+/(#>(('+/(# of hair). sara PIERCE

some nights

(Insert amusing quip about how fun the band fun. is.) But it is becoming more and more apparent that this band picked )#$!!+%8#)&F(<!+/(#7"*#!'(+*#%).(9#M)<@#-+!'#!'(+*#,"6'"."*(# album, the trio of members from the Format, Steel Train, and ?%)!')00"#*(0(),(&#J".(#T+8'!,#"%#V(>*5)*K#P`9#='+,#)0>5.# feels a little more daring and unexpected, sounding less and 0(,,#0+@(#!'(+*#6*(/+"5,#-"*@9#C')%%(0+%8#-(+*&#>(00,#)%&#&*5.,;# 6(66K#,0)6,#"7#*'K!'.#85+!)*;#)%&#"<<),+"%)0#)5!"S!5%(&#/"<)0,# coupled with thumping 808 beats, the boys took risks in more ways than one. #='(#$*,!#,+%80(#"77#!'(#)0>5.;#E:(#?*(#U"5%8i;#7()!5*+%8#B)%(00(# L"%€(;#'),#)0*()&K#>0"-%#56#!'(#)+*-)/(,;#'"0&+%8#&"-%#!'(# }`#,6"!#"%#+=5%(,#)%&#60)K+%8#+%#)#'+8'0K#<"/(!(&#<"..(*<+)0# spot during the Super Bowl. But it is the bizarre songs that are the gems on the album. “Stars” is a weird little wonder- starting off with a beginning straight out of a 80’s hair band guitar riff, lead singer Nate Ruess eases into a whisper, auto-tuned and

&*"-%(&#"5!9#?!#$*,!;# I experienced the same weird feeling of angst and confusion H#7(0!#-'(%#H#$*,!# heard Kanye on 808’s )%&#R()*!>*()@3#>5!# somehow the bizarre combination works and the disgust !5*%(&#+%!"#&(/"!+"%9#?%"!'(*#7)/"*+!(#+,#!'(#$*,!#!*)<@;#EJ".(# T+8'!,SH%!*"i;#)#!'()!*+<)0#6(*7"*.)%<(#$00(&#-+!'#-'+,6(*,#)%&# ,<*().,9#H!#6500,#K"5#+%#-+!'#+!,#7*(%]+(&#!(.6"#)%&#/"05.(;#)%&# 0()&,#K"5#45+!(#%+<(0K#+%!"#!'(#,5>,(45(%!#<)/)0<)&(#"7#,"5%&,9

='(#.)F"*#2)-#"7#!'(#)0>5.#.+8'!#>(#'"-#,+.+0)*#,".(#,"%8,# )*(;#)#7)50!#)0,"#(N6",(&#+%#!'(#$*,!#)0>5.#?+.#)%&#H8%+!(;# but Some Nights suggests that fun. Is dynamic rather than 7"*.50)+<9#='(#>)%&#,!+00#45+(!0K#,(*(%)&(,#5,;#6*"/"@+%8# )&"0(,<(%!#/50%(*)>+0+!K#!')!#-),#)0-)K,#<(%!*)0#!"#!'(+*#7)%# >),(;#>5!#-+!'#."*(#<"%$&(%<(#%"-9#='+,#+,#>(,!#(N(.60+$(&# +%#EC)**K#b%i;#-'(*(#!'(K#!*)&(#6),,+/(#7"*#)88*(,,+/(#cEH#<)%# <'()!#+!#)00h#!"#.)@(#56#7"*#)00#!'(#!+.(,#HI/(#>((%#<'()!(&#"%id# and embrace maturity (“May your past be the sound/of your feet 56"%#!'(#8*"5%&9i##='(K#)*(#"0&(*;#,.)*!(*;#)%&#,(N+(*9#?%&#-(# all know how much more fun that is. l 0+/+#MAGNANINI

A 55

ALBUMS

8800

r0mance

=5>(0"*&#&"%I!#*()00K#$!#+%!"#!'(#!)6(,!*K#"7#.5,+<#H#%"*.)00K# listen to, but something about their sound grabbed me, forcing .(#!"#>5K#!'(+*#$*,!#7500S0(%8!'#b5*#V+*,!#?.(*+<)%#V*+(%&,#)%&# follow-up EP Tezcatlipoca;#>"!'#"7#-'+<'#')/(#)#."*(#!K6+<)0# formulaic, if dextrous, pop/punk sound. Naturally, one would expect something along similar lines with their new album r o m a n c e;#(,6(<+)00K#<"%,+&(*+%8#!'(#c*(0)!+/(0Kd#,'"*!#!+.(# between releases. Naturally, Tubelord decide to shake things up.

pop sound. Part of it comes with the addition of a gentleman on the keyboards, but a large part of it also comes from their new playful arrangements and willingness to experiment with )&&+!+"%)0#+%,!*5.(%!,;#(77(<!,;#,"%8#,!*5<!5*(#)%&#)0>5.#2"-9# They effortlessly shift from seemingly metal breakdowns to <)!<'K#6"6#/"<)0#.(0"&+(,#!"#.)!'SK#85+!)*#*'K!'.,9#H!I,#0+@(# !'(K#.)&(#)%#)0>5.#"7#u\l#'""@,9•

Unfortunately, there are a lot of people that are disdainful of the %(-#,"5%&;#>5!#!'",(#!')!#8+/(#!'+,#)0>5.#,".(#!+.(#!"#,+%@# +%;#(,6(<+)00K#+7#!'(KI*(#)0*()&K#7).+0+)*#-+!'#=5>(0"*&I,#6*(/+"5,# (77"*!,;#-+00#$%&#)#*()00K#60(),)%!#)0>5.9#?,#"%(#*(/+(-(*#%"!(&;# “... the new album is a grower in the truest sense of the word.” Frankly, I couldn’t agree more. Each listen to this album feels 7*(,'#)%&#+%/+8"*)!+%8;#>5!#!')!#"%0K#')66(%,#)7!(*#!'(#!'+*&#0+,!(%# "*#,"9#='(#$*,!#!-"#)*(#)&.+!!(&0K#6*(!!K#*"58'9

H#$%&#!'(#<*"-%+%8#)<'+(/(.(%!#"7#!'+,#)0>5.#!"#>(#e+%# greenland,’ the second-to-last track. It is the simplest, most minimal song on the album, and has the most typical, radiofriendly writing, but it is just soooo catchy! Like I said, I don’t @%"-#-')!#+!#+,#(N)<!0K;#>5!#!')!#,"%8#8(!,#.(#(/(*K#!+.(9#H!I,# kind of uplifting and melancholic all at once.

On r o m a n c e;#=5>(0"*&#')/(#&(<+&(&#!"#!*)&(#+%#!'(+*#.)!'h pop/punk leanings for math/pop/indie/shoegaze. The opening !"#!'(#$*,!#!*)<@#.)K#,!+00#.)@(#.(#8*+!#.K#!((!';#>5!#!'(#*(,!# "7#!'(#)0>5.#+,#)0.",!#@+%&#"7#>*+00+)%!9#H#%(/(*#<(),(&#!"#>(# ).)](&#)!#'"-#-(00#!'(K#')/(#<50!5*(&;#%)K;#.),!(*(&#!'(#+%&+(h

p%*()09•

I expect to come back to r o m a n c e a lot in the future. I may %"!#')/(#>((%#+.6*(,,(&#)!#$*,!;#>5!#!'+,#)0>5.#'),#*()00K#,!""&# !'(#!(,!#"7#!+.(#)%&#-"%#.(#"/(*#!"#!'(#%(-#=5>(0"*&9#:(00# done, chaps. pat CASSIDY

in this place local L)&+,"%#%)!+/(#M*)%&"%#M((>(#65!,#'+,#'()*!#"%#*(<"*&# with new release In This Place. Opening track “Neon Trees” <*((6,#)%&#<*)-0,#-+!'#<"0&#85+!)*#,'+/(*+%8,#>"**"-(&# 7*".#M"%#H/(*I,#V"*#1..);#V"*(/(*#?8"#cP\\od;#)0!'"58'# the song thaws quickly with strings and saccharine oos. H%,6+*(&#>K#!'(#0",,#"7#)#0"/(*;#!'(#)0>5.#&(!)+0,#!'(#7((0+%8,# of heartbreak felt afterward in soft arrangements with forward 0K*+<,9#b%#EW'",!,;i#M((>(#<')%%(0,#)#,-""%K#C)!#J!(/(%,;# ,!*5..+%8#"5!#!'(#>05(,#+%#.(0)%<'"0K#6"6#,!K0(9#R"-(/(*;# +!I,#%"!#)00#,)&O#56-)*&S0""@+%8#E?0*+8'!i#!+6!"(,#-+!'#&(0+<)!(# "6!+.+,.#)%&#,.""!'(&S"5!#/"<)0,;#.)@+%8#+!#*+8'!#)!#'".(# on adult pop radio with like-minded soft spoken coffeehouse <".*)&(,9#?#L)*""%#Q#<".6)*+,"%#*()<'(,#)6!%(,,#"%# ,(/(*)0#"<<),+"%,9

The most original and refreshing song is “Elucidation,” a slowto-build pulsing nearinstrumental with tastefully understated drumstick clicks and clean treble guitar. Piece by 6+(<(;#!'(#,"%8#8*"-,;#)0-)K,#)&&+%8#>5!#%(/(*#*()<'+%8#)%# "/(*-'(0.+%8#!'*(,'"0&9#H!#<50.+%)!(,#+%#)#,+.60(#,!)!(.(%!# of “elucidation,” fade-in backtracked guitars creating a 6(*+"&+<#,-(00#!')!#.(,.(*+](#0+@(#-)/(,#"%#)#>()<'9#H%#0+@(S .+%&(&#,!K0(;#!'(#"6(%#,6)<(,#$00(&#"%#EV5!5*(#L(."*Ki# bring to mind the bare landscape on the front of the album, a 0+8'!0K#,%"-K#$(0&#+%#-+%!(*#,6(<@0(&#-+!'#&()&#<"*%,!)0@,9#In This Place is an album of coping that remains truthful to the artist in the good and the bad. matt CHRISTIE

rapper’s best friend 2 6000 V+/(#K()*,#)7!(*#*(0(),+%8#'+,#$*,!#/"05.(#"7#Rapper’s Best Friend instrumental tracks, the producer who has cut for the likes of Nas, Raekwon, Lil Wayne and Linkin Park is back with another collection. Rapper’s Best Friend 2 is a mix of gritty >()!,#='(#?0<'(.+,!#<"%<"<!(&;#,".(#"7#-'+<'#'(#')&#.)&(#7"*# other artists’ songs and some newbies for this production. The ,)%,S0K*+<,#,"%8,#)*(#6(*7(<!#7"*#*'K.+%8#"/(*#w#"*;#&)*(#H#,)K;# <"50&#(/(%#>(<".(#)#*)66(*I,#>(,!#7*+(%&9 “Perfection,” which was the tune for Rick Ross and Meek Mill’s “Perfectionist,” has a range of honeyed keys between blaring '"*%,9#='+,#,!)%&,#+%#,!)*@#<"%!*),!#!"#E=(%#A"00)*,;i#)#.(%)<+%8# rhythm that Capone-N-Noreaga snatched for his song “Follow !'(#A"00)*9i EW)%8,!(*#J'+!#D!9#`i#)%&#ED!9#Pi#')/(#650,)!+%8#F)]]K#25!(,#)%&# strange laser noises, with “Pt. 2” pacing at a slower grind, but %5*,+%8#!'(#,).(#/"<)0#,).60(#),#ED!9#`9i

hand, showcases a dark, blaring buzz, and tinkling keys are the only things to keep the beat 7*".#8(!!+%8#!""#2)!9 “Whole Lotta Thug,” has a taste of reggaeton, and aspiring LC,#-'"#-+,'#!"#,'"-#"77#!'(+*#<'"6,#<)%#,5>.+!#)#/+&("#"7# !'(.,(0/(,#*)66+%8#"/(*#!'(#!*)<@#7"*#)#<')%<(#!"#-"*@#-+!'#='(# ?0<'(.+,!#)%&#*(0(),(#)#!*)<@#!'*"58'#'+,#0)>(0;#A(<"%9 The album as a whole crawls with creepiness, with its rolling >),,#)%&#'K6%"!+<#,"50#>()!,;#>5!#='(#?0<'(.+,!#)&&,#60(%!K# of huge drums to add some punch. The producer experiments with a brew of tasty beats and mesmerizing synths to make an (N60",+/(#)0>5.9#G)66(*,#-+00#$%&#<)!<'K#+%,!*5.(%!)0,#!"#,6+!# "/(*;#)%&#%"!;#+%#!'+,#<),(;#"%9 kaitlyn SCHNELL

“Wet Wipes” is one of the most contagious tracks off the album. H!I,#)#-+*(&#F).#!')!#C).I*"%#5,(&;#-+!'#)%#",<+00)!+%8#8*""/(# that stammers at the end of each loop. “Pain,” on the other

6900

ghostory

I’m not gonna lie, Ghostory is probably my most anticipated release of the year (so far), so it has a lot of my preconceptions !"#0+/(#56#!"9#H#')&%I!#(/(*# '()*&#"7#J<'""0#"7#J(/(%#M(00,#ceJaHHMI#7*".#'(*(#"%#+%d#5%!+0#H# stumbled across their single for the new album, “Lafaye.” I was instantly hooked. Ghostory couldn’t come out soon enough. H#-),#,"#(N<+!(&;#+%#7)<!;#!')!#-(%!#)%&#0+,!(%(&#!"#JaHHMI,#"0&# albums, only to be met with disappointment. I didn’t like them! ?';#>5!#!'(*(#-),#,!+00#'"6(g#b%(#"7#!'(#"*+8+%)0#>)%&#.(.>(*,# 0(7!#>(!-((%#JaHHMI,#6*(/+"5,#)0>5.#A+,<"%%(<!#V*".#A(,+*( and Ghostory, so perhaps in her absence the band would 2"5*+,'#)%&#$%)00K#6*"&5<(#)%#)0>5.#H#(%F"K(&g• In short, they did, but it could be better. Well, comparing the album to the initial impression garnered from “Lafaye,” it’s a bit of a disappointment, but compared to their old albums, it rules. So what separates Ghostory#7*".#JaHHMI,#"0&(*#-"*@;#>(,+&(,# the lineup change?

Not a lot, honestly. The changes are pretty subtle. There are points on Ghostory that )*(#)88*)/)!+%80K# similar to their old albums, but there is also some cool new stuff too. b/(*)00;#!'(#+%,!*5.(%!)!+"%#+,#7)+*0K#,6)*,(;#-+!'#!'(#6(*<5,,+"%# )%&#A('(])I,#/"<)0,#0)*8(0K#<)**K+%8#!'(#)0>5.;#)0!'"58'#!'(K# &"#')/(#,".(#<""0#>)<@8*"5%&#85+!)*#)%&#@(K>")*&#(77(<!,h melodies here and there. The production is also top-notch, and it sounds like they learned a lot about mastering from dream6"6#7)/"*+!(#Lo[9#='(K#.+N#56#+%,!)%!0K#<)!<'K#!*)<@,#0+@(#E='(# Night,” “Lafaye” and “When you Sing” with slower, tranquil !*)%,+!+"%,#0+@(#EX"/(#D0)K;i#EG()66()*i#)%&#EJ'"-#L(#X"/(9i The album begins and ends strongly, and only a few tracks feel 0+@(#$00(*;#>5!#%"!#+%#)#>)&#-)K9#Ghostory is more of a strictly &*().S6"6#6*"F(<!#!')%#!'(+*#()*0+(*#(77"*!,;#,"#%"!#(/(*K#!*)<@# %((&,#!"#>(#)%#+%,!)%!#'+!#)%&#')/(#)!!(%!+"%S8*)>>+%8#0()&,9# The slower tracks on the tail end of the album are much more 0)<@)&)+,+<)0#)%&#<"%!(.60)!+/(;#)%&;#)0!'"58'#,+.60(;#)*(# ,""!'+%8#!"#0+,!(%#!"9#A"+%8#'".(-"*@#!"#Ghostory is awesome, 5%0(,,#K"5#@((6#8(!!+%8#!')!#+!<'#!"#*(60)K#EX)7)K(i#)8)+%9#?%&# )8)+%9#?%&#)8)+%9 pat CASSIDY

A 57

ALBUMS

6750

Bringing in the darlings

Ok. Maybe I’m a little biased. G(/+(-(*I,#%"!(O#HI/(#&(!*)<!(&# 1,000 points to account for my bias, ‘cause that’s the kind of guy I am. Maybe it’s merely my $/(SK()*#0"%8#.)%S<*5,'#-+!'#B",'#G+!!(*#cEH#F5,!#0+@(#'+,#.5,+<;# I swear!”) that has resulted in my humble opinion that he can do no wrong—that he is the best rock/folk musician, nay, best songwriter making music today. Maybe. Some will undoubtedly declare that Ritter’s newest effort, a &(0+8'!750#,+NS,"%8#1D#!+!0(&#M*+%8+%8#+%#!'(#A)*0+%8,;#+,#)#0(!&"-%# in the wake of his loaded last full-length album, So Runs the :"*0&#?-)K;#)%&#!'(K#.+8'!#>(#*+8'!9#M5!#-')!#A)*0+%8,#0)<@,#+%# .5,+<)0#>*)/5*);#+!#.)@(,#56#7"*#+%#!+8'!#.(0"&+(,#)%&#!'(#,).(# ,@+00750#,"%8-*+!+%8#!')!#-"%#0+,!(%(*,#"/(*#+%#!'(#$*,!#60)<(9# ?00#,+N#!*)<@,#,"5%&#0+@(#K"5*#,-()!,'+*!#,.(00,#!'(#."*%+%8#)7!(*# !'(#0),!#<).6$*(#"7#,5..(*O#-+,!750;#"6!+.+,!+<#K(!#.(0)%<'"0+<# 0500)>+(,#!5<@+%8#J(6!(.>(*#+%#)%&#-)/+%8#)#-(0<".(#2)8#!"# October. In his last two albums, particularly the most recent, Ritter amped up the sound, layering organs and electronic 85+!)*,#)%&#&+,!"*!+"%#(77(<!,#"/(*#'+,#.(0"&+(,#!"#8*()!#(77(<!9# R(*(;#'(#,!*+6,#+!#>)<@#&"-%#!"#)0.",!#(N<05,+/(0K#)<"5,!+<# guitar, akin to earlier efforts such as his self-titled debut and The W"0&(%#?8(#"7#G)&+"9#H7#K"5I/(#(/(*#,((%#G+!!(*#0+/(;#K"5#@%"-#

!')!#'(#*(/(0,#+%#!'(# slow songs when !'(#>)%&#0()/(,#!'(# stage, when it’s just him, his guitar and the audience, singing and swaying and humming to a familiar tune.

The difference between his other slow or acoustic songs and !'(,(#%(-#"%(,#+,#!')!#A)*0+%8,#+,#5%)>),'(&0K#56>()!9#='(#$*,!# 7(-#,"%8,;#E:'Ki#)%&#EX"/(#+,#L)@+%8#H!,#:)K#M)<@#R".(i;# )*(#(,6(<+)00K#<'((*7503#+%#7)<!;#-(*(#+!#%"!#7"*#!'(#,5>F(<!#.)!!(*;# EX"/(#+,#L)@+%8#H!,#:)K#M)<@#R".(i#-"50&#,"5%&#)0.",!#0+@(# )#<0),,+<#6"6S*"<@#'"0+&)K#,"%89##EL)@(#L(#A"-%i;#6*">)>0K# .K#7)/"*+!(#,"%8#"%#!'(#1D;#+,#)#0+!!0(#."*(#.(0)%<'"0+<9#H!I,#)0,"# perhaps the most country song in Ritter’s repertoire, with his H&)'")%#!-)%8#c+7#!')!I,#(/(%#)#*()0#!'+%8d#,((6+%8#!'*"58'#."*(# '(*(#!')%#"%#)%K#"7#!'(#"!'(*#$/(9##='(#0),!#!*)<@;#EC)%I!#W"#!"# Sleep (Without You)”, manages to be more sweet than sappy, a 7)%!),!+<#7()!#8+/(%#+!I,#>),+<)00K#)#,"%8#)>"5!#<5&&0+%89#G+!!(*I,# 85+!)*#,)/(,#'+.#"%#!'+,#"%(;#"/(*,')&"-+%8#,".(-')!#,6)*,(# lyrics and ultimately sustaining the song. Ok. So this EP may not be as “good” as Ritter’s last few albums. But it’s good in its own right, if you like intimate, folksy tunes and chilling on the porch at dusk with a beer listening to them. ?%&;#'"%(,!0K;#-'"#&"(,%I!#0+@(#>((*Z sam EICHNER

vodka and ayahuasca 6750

The dream team of Gangrene, consisting of West Coast hip-hop )*!+,!,#='(#?0<'(.+,!# and Oh No, leads us into a rabbit-hole of conceptuality with its ,(<"%&#<"00)>"*)!+/(# )0>5.#a"&@)#)%&# ?K)'5),<);#-'+<'#6*"/(,# to be just as infectious as the disease after which the duo is %).(&9#?%K"%(#-'"#'),#>((%#!"#'+8'#,<'""0#)%&#<)*!(&#)*"5%&# )#-)!(*#>"!!0(#7500#"7#V0(+,<'.)%I,#@%"-,#-')!#/"&@)#+,;#>5!# the same cannot be said for ayahuasca, a psychedelic brew 5,(&#7*(45(%!0K#>K#J"5!'#?.(*+<)%#%)!+/(,9#='(#')005<+%"8(%+<# (77(<!,#"7#)K)'5),<)#6*"/+&(#)#>),+,#7"*#!'(#>)<@8*"5%&#+%# the songs, while Gangrene’s lyrics narrate and celebrate the experiences of both the mind and the body. ?0!'"58'#)#7(-#,(0(<!#-"*&,;#,5<'#),#E!*+66Ki;#E8*+!!Ki;#)%&# “catchy” are applicable to all of the songs on this album, 5,+%8#,5<'#)#0+.+!(&#/"<)>50)*K#!"#&(,<*+>(#!'(#)0>5.#-"50&# >(#)0.",!#"77(%,+/(9#a"&@)#)%&#?K)'5),<)#+,#!'(#(6+!".(# of Gangrene’s music. The intro itself is an unsettling and completely awesome hodgepodge of sounds, including an Indian chant, a Russian woman describing her exhalation !(<'%+45(;#)%&#)#<0+6#"7#,".("%(#/".+!+%8#'+,#85!,#"5!9#L",!# "7#!'(#!*)<@,#"%#a"&@)#)%&#?K)'5),<)#')+0#7*".#!'(#(77"*!#"7# ='(#?0<'(.+,!#)%&#b'#T";#>5!#,(/(*)0#85(,!#)66()*)%<(,#*()00K# >*+%8#"*+8+%)0+!K#!"#,(/(*)0#"7#!'(#,"%8,9#^""0#W#G)6#0(%&,#'+,# <)/(*%"5,#/"+<(#!"#EW0)&+)!"*#L5,+<i;#)#,"%8#>)<@(&#>K#)# crawling electric guitar riff and brimming with threats from Kool

G himself, lest you get all up his 7)<(9#EA*+%@#p6i#7()!5*(,#!'(# smooth lyrical styling of Roc Marciano, while Prodigy laments )>"5!#%"*.)!+/(#(N+,!(%<(#+%# EA5.6#=*5<@i9#H#@%(-#!')!#!'(#!+!0(#!*)<@#-),#.K#7)/"*+!(#"%#!'(# album only fourteen seconds in to listening to it—a brooding, Blues Brothers-esque riff supports a melting pot of guitar chords, rough rap lyrics, and insistent record-scratching. The quality of the electronic instruments used by Gangrene <".>+%(&#-+!'#!'(#%)!5*)0#')005<+%"8(%#!')!#+%25(%<(,#!'(# substance of the album is a delicate balance of both material and nature-based composition. To place this album into a 8(%*(#-"50&#&(8*)&(#+!,#(,,(%<(3#!'(#.5,+<)0#(7$<)<K#"7#a"&@)# )%&#?K)'5),<)#+,#>),(&#<".60(!(0K#"%#+!,#)>+0+!K#!"#<".>+%(# the rawest examples of electro, rap, and world music into a pressure-cooker and create an acoustic stew. This mixture results in a simply addicting complication of songs that will 0()/(#K"5#,')@+%8#)%&#,-()!+%8#+%#!'(#>(,!#-)K#6",,+>0(9## alex ROSS

A 59

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