EXTRA 9.19.12

SUPER SOL

AR

STAFF REP ORTER AN NIE MOOR IS WORKIN E HIGHLIG G WITH TH HTS HOW E CINCINN UC ATI ZOO TO GO GREEN .

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THIS WEEK IN HISTORY 3

BEST OF UC ON ITS WAY

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THE ANTLERS

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INDEX

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SEPT. 19-25, 2012 — NEWSRECORD.ORG —TNR EXTRA

2

3

CRIME BLOTTER

THE ZOO GOES GREEN

6-7

5 THE ANTLERS

The Brooklyn-based band’s frontman talks to TNR

IT’S COMING...

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THIS WEEK IN HISTORY

BLOTTER

September CRIME

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What: Telephone harassment When: 11:45 a.m.

Where: Clermont College No arrest made What: Bicycle theft When: 11 a.m.

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Wednesday, Sept. 12 What: Sexual imposition When: 4 p.m.

Where: 230 Calhoun St. No arrest made

Chester A. Arthur was sworn in as the 21st president of the United States, following the assassination of James A. Garfield.

“The Hobbit” by J.R.R. Tolkein was published.

President Abraham Lincoln issued the preliminary Emancipation Proclamation, proposing to free all slaves of rebel states as of Jan. 1, 1863.

After a three-year journey to the Pacific Northwest, the Louis and Clark expedition returned to St. Louis.

The pioneering newsmagazine show “60 Minutes” premieres on CBS.

What: Robbery, firearm When: 11:40 a.m.

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SEPT. 19-25, 2012 — THIS WEEK IN HISTORY & CRIME — NEWSRECORD.ORG —TNR

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LIFE & ARTS 5 SEPT. 19-25, 2012 — ARTS & LIFE — NEWSRECORD.ORG —TNR EXTRA

Zoo goes

green Zoo, Universities partner to help create sustainable, solar solutions Representatives from the University of Cincinnati and Xavier University came together Friday to learn how to apply the Cincinnati Zoo’s conservation efforts to their respective colleges.

Despite being crosstown athletic rivals, the sustainability coordinators of both schools planned the event because they believe each school can benefit from working together — instead of competing.

“We need to help each other as much as possible,” said Claire Sweigart, sustainability coordinator for UC. “Each of our institutions have different things that we’re forging ahead on, and we need to share it so we can all get it done.”

The Cincinnati Zoo has made great strides during the past few years towards becoming completely sustainable, and is an example for other members of the green community to look at, said Sofia Cifuentes, the zoo’s sustainability coordinator.

“Just being able to show people how we’ve done it, how much money we’ve saved, what it actually looks like and helping them relate it to their own school, business, home is just invaluable because everybody can make a difference,” Cifuentes said.

The biggest change in the zoo is the $11-million-solar-panel field that greets visitors upon entrance. The 1.56 MW-hour array of solar panels cover approximately 80 percent the zoo’s parking lot, providing shade

for parked cars, and generates 20 percent of the zoo’s energy.

On some occasions the solar panels produce enough energy to take the zoo completely off the power grid, meaning it runs on nothing but solar energy — the zoo went off the grid 50 days in its first six months with the panels.

Another supplement to the zoo’s green efforts is its draining system, which helps collect rainfall on the zoo’s 69 acres. Giant retention tanks sit below three feet of gravel and pavement. Rain seeps through the pavement, filters through the gravel, collects in retention tanks and then gets cycled back to water all of the plants in the zoo.

In addition to the solar panels covering its parking lot, the zoo put solar-thermal panels on top of buildings to provide hot water. It also overhauled its compost system through a zero landfill initiative. Along with improved maintenance procedures, these alterations have reduced water use from 220 million gallons per day to 89 million.

The zoo’s Go Green Garden showcased how visitors can help the environment in their own lives. Features such as low Volatile Organic Compound paints, recycled cement and carpets, large windows and high ceilings can all be utilized in private homes and buildings to create a more eco-friendly community, Cifuentes said.

“Everyone thinks ‘Oh, I’m just one person.

What can I do?’,” Cifuentes said. “If all of us did just one thing, that’s going to have a huge impact.”

MARISA WHITAKER | STAFF PhotoGRAPHER

SOLAR PANEL POWER Sofia Cifruentes, the zoo’s sustainability coordinator, discusses how the zoo is moving toward being a completely self-sustaining institution through the utilization of solar, wind and other renewable energies.

SEPT. 19-25, 2012 — Life & Arts — NEWSRECORD.ORG —TNR EXTRA

6

LIFE & ARTS

SHERVIN LAINEZ

THE ANTLERS

Kyle Stone | Life & Arts Editor

The Antlers are undoubtedly one of the most exciting bands to play at this year’s Midpoint Music Festival, and the Brooklyn trio’s frontman, Peter Silberman, took the time to discuss personal influences, the band’s evolution and its newest EP, “Undersea.”

Q: When you started the band back in 2006 as a solo project, did you ever envision it becoming this successful?

A: No, definitely not. I don’t really know what I ever saw for it. I kind of just started off making records and had been for a few years before that, under different names. And I was just kind of doing it to do it. I don’t know if I had a real plan, or what I envisioned of the future. So kind of doing it for fun. And once the band started getting together, I think that’s when it started to change, because then we were doing shows and it all kind of just changed quickly. I think we all had a year where we were all just getting comfortable playing with each other and getting used to being a band, and then after that year things just really took off. So we kind of braced ourselves for it a little bit without knowing how to.

Q: Growing up, what sort of things inspired you to start playing music?

A: It’s weird, because I started playing music when I was a really little kid, so I don’t know if there was a lot of constant thought going into it. I think I was just surrounded by a lot of guitars growing

up. My dad plays guitar and there were just guitars all over the house, so I kind of just picked them up and he would show me how to do some things, how to play certain chords, and different solos in different songs — like Jimmy Hendrix songs and Eric Clapton songs. And I just kept playing guitar after that just because I thought it was fun and felt like it was something I was improving at the more I worked at it. You know, piano lessons when you’re a kid it’s not like… it’s pretty stressful to take piano lessons as a kid. There’s a lot of expectation on you.

But guitar, everybody really develops their own style, and a lot of that really comes from just screwing around.

Q: Are there any particular artists you’re currently into?

A: Yeah, there are a couple records I’m very into right now.

I’ve been listening to “The Sophtware Slump,” the Grandaddy record.

And I’ve just been listening really closely to it. I think a lot of the time when I’m listening to music I’m kind of trying to pick it apart and deconstruct

Courtesy of Anti Records

The Brooklyn trio’s frontman, Peter Silberman, talks to TNR

it. Especially when we’re getting ready to make a new record, write new songs, or we’re playing shows, I start thinking about what goes into what made that different record that you find powerful.

Q: So you’re more into the technical aspect of it right now?

A: Well it’s not exactly the technical.

It’s kind of like…you listen to a piece of music and hear a lot of things all at once.

And the way that all the instruments, all the sounds, the style, the way they interact with each other emphasizes the different things that you like about it. And I think a lot of just having listened to music, you don’t know why you like it, you just like it.

Q: All of The Antlers’ m a t e r i a l reflects a very distinct topic or atmosphere.

When you’re recording, do you start with an idea in mind or does it just develop organically?

A: It’s kind of about being aware of

NEW ALBUM: UNDERSEA

“I think it’s about when one of those moments arrive, being ready to write something down”

the feeling. I think the desire to write something, to come up with an idea, at least for me, after a while, becoming aware of when I’m getting a feeling about something or other, it’s just kind of wave of feeling. It could be positive, negative, weird, disoriented, like almost a déjà vu kind of feeling. And I think it’s about when one of those moments arrive, being ready to write something down, and without ever being it’s kind of just whatever you’re thinking at the time. And then it becomes a process of organizing those thoughts, trying to make sense of them I guess.

Q: Since the band is no longer your solo project, how has your songwriting process evolved?

A: Well, it really changes with every record that we do. With “Hospice” I was really arranging the whole thing, so I was on that side of it and I was working behind a laptop, manipulating tracks and recording them, and using pretty meager means to do it. It was a really obsessive work. It was something I was just doing all the time around the clock, and just picking it apart. And I think since that record I’ve taken less of an arranger role, and I think in a lot of ways Darby has become more of the arranger — he’s my orchestrator. And I’ve been kind of thinking of it in terms of myself as a singer and guitar player. So what that ends up meaning is that I’m no longer recording an entire song by myself from start to finish, and then people playing on

LIFE & ARTS 7 means to do it. It was a really obsessive work. It was something I was just doing all the time around the clock, and just picking it apart. And I think since that record I’ve taken less of an arranger role, and I think in a lot of ways Darby has become more of the arranger — he’s my orchestrator. And I’ve been kind of thinking of it in terms of myself as a singer and guitar player.

So what that ends up meaning is that I’m no longer recording an entire song by myself from start to finish, and then people playing on top of that. It’s that we’re all three writing together, step-bystep throughout each song, like kind of getting there together, and I think that’s what looks responsible for a big change of the way we started to make records, and the way that our records sound and what they mean.

Q: Like the title suggests, listening to “Undersea” actually makes you feel submerged. How did the band get into the mindset to record that EP? A: I think that at the time we were making it, we were just wanting rest and wanting peace. I think we wanted to just have a feeling of being able to relax. We were coming off a long year and I think we just needed some kind of sense of… just kind of a big, warm bed to sleep in.

And I think we were trying to create that in “Undersea.”

Q: I read in an interview where Darby talked about The Antlers’ relentless work ethic during the recording of “Burst Apart.” How did the recording of the new EP compare to that? Did you guys take the same approach?

A: Kind of a similar approach, but it was a really relaxed experience. I think it was because we were taking a similar approach but in half the amount of time.

We really had no idea what we wanted to do. There was almost like an inevitability to all of it. Just going into it, being like, ‘at the end of this we’ll come out the other

side of the recording with something — we don’t know what it’s going to be.’ So we were diligent; we went to the studio like every day at that time, and we were there for hours, but I think we felt really less pressure to make something that made sense. And it turned out it kind of made more sense.

Q: Where did the original inspiration for “Undersea” come from?

A: I don’t know. It didn’t feel like it was a specific thing that inspired us to do it. I think we were just tapping into what our collective mindset was at the time. I think sometimes when you’re recording something, it’s a much less dramatic affair than it’s sometimes portrayed as. That’s not a feeling that your band is choosing at the time that we’re going to go into our environment, which is hopefully a really creative environment — one that hopefully people feel free and able to express ideas. And the period of time that they go into that and just see what comes out, see what they can make, and the end of the next however many weeks, months or even years sometimes…the end of that is your record. And that’s what it was for us — just going in there and seeing what we would come up with. I don’t know, there’s kind of a nameless quality to it, I guess, that inspired it. It felt like we needed to make it, or something, which is a good trend I think — to feel like you need to make the record you’re making, like it’s not really an option.

Q: I’ve always been interested, not just with “Undersea,” but with “Hospice” or “Burst Apart” or “In the Attic of the Universe, ” each has its own one, specific theme to it, and I’ve always been curious about how you guys came up with each particular theme and where that inspiration came from.

A: Well, I think the first record we all came up with together was “Undersea.” For the older records, there’s a phrase or word that really encapsulates what you’re talking about.

It’s something that just kind of just fits at the top of your page, at every page. I don’t think I had any doubt in my mind that “Hospice” should be called “Hospice.”

I think when I first had the idea to transform this story in my life into a particular story in music, it became this perfect analogy. And I think with “Undersea” it felt the same way, where we were thinking about words that had to do with an underwater feeling. It describes the room you’re in, the place.

Q: So, it’s no secret that The Antlers’ release some pretty emotionally challenging music. Is it as emotionally challenging to record an album like “Hospice” or “Burst Apart” as it is to listen to it?

A: Yeah, I mean, it’s a huge, huge consideration. For me it’s usually the biggest consideration. It’s the one I

“With any feeling you have, there are a lot of contrived ways to show it”

want to say and how I want to say it.

And I think that’s tricky, because with any feeling you have, there are a lot of contrived ways to show it. And you could say it that way, you could say it any number of ways. I’ve always thought of what we do as providing an alternative description of that feeling you have. It doesn’t always have to be a conflict in life, because not everything is born out of it. But I think there are a lot of different feelings and reactions that happen, and I’d like to think that our music is at least intended to describe that.

Q: Are you currently working on any new material?

A: Yeah, we’re kind of getting ready to make a new record. I think we’ll probably start doing that in the next couple months. We’re finishing up being on tour for a while, so there hasn’t been really been the time to work on [new] music.

Q: Do you have anything particular in mind for the new record?

A: Yeah, but it’s super nebulous right now. These ideas change so much from start to finish. Like, the idea that you start with is completely different from what you end up with, and also usually seems like something completely stupid, that you’re like, ‘Man, I’m really glad I didn’t do that.’”

For more information on The Antlers, upcoming music festivals and all things entertainment, check out newsrecord.org.

SELECTED DISCOGRAPHY

IN THE ATTIC OF THE UNIVERSE (2007)

HOSPICE (2009)

BURST APART (2011)

UNDERSEA (2012)

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