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(09/27/17 1:12pm)
by Nolan Leahy
Opening earlier this month, Damn Yankees is currently still playing at the Ball State University Theatre until Sunday, Oct. 1. This musical comedy is about Joe Boyd, an avid baseball fanatic that makes a deal with the devil in order to stop his favorite baseball team from always losing.
Damn Yankees premiered in the 1950s and won seven Tony awards back in its day, which included Best Musical and Best Choreography. Since then, it’s made several appearances in other media such as films, high school performances, and a 1994 revival version on stage.
Ball State University Chairman of the Department of Theatre and Dance, and director of Damn Yankees, Bill Jenkins, weighs in on the show:
“…I think the story, whether it was written in the 1950s or today, is still very relatable… Would you sell your soul to the devil to ultimately get what you want? I think the baseball component is a big part for me.”
Additionally, Jenkins says that he is a huge Chicago Cubs fan.
“When we selected the show, it was before the Chicago Cubs won the World Series…” Jenkins said, “…We’re now in a situation where 108 years of depression of Cubs fans has gone away, but there were periods of time I know where you thought to yourself, ‘I’d do anything to see my team do well.'"
Jenkins says that this show begs the question “What would you do to get what you want?”
While the show’s relatable message was a big reason Jenkins wanted to work on this musical, he also spoke of his incredible passion for working with students:
“I always love working with the students, because we have such a great student body… there’s several of our most talented students [sic] that I’m working with either for the first time or for the second time.”
Gabe Ford-Dunker and Reagan Pender, the actors playing the lead roles of Joe Boyd and Mr. Applegate respectively, previously played roles in Shrek: The Musical, which Jenkins also directed. Jenkins said that he loves working with talented students.
“A highlight for me is always watching them grow and get better and learn about their craft,” Jenkins said. “I’m very proud of what we were able to accomplish here and what the students are able to do. I’m really satisfied with the program, and I think that everybody will have a great time with Damn Yankees… it’s a show for the whole family and I think people will really enjoy it.”
Bill Jenkins has been working with Ball State University for 18 years. Working alongside Jenkins is Emmy award-winning arranger and Broadway musical director Michael Rafter. Also working on Damn Yankees is Ball State Associate Professor Christie Zimmerman, the show's lead choreographer.
Show times for Damn Yankees are Sept. 22-23, 26-30 at 7:30 p.m. and on Sept. 24 and October 1 at 2:30 p.m. Tickets are on sale either in the University Theatre Box Office from Noon to 5 p.m. and one hour before performances. Tickets can also be purchased online.
(09/26/17 6:33pm)
by Preston Radtke
The very prolific Weezer have added yet another page to their ever-widening catalog. The ditty in question, “Beach Boys”, is a cut from their upcoming record Pacific Daydream, due out at the close of next month. Unlike standouts off of The Blue Album or Pinkerton, “Beach Boys” is a cookie-cutter of a song that ascribes itself to just about every pop music trope and cliché out there.
Thematically, Rivers Cuomo waxes somewhat poetic on his longing to listen to The Beach Boys, a band that he used to listen to when he was “a West Side kid.” From a sonic perspective, “Beach Boys” operates like an upbeat, sunny experience featuring slightly reverbed vocals, and a nearly offensively catchy chorus. This track is one of the first in the Weezer canon that feels as if it is obviously pandering to an older SUV driving, suburb-dwelling crowd. The predictable vocal map and slightly bouncy percussive section lend themselves magnificently to the pop radio crowd.
Flat-out pop songs aren’t inherently evil though. There are many successful pieces by bands from all sorts of genres that craft effective and unashamed pop ballads. “Beach Boys” seems to almost be a caricature of a pop song. Cuomo’s inflections, the overdubbed drums, and the sophomoric song and vocal structure operate as a sort of skeleton or template for a pop song.
The difference is, with more effective pop ballads, there is some sort of slight or measured differentiation. If it weren’t for Rivers Cuomo’s patented awkward wails, this could just as easily have been a Five for Fighting or Simple Plan release. On previous releases, Weezer infused their tracks with just enough unique iterations to make them stick out in listeners’ minds. This track could definitely have used Weezer’s charming progressions, or their aggressive guitar sections, or even their witty yet nerdy lyrics. But alas no, for “Beach Boys” is an outline of a song that plays on what people should like and how they should feel.
It has been said over and over again, but Weezer would do well to harken back to their success in the mid-1990s. Starting with 2009’s Ratitude, Weezer records have taken a noticeable turn toward Top 40 radio. The lo-fi and emo constructs found on the Blue Album and other early releases seem to have faded from the band’s arsenal. The past is in the past yes, but Pacific Daydream is shaping up to be just like the previous four Weezer LPs. One would hope that perhaps they would go another direction.
Featured image from Billboard
(09/26/17 3:24am)
The album that thrust the grunge movement into the spotlight, Nevermind, came out 26 years ago this week. Along with the Live in New York performance, Nevermind stands as one of Nirvana’s most popular albums, giving us tracks like “Come as You Are” and “Smells Like Teen Spirit”.
(09/26/17 3:20am)
Charles Bradley, one of the premiere old-time soul/R&B artists of the modern day, passed away yesterday after first being diagnosed with cancer about a year ago. Bradley went through treatment and was cleared to head back on tour this year, but earlier this month he was forced to cancel the remainder of his upcoming dates.
(09/24/17 9:00am)
by Ryan Fine
Charles Bradley, one of the premiere old-time soul/R&B artists of the modern day, passed away yesterday after first being diagnosed with cancer about a year ago. Bradley went through treatment and was cleared to head back on tour this year, but earlier this month he was forced to cancel the remainder of his upcoming dates.
At the time, Bradley made a statement to his fans, saying, “When I come back, I’ll come back strong, with God’s love. With God’s will, I’ll be back soon.” Unfortunately, the cancer soon spread from his stomach to his liver and became much more difficult to treat.
A Facebook post from his reps announced his passing and stated, “Mr. Bradley was truly grateful for all the love he’s received from his fans and we hope his message of love is remembered and carried on.” They thanked his fans for their support and encouraged them to donate to the All-Stars Project and Music Unites.
Bradley was not only the frontman of Charles Bradley & His Extraordinaires, but also worked with The Budos Band and Menahan Street Band. He started his career as a professional James Brown impersonator performing in clubs under the name Black Velvet before being discovered by Bosco Mann and signed to Daptone Records.
Bradley’s work, both solo and with Menahan Street Band, has been sampled by countless hip-hop artists including Jay-Z and Q-Tip. In 2012, the documentary Soul of America detailed his life from his Florida youth to his current solo career, following him to various festivals across the world.
Charles Bradley died in Brooklyn at 68 in the company of his family and friends.
Sources: Rolling Stone, Billboard, Facebook
Image: Wikimedia Commons
(09/23/17 3:38pm)
by Jack McGinnis
After a mere two years since the critically acclaimed and chart topping The Mindsweep, Enter Shikari has dropped their fifth full-length album, The Spark. This arena rock and pop infused album is both a departure from previous works and a milestone in Enter Shikari's career. Accessible, anthemic, and audacious describe each individual track on the record, but that does not mean each tune is not properly sprinkled with some of Enter Shikari's greatest quirks.
Hooks that sparkle
"Live Outside" , "Rabble Rouser", and "Undercover Agents", the album's three singles, truly capture the unique soul of The Spark. The first single, "Live Outside", is possibly the most pop-influenced song the band has ever devised. A deceptively chipper, yet bold chorus embeds itself into one's brain, making an impromptu singalong just a natural reaction. This, held up by bouncy electronics and punchy acoustic guitars, highlights the band's mastery over the 'art of the chorus'.
However, that is not to say that this album is all upbeat pop tunes. In fact, every song shows the band's singer/lyricist, Rou Reynolds, confronting a real and tangible feeling or emotion, which is often anger or frustration. Take the songs "Take My Country Back" and "Rabble Rouser", the latter of which is the album's second single. "Take My Country Back", in particular, kicks in with fast-paced and aggressive rhythms backing a furious Rou Reynolds repeating, "Don't wanna take my country back / I wanna take my country forward". The verses of the track run with this aggressive pace as Rou begins barking his hyper-political pro-unity passages, culminating in an explosive chorus. Again, the chorus is a monolith of melody and a masterwork of memorability that is just begging to be the rallying cry of an arena of Shikari's fans.
"Rabble Rouser", on the other hand, exhibits almost none of the qualities indulged by "Take My Country Back". Instead, the song presents itself as an electronic/rap hybrid infused with a bit of grime-step influences. This mish mash of genres melds into one of Enter Shikari's best mosh-pit inducing tracks to date, with yet another masterful and catchy hook to boot. That's really the theme with The Spark. There is not a single chorus on this record that feels dull or contrived. Every one of them is meaningful and anthemic, although that may not be wholly a positive thing.
Sonic doppelgangers
The Spark can feel like it’s repeating itself by the time the eighth track, "Undercover Agents" rolls around. Its, again, catchy and accessible chorus seems almost like it's retreading ground just trampled by the tracks "The Sights", "Live Outside", and "Take My Country Back" that came before it. Even the record's mellower moments featured in songs like "Airfield", "Shinrin-yoku", and "An Ode to Lost Jigsaw Pieces" share a similar structure in which they conclude with a hulking section of the band chanting some key lyrics.
However, none of these songs are bad by any means. In fact, they all exhibit some of the best orchestration and lyric writing in the band's history. It's difficult not to get choked up in the latter half of the second to last track, "An Ode to Lost Jigsaw Pieces", as a pained Rou musters up some powerful and relatable phrases like, "And this is tough, man / I've lost more pieces of my jigsaw / It don't seem worth making now, man". The emotional delivery of those words, combined with the closing instrumental piece entitled "The Embers", puts the band's maturity at the focal point as the album slowly comes to an end.
Top tracks:
"Rabble Rouser"
"Take My Country Back"
"Airfield"
"An Ode to Lost Jigsaw Pieces"
"The Revolt of the Atoms"
Recommended if you like:
Letlive
Crossfaith
Abandon All Ships
Featured image from Alternative Press
(09/22/17 12:00pm)
This may come as a shock, but 2014’s self-titled debut release by the Canadian jangle-pop outfit Alvvays caused a slight schism in the indie community. Many usually like-minded pundits praised the dreamy production, and lyrically driven hooks, while their comrades bemoaned the record’s cliché themes and rather basic song arrangements. Following this record, the band blitzkrieged the globe with live performances, from playing empty rooms in New Mexico to playing the Saturday afternoon main stage at Lollapalooza 2017. Many listeners anticipated new releases from the janglers, but instead Rankin and company spent their time in vans and onstage.
(09/21/17 11:23pm)
Ever since The National came out with Sad Songs for Dirty Lovers in 2003, each one of their albums has come packed with great anticipation and praise. With their next album Alligator, they rose to yet another level of acclaim, forever proving themselves to be a prime source for sad, hopeless rock music. When they dropped “The System Only Dreams in Total Darkness” back in May, we were a little unsure about the band’s new direction. Thankfully, the lead single works much better in context, and the rest of the album contains the best sonic landscape the band has put together in a decade.
(09/21/17 3:00pm)
by Preston Radtke
This may come as a shock, but 2014’s self-titled debut release by the Canadian jangle-pop outfit Alvvays caused a slight schism in the indie community. Many usually like-minded pundits praised the dreamy production, and lyrically driven hooks, while their comrades bemoaned the record’s cliché themes and rather basic song arrangements. Following this record, the band blitzkrieged the globe with live performances, from playing empty rooms in New Mexico to playing the Saturday afternoon main stage at Lollapalooza 2017. Many listeners anticipated new releases from the janglers, but instead Rankin and company spent their time in vans and onstage.
Now, some of the songs they've been playing live for the past years (such as "Not My Baby" and "Hey") finally have a home on a studio album. Antisocialites has much of the same flavor and texture as Alvvays, save for the fact that the album is simply more ambitious and structured. Songs off of their initial release were cute and charming, but also very formulaic and obvious. Alvvays certainly hasn’t become a jangle version of Tom Waits, but the improved song structures and instrumental interplays have certainly propelled the band. Some of the band's previous ghosts still haunt them unfortunately; song themes and dud song inclusions have held this record back from becoming a truly seminal recording.
Despite maturity, they're lyrically still stuck in freshman year
The jangle-pop genre has never pretended to be one that deals with heavy or unique topics. Nonetheless, Alvvays has stagnated in terms of song meaning and context on Antisocialites. Of the record’s ten tracks, six of them deal explicitly with love and longing. Only the very desolate track “Forget About Life” seems to deal with topics that are not tangentially or obviously related to love or relationships at a young age.
On the other hand though, Alvvays writes about these themes in more mature, complex ways. For instance, the track “In Undertow” tells the tale of a lover who has done the protagonist wrong. Certainly an old trope, Alvvays differentiates this track from others via its distorted progression, vocal performances, and vocal arrangement. This track features choruses, yes, as well as simplified lyrics, but it also features a nontraditional climactic conclusion. Furthermore, Rankin’s vocals are truly exquisite on the song; reverb and her already very cerulean vocal texture provide the perfect amount of sunshine and shimmer for the instrumentally sound piece. “In Undertow” is a prime example of tired themes and basic lyrics being overshadowed by vocal and instrumental performances to create a truly outstanding track.
Alvvays bask in the clouds and in the garage
After their first record, Alvvays perfected the jangle pop sound. Their music was very sunny, and light, and overtly happy. This record on the other hand strays in to such foreign genres as garage rock, and even punk rock. The fourth track, “Your Type”, only sounds like Alvvays because of Molly Rankin. The verses and choruses are all aggressive and chaotic enough to remind listeners of underground punk, not twee or jangle pop.
“Lollipop (Ode to Jim)” is probably the most un-Alvvays track of them all. The track opens with what sounds almost like an intro to an industrial or noise record. Then the drums jump in with an amount of aggression and force never before heard in the Alvvays catalog. The rest of the track plays out much like a garage rock piece with its strained vocals, vague lyrics, and slightly sporadic tempos.
The album also features little moments of experimentation. Much like the previously mentioned “In Undertow”, “Plimsoll Punks” sound almost quintessentially Alvvays except for when the bridge happens. On this track though, the instrumentation completely jumps off the deep end, sounding almost ambient and electronic in a very haunting way. In both cases, the juxtaposition between the choruses and verses with the bridge and conclusion are extremely jarring.
In the case of “In Undertow”, the juxtaposition helps reinforce the tracks overall narrative of desolation, and presumed rock-bottomness. “Plimsoll Punks” contrastness is a little more head-scratching. The song seems to be focusing on a frustrating, but not damaging communication gap between the protagonist and their friend. But all of a sudden the instrumentation changes and sounds very oceanic and other worldly. What Alvvays is attempting to go for here is unclear. If they were trying to show off their musical abilities in the realm of ambient music they may consider implementing such a stunt on a song that would be more appropriate for such a drastic shift.
Production: the first step on a long journey
Alvvays’ Antisocialites is very volatile from a recording and production standpoint. The reverb on Molly’s vocals are nothing short of stunning. Make sure to sample the closing chorus on “Plimsoll Punks” or the empty broodings on “Dreams Tonite” to absorb the true essence and capabilities of one of Canada’s most talented indie vocalists.
The instrumental layering on this record is an extreme step forward from previous work. “Plimsoll Punks” features an intricate guitar sequence that the old Alvvays would never have attempted. This guitar sequence features layering that lends more depth and color to the piece. Suddenly, this isn’t just another cookie-cutter Alvvays jangle pop piece with a lead guitar, bass, percussion and amateurish thematics. Now, it’s a complex multi-instrumental escape with carefully selected lyrics atop a wall of distorted, artfully arranged guitars that provide a nice bit of grit and somberness.
The main drawbacks in the production deal with slower, more introspective songs. The concluding track “Forget About Life” features Rankin’s vocals front-and-center shining the light on a depressed friend. The instrumentation is very bare, with a distant backing guitar and some slight synth work. Unfortunately, the lack of backing instrumentation makes Rankin’s voice hang and wilt in the atmosphere that the song has created. As the track progresses, the singularity of the vocals make the track seem bland and frankly boring. Alvvays could still have utilized the same instrumental setup on this track while maintaining the theme of the track if they had forgone the reverb. Although the reverb on this track is minimal, the little amount they use makes the track seem impersonal, and it negatively impacts Rankins’ performance. An even more drastic lessening of the reverb would give the track a more intimate and relatable feel.
The recording of “Not My Baby” was the final black eye off of Antisocialites. The track was recorded to intentionally sound rough or poorly produced. The best description of the track’s sound would be for someone to think of a pop song coming out of someone else’s earbuds nearby. The production was so ineffective the instrumentation and vocalizations didn’t truly get the exposure they deserved.
Top tracks:
“Plimsoll Punks”
“In Undertow”
”Lollipop (Ode to Jim)"
“Saved by a Waif”
Other members of the Antisocialites family:
Camera Obscura - Let’s Get Out Of This Country
Beach Fossils - Beach Fossils
Best Coast - Crazy For You
Featured image from Bandcamp
(09/21/17 2:59pm)
by Ryan Fine
Ever since The National came out with Sad Songs for Dirty Lovers in 2003, each one of their albums has come packed with great anticipation and praise. With their next album Alligator, they rose to yet another level of acclaim, forever proving themselves to be a prime source for sad, hopeless rock music. When they dropped “The System Only Dreams in Total Darkness” back in May, we were a little unsure about the band’s new direction. Thankfully, the lead single works much better in context, and the rest of the album contains the best sonic landscape the band has put together in a decade.
Everything in its right place
Starting an album on a slow song is something that a lot of bands couldn’t pull off, but at this point, it’s almost expected from The National. Sleep Well Beast begins with one of the haziest songs on the album, “Nobody Else Will Be There”. This song brilliantly leaves the listener in a piano-laden hypnosis, which is shattered as soon as the energetic “Day I Die” begins.
The louder songs on this album are often the highlights, which is certainly the case with “Day I Die”. Though failing relationships are not a new lyrical venture for The National, the marauding melody that pervades this song makes it a strong candidate to be considered a classic in the long run, even in the band’s truly impressive canon.
“Turtleneck” steps up the game even more, immediately cementing itself as one of the most raucous songs the band has ever created. This song proves that even twenty years into the band’s career, they continue to find new ways to evolve and try new things.
That’s not to say they don’t also continue doing exactly what they’ve been doing so well this entire time. Woven between these tracks are the same types of ballads that have always made The National successful, such as “Walk It Back” and “Carin at the Liquor Store”. Structurally, the album tends to directly alternate between fast and slow songs, which works in a very cut-and-dry way. It also makes the album a fairly predictable listen, but since all the songs are good, this doesn’t necessarily ruin the experience.
Beyond pianos and guitars
As The National’s career has progressed, they have slowly drifted away from the guitar in favor of the piano. Ever since Boxer, the ivory keys have been a much better fit for the melancholy tone of their music. Sleep Well Beast brings back the guitars to some degree, although it’s fairly subtle with a couple exceptions. Both “The System Only Dreams in Total Darkness” and “Day I Die” feature recurring distorted riffs, but most of the rockishness comes from Bryan Devendorf’s quick-paced drumming.
An impressive aspect of this album in comparison to previous albums by The National is its willingness to experiment with unconventional instrumentation. The song “Dark Side of the Gym”, beautiful despite its head-scratching title, features a woodwind ending which recalls Sufjan Stevens’ Illinois and significantly changes the tone of the song at the last minute. There’s also quite a bit of experimentation with electronics on tracks like “Sleep Well Beast” and “Empire Line”, and it definitely shows a lot of production talent that this is not a jarring inclusion.
The latter song (as well as “I’ll Still Destroy You”) also brilliantly features a marimba, which is a rare instrument in rock music that adds a perfect homely warmth to these songs. This warmth is something the band manages to maintain throughout the entire album in a way that has been rare for them in recent years, and actually makes this one of the best sounding albums of the year.
Rock music for sad people
As with any album by The National, much of the real magic of Sleep Well Beast is in the lyrics. Songs like “Guilty Party” and “Carin at the Liquor Store” deal with insecurity in the context of a relationship, and how it can end up ruining something that could have been a good thing. “Carin”, for example, tells a story about someone who represses their feelings for someone in order to avoid a bad reaction from that person or their peers.
Of course, many of these tracks also have a political underbelly to them that may not be apparent on first listen. It’s no secret that Matt Berninger and the gang are highly politically involved (having stumped for every Democratic candidate since they became popular), and it’s probably not a coincidence that they now have a song called “The System Only Dreams in Total Darkness”.
Berninger has described the song “Sleep Well Beast” as a song about wanting to be reclusive in turbulent times. Like the rest of the band, Berninger has children, and chooses to end his album on a message to them. The beast for which he has named his album is the future that the new generation will inherit, and he believes the youth will eventually be a force against those in power. This is a very optimistic ending for an album that can often feel pessimistic. “They’ve got a challenge ahead of them,” Berninger told Pitchfork, “but I feel positive about the future.”
Top tracks:
“Day I Die”
“Turtleneck”
“Carin at the Liquor Store”
Recommended if you like:
Tindersticks
The Magnetic Fields
Radiohead
Featured image from Paste
(09/14/17 6:07pm)
by Sarah James
This morning, Chicago based rock group, Fall Out Boy, released the newest single off their upcoming album MANIA. The song, “The Last of the Real Ones” is the third single to be released in promotion of their seventh studio album, which was originally going to be released this month but has been pushed back until January 19th.
In addition to the release of the single and related music video, Fall Out Boy also announced the launching of their charity, the Fall Out Boy Fund. The fund is starting as “a way to give back to Chicago,” and the band is beginning by donating to Back to Roots. Back to Roots is an organization that provides gardening and food education to kids in the Chicago area, and with the donations from Fall Out Boy, Back to Roots will be able to give 20,000 elementary school kids an organic gardening kit and the knowledge to grow their own food.
Fall Out Boy isn’t stopping there; they’re also bringing the Fall Out Boy Fund on the road with them. The MANIA tour starts next month, and during the course of the tour, the band wants to work with charities local to the cities they visit. To accomplish this, they are launching the “The Champion of the MANIA Tour,” which is a contest of sorts where people can nominate members of their community who work to make the world a better place. Winners will receive two tickets to their local Fall Out Boy show, and the band will be donating money to a charity of the winner’s choosing. One dollar from every ticket sold across the tour will also be going towards the Fall Out Boy fund.
Source(s):Fall Out Boy, Twitter
Image(s): Billboard
(09/09/17 9:41pm)
(09/09/17 9:00pm)
(09/09/17 5:30pm)
Ever since they were born from the reanimated bones of Kyuss in the late ‘90s, Queens of the Stone Age have proven themselves to be one of the world’s strongest arguments for keeping rock-n’-roll alive in the new century. In 2013, they returned from a brief hiatus with …Like Clockwork, their most somber, introspective collection of tracks to date. Now, in an attempt to return to their raucous roots, the band has recruited Mark Ronson (yes, the “Uptown Funk” guy) as a producer and collaborator.
(09/09/17 5:08pm)
It’s hard to say much about LCD Soundsystem that hasn’t already been said. Headed up by producer James Murphy, the band has oft been difficult to pinpoint for even the wittiest, snobbiest journalists. LCD Soundsystem cannot be made the subject of the elitist allusions and ironically cliché lines of text that would be appropriate for any other band, because that would fall right into the criticisms of criticism itself that Murphy wrote about in his past songs. But it’s also because this band represents more than a band; they are also a movement, a scene, an identity, and yes, a return.
(09/07/17 5:29pm)
(09/07/17 4:09pm)
by Preston Radtke
It’s hard to say much about LCD Soundsystem that hasn’t already been said. Headed up by producer James Murphy, the band has oft been difficult to pinpoint for even the wittiest, snobbiest journalists. LCD Soundsystem cannot be made the subject of the elitist allusions and ironically cliché lines of text that would be appropriate for any other band, because that would fall right into the criticisms of criticism itself that Murphy wrote about in his past songs. But it’s also because this band represents more than a band; they are also a movement, a scene, an identity, and yes, a return.
American Dream is possibly the most fitting title for an album so pumped full of regret, loss, and gilded nostalgia. It must be said, American Dream is several leagues away from Sound of Silver, This Is Happening, and even their self-titled record. This album is slower, more calculated. American Dream is a record that must be judged after several listens. The layers and complexities behind this beast are truly remarkable. For the lack of revelrous danceable beats and outlined youth, Murphy more than makes up for it with the amount of mournful personality and vulnerability that he trickles on to the audience. As usual, Murphy has pressed just the right buttons and moved the LCD needle just enough to make something both accessible and deeply artistic.
"You can synthesize, don't it make you feel alive?"
A recurring presence on this record is Murphy’s scattered and sometimes muttered vocals. These elements paired with the drone-like instrumentation give the record an almost robotic, industrial feel. The zenith of this token droneism can be found on the tracks “I Used To” and “Black Screen.” In both instances, Murphy’s backing synths are locked in a controlled, but ominous progression that further enforces the glum themes of both songs.
On previous LCD records the guitar has been used sparingly. This is also the case on the outfit’s fourth release. “Emotional Haircut” is the only track on the record that features some semblance of a driving guitar. The more textured electronic instrumentation allows for more introspection and realism for the record. Instead of the classic electric guitar, bass guitar, and drums, LCD uses perfectly coded synths to drive home the brooding and marauding messages of the album.
Percussively speaking, the record is quite danceable. “Tonite”, the most vintage LCD cut off the record, features an earworm of a beat that pairs perfectly with the song’s overall meaning and aesthetic. In most cases though, Murphy uses percussion to almost act as a sort of heartbeat or constant to remind himself and listeners that time moves on, and that someday we won’t be as fervorous or “cool” as we used to be.
From Goldie to Bowie
James Murphy seems to be fascinated with the idea of aging. “Losing My Edge”, “All My Friends” and “All I Want” are past standouts that delve deeply in the idea of getting older and learning to live with your new inhibitions. American Dream expands on this idea to unforeseen heights.
The most vivid documentation of Murphy’s thoughts on aging can be found on the track “American Dream.” The song tells the story of someone waking up at someone else’s house whom they had had a one night stand with. Unfortunately, as the protagonist is preparing for the “walk of shame” they slowly begin to realize how much older and seemingly disconnected they now are. The one night stand serves as a sort of reminder of what they would do somewhat regularly in their heyday, whereas now it is something both rare and exciting, and depressing and regrettable.
“How Do You Sleep” is the most pointed track of Murphy’s to date. The artfully clunky experience finds Murphy riffing on Tim Goldsworthy, his former friend and cofounder of DFA, the record label that the pair started in the late ‘90s. The exodus of Goldsworthy is a widely known story in the indie sphere; feeling forgotten and disrespected by Murphy, Goldsworthy abruptly left DFA and LCD Soundsystem just at the onset without any sort of goodbye or explanation. In ensuing years, Murphy and other DFA execs have taken Goldsworthy to court for misappropriation of company funds. Aside from the legal-laced lyrics, the track serves as a sort of window into the younger Murphy. At one time, Tim and James were close friends, both highly talented and frustrated musicians trying to carve out a niche in the NYC underground.
“Black Screen” is the most haunting and somber track on the entire record. The consensus is that “Black Screen”, the final track on the record, is a documentation of James Murphy’s relationship with David Bowie. Sound-wise, the track is slow, and bereft of vocals. The scattered vocals deal with Murphy’s nervousness at working with Bowie, his childlike admiration of him, and how he wishes he could have gotten to know him at a deeper level before his passing. It is also important to note that Bowie was one of the main driving forces behind getting Murphy to reunite the band. (The line “you should be uncomfortable” from “Other Voices” is a direct quote from their conversations.)
Other themes of the record deal with the blandness of the mainstream music industry (“Tonite”), depression (“Other Voices”), and the heavy decision of breaking up, and reforming LCD Soundsystem (“Oh Baby”, “Emotional Haircut”).
The magic of Murphy
Despite the name, LCD Soundsystem has often felt like a one-man project. James Murphy’s notorious controlling tendencies, coupled with the fact that in recording he often plays all of the instruments, isn’t something to be scoffed at or taken lightly. The band’s previous releases have shown how prodigious a musician James Murphy actually is. In many cases, he is the primary recorded vocalist, guitarist, drummer, and tuner of all synthesizers. After six years of dormancy, Murphy’s skills have enhanced, and become more specialized.
Murphy wrote these songs to help shine a light on his awkward, yet accessible voice. Knowing his vocal limits, Murphy utilized the perfect amount of vocoder and reverb to help add depth and context to his slightly nontraditional quips. Synthetically, Murphy fell back on krautrock-reminiscent progressions and influences. Tracks like “How Can You Sleep” and “Emotional Haircut” find extremely effective and sneaky progressions purposed through ever-present synths.
Though Nancy and Gavin and the rest of the band aren’t as apparent as on past records, Murphy’s perfectionist zeal and cultured toolbox make this record another classic for the Brooklyn band and further reinforce the unmistakable genius of its frontman.
Top tracks:
“Oh Baby”
“How Can You Sleep”
“American Dream”
“Emotional Haircut”
“Black Screen”
Other members of the American Dream family:
Talking Heads - Fear of Music
Joy Division - Unknown Pleasures
Sofi Tucker - Soft Animals
All images from Pitchfork
(09/07/17 3:07pm)
by Ryan Fine
Ever since they were born from the reanimated bones of Kyuss in the late ‘90s, Queens of the Stone Age have proven themselves to be one of the world’s strongest arguments for keeping rock-n’-roll alive in the new century. In 2013, they returned from a brief hiatus with …Like Clockwork, their most somber, introspective collection of tracks to date. Now, in an attempt to return to their raucous roots, the band has recruited Mark Ronson (yes, the “Uptown Funk” guy) as a producer and collaborator.
Sadly, Ronson’s crystal-clear production style doesn’t go over quite as well with QOTSA as it did with Bruno Mars. The product of their work together is Villains, an album that ends up shaving away a hefty chunk of the rawness that made this band so quintessential in the first place.
Rolling a one-sided die
Take any one song on Villains out of context and you’ve got a perfectly enjoyable rock song. Nothing on this album is too deep, but like a lot of QOTSA’s past stuff, it’s a great soundtrack to a mindless good time. The problem is that between “The Way You Used to Do”, “Head Like a Haunted House” and countless others, the overwhelming barrage of dance-rock beats makes it hard to catch a break.
Even though Josh Homme may be the single most masculine figure in modern music, he has been known to get emotional from time to time. In fact, part of what made this band’s previous record so compelling was its perfect blend of balls-to-the-wall guitar riffs and slow burning ballads. On this new record, the quieter moments are much fewer and farther between than they were on …Like Clockwork.
That’s what makes “Fortress” such a breath of fresh air. After three relatively long and unyielding rock jams comes this synth-laden mood shift. Supposedly dedicated to Homme’s children, “Fortress” is an inspirational message to thick-skinned young folks who are realizing that their constant tough-guy façade is failing them.
Though they may not quite go far enough to change up the sound, this song and “Villains of Circumstance” at least bring a slightly new perspective to an album that can often feel monotonous.
The devil is in the details
One of the most redeeming and simultaneously frustrating things about Villains is the obvious fact that Josh Homme and the gang have not lost a lick of the talent that they’ve always had. The song craft is still there; these songs are catchy and slick, and even though most of them pass the five-minute mark, it’s rare that any of them feel like they overstay their welcome.
What most of these tracks lack is the right context. The art of making an album is much different from the art of making a song, and the producer has a lot to do with how the record sounds as a whole. Sadly, Mark Ronson has never been great at making albums, and he doesn’t get better here. Songs like “Domesticated Animals” and “Hideaway” contribute very little to the record that isn’t done better elsewhere in the track list, and they probably would have been much better served as bonus tracks or B-sides.
Not like the way they used to do
Though it wasn’t their most universally loved work (that distinction certainly goes to Songs for the Deaf), …Like Clockwork was an achievement for Queens of the Stone Age. It seemed like Josh Homme had taken all the right things from his time in Them Crooked Vultures collaborating with members of Foo Fighters and Led Zeppelin. When he returned to his main band, his songs felt more mature without feeling like they were written by someone’s dad.
Ironically, now that he’s working with a hip up-and-coming pop producer, his age is finally starting to show. Maybe it’s just been a long four years for him, but it seems more likely that he’s just out of his element. Trying to make a dance-rock record as a 44-year-old man is a difficult task, and Homme should be commended for trying. But the classic QOTSA sound is classic for a reason, and it no longer feels nearly as new or exciting as it did fifteen years ago.
Top tracks:
“Fortress”
“Un-Reborn Again”
“Villains of Circumstance”
Recommended if you like:
Foo Fighters
Royal Blood
Wolfmother
All images from Queens of the Stone Age Store
(09/06/17 10:10pm)
by Ryan Fine
Rumors of a newly released posthumous Michael Jackson album have been circulating wildly over the last couple of days. When a 15-second animated video appeared on the official Michael Jackson Twitter account, the world began preparing itself for something called Scream.
https://twitter.com/michaeljackson/status/904856848649658369
Several posters were found in Germany that said “Album Out September 29”, which further suggested that we might soon be hearing some unreleased music from the King of Pop.
https://www.instagram.com/p/BYqRdpxjZAl/?taken-by=otw1980
Now, the Michael Jackson estate has come forward with the full announcement. As it turns out, an album called Scream will in fact be released on September 29, but it will contain no new material from the King of Pop himself. The compilation features songs pulled from classic albums like Thriller, and Bad, and also includes music from Xscape, which remains the only posthumous Michael Jackson album to contain previously unreleased music.
The album is named for the Michael Jackson/Janet Jackson duet of the same name, which appears as the eighth track on the album. The only unheard music on the compilation is a mash-up of the songs “Blood On the Dance Floor” and “Dangerous”, made by electronic duo The White Panda.
The physical release of Scream will come in the form of CDs and glow-in-the-dark vinyl on October 27 via Epic/Legacy recordings. The track list is as follows:
This Place Hotel
Thriller
Blood on the Dance Floor
Somebody's Watching Me
Dirty Diana
Torture
Leave Me Alone
Scream
Dangerous
Unbreakable
Xscape
Threatened
Ghosts
Bonus Track: Blood On the Dance Floor x Dangerous (The White Panda Mash-Up)
Sources: Paste, StereoGum, Rolling Stone
Images: Twitter, Instagram, Fanpop
(09/05/17 11:53pm)
https://soundcloud.com/user-519363288/remixed-s2e1-the-old-taylors-dead-and-vmas-recap
We're back with a new season of Remixed! This week we take a look at New Taylor's new song, give our thoughts on Frank Ocean's nonchalant single release, and recap what went down at the VMAs. Tune in next week for another episode of Remixed!
Hosts: Sarah James, Tyler Wheatley, Matthew Yapp
Edited by: Michael Robb, Sarah James
Graphic: Daley Wilhelm
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