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(08/11/11 10:03pm)
____simple_html_dom__voku__html_wrapper____>Hidden behind stages and chain-linked fences lies a space reserved for the very important. In these oases of ridiculousness, everything is catered. Open bars flow like waterfalls, sponsors share promotional items and everyone can talk freely and openly about designer wardrobes or how much their VIP ticket cost. Somehow, this particular WEEKEND reporter acquired one of these coveted VIP passes. It involved a Sony sponsored video camera, a scavenger hunt and some serious sweating. But it’s not what it sounds like. I was pitted against my peers in bouts of music trivia, photography, and video competition, all for the glory of WEEKEND and the Indiana Daily Student. And since I totally dominated the events, your brave reporter was invited to the upper echelons of the “Lolla Lounges” for an evening with the stars and their patrons. There were feasts, endless drinks and high rise seats, all underneath the tall trees of Grant Park. I was in beautiful Chicago, on Lake Shore Drive, cutting loose in the VIP of one of the greatest music festivals in the world. To me, it was heaven. But all was not perfect in paradise, for some. In the strain of “First World Problems,” “White Girl Problems” and the blog satires of the same nature, I’ll describe some of the issues I overheard, that were aired to no one in particular, blowing through the park like the breezes of the Windy City. “Really? The massage parlor is only in the other lounge?” “OMG — the heat is melting the ice cubes in my Red Bull and vodka so fast! It’s so watery—I should get a new one.” “I can only have four free beers at a time? Then how the hell am I supposed to fill this backpack?” “What do you mean the chauffeur won’t be back for another ten minutes to take me to the other VIP tent?” “Yeah, this catered Lou Malnati’s pizza is pretty good, but it’s nothing like the stuff I get in New York.” “Looking down at everything from this cabana is OK. Being able to see all of the stages kind of anti-climactic.“ “Ugh, the air conditioning went out in one of the private restroom trailers. It’s about to get barbaric in there.” “The chaffing dishes on this four-course, buffet-style dinner are so ostentatious. I mean, just look at them.” “What do you mean you ran out of strawberry shortcake bars? Don’t you have any more--maybe around the bottom? Will you please just look again?” “I wish they would fan me harder with that giant leaf.”
(06/16/11 7:59pm)
____simple_html_dom__voku__html_wrapper____>It doesn’t sound like much just going to a farm in the middle of Tennessee for four days, but add 80,000 people — that’s around twice IU’s enrollment — and a couple hundred of today’s most acclaimed entertainers and you’ve got the pieces to make one extraordinary escape. The LaunchI was headed to Bonnaroo for four days of sun, music and whatever else I could get into. Of course I was anxious.Accompanied by five of my closest friends, we departed Wednesday in one bright blue van and one black Grand Prix. Our caravan stayed tight over the 300 miles from Bloomington to Manchester with very few problems.To pass the time my friend Tyler and I played road games and freestyle rapped, pulling topics randomly from billboards and bumper stickers.At one point I challenged Tyler to rhyme the phrase “Marengo Cave.” We probably sounded like idiots, but we were much too excited to care.Our two cars turned to the same frequency and shared silent duets, pantomiming vocal performances across lanes of traffic to Top-40 songs such as Aerosmith’s “I Don’t Wanna Miss a Thing” and Def Leppard’s “Pour Some Sugar on Me.”We stopped only twice for gas and bathroom breaks and made it to Manchester in roughly six hours. The real test of patience began with the line to get in, though.For hours, our cars slowly crept down the shoulder of the highway. Rumble strips and vehicles zooming by only inches away were an ever-present turbulence and there was nothing to do to speed the process, unless you were one of those jerks who cut in line.Tyler and I watched “The Hangover” on his ipod, made friends with the cars around us and giddily squealed with delight as we finally got to the security check-in.The staff searched our caravan for glass, drugs and weapons, so we ended up losing a baseball bat and a couple armfuls of 40s. The same thought ran through all of our heads, I’m sure: This Bonnaroo would contain no chugging-and-spinning and no drunken baseball.InsideAfter our very minor setback, we finally pulled into our camping area around 5 a.m. and staked out camp in the morning glow. Upon completion, we high fived and chest bumped each other under Thursday’s first sunrays.Even though I was incredibly eager to check out the rest of the compound, I decided to crawl into a tent and catch some sleep before the sun climbed too high into the sky. It turned out to be a smart move because as the giant ball of burning gas and metal raised the temperature to triple digits, it became increasingly difficult to sleep.Coming from an air-conditioned home and vehicle, the transition from a cozy climate to the inferno that is the Tennessee Summer was taxing, to say the least.I woke up drenched in my own sweat, gasping and struggling to get out of my tent as fast as I could.It was only 8 a.m. and the sun wouldn’t sink until at least 7 p.m.The heat constantly threatened dehydration and sunburn, so we were sure to equip ourselves with gallons of water and sunblock with enough SPF to battle the onslaught of UV rays.Not the slightest bit discouraged, we toured the campgrounds to see the facilities, vendors and especially the people of Bonnaroo.“Hippies” is a bit of a misnomer, and in the humanitarian spirit of the festival, the attendees can be most courteously described as idiosyncratically yet practically dressed.There were sombreros, rice hats, feather boas and umbrella caps to help provide shade and everyone was scantily clad, often shirt and shoeless.Many women of the festival also forewent their shirts, opting to paint their breasts and bodies in bright colors and vibrant designs.There was an air of liberation about the people and it was tough not to make friends or at least share a smile with each passerby.One confusing gesture I frequently observed was all the water squirting. Whether it was a light mist from a tiny bottle or a large beam from a super soaker, the splash initially shocked the recipient, which led to an initial discomfort that typically turned into gratitude once its cooling effects set in.Another oddity was the fact that everyone seemed to have lost a friend named “Molly” or “Sydney” and were very concerned about finding them. They must be quite the popular girls.Lack of water was typically the issue, though, and the ground was the thirstiest of all of us.Huge clouds of dirt and dust stirred by the pedestrian and vehicular traffic and rolled through the farm.“Dustaroo!” someone said from the crowd. “I feel like I’m in the ‘Grapes of Wrath,’” said another.Another popular accessory were bandanas worn around the face in order to filter the dust from the nose and mouth. It resulted in a scene that felt very Western-cinemaesque. The only things missing were the tumbleweeds and gunslingers, as cowboy hats were popular around the fields and mounted security police patrolled on horseback.Water was available at designated stations throughout the festival and Garnier Fructis sponsored hot showers for a fee. Some people probably forewent the whole bathing thing, but there were high pressure sinks above troughs whose ice-cold jets were frequently used as showers.Getting the dust off our bodies was an essential self-imposed task required for us to get into our tents once it finally cooled off enough to fall asleep.Centeroo and MusicOh yeah. Did I mention there was live music and all sorts of other activities?The headliners of the 10th anniversary of Bonnaroo included Arcade Fire, Sleigh Bells, The Black Keys, Mumford and Sons, Eminem, Girl Talk, Wiz Khalifa, My Morning Jacket, Lil’ Wayne, Bassnectar, Pretty Lights, J. Cole, Best Coast, Wavves, Deerhunter, The Strokes, and Iron & Wine among many others.Each stage was named something ridiculously vague, like “Which Stage” or “The Other Stage,” as to confuse patrons or at the very least test their spacial-mapping skills. The sizes of the stages varied from intimate to enormous for close encounters as well as epic affairs.I managed to somehow find my way through the seas of fans to the frontmost pit directly in front of the stage for both the Arcade Fire and Eminem sets.I could nearly touch Win Butler’s Fender as he ran out onto the catwalk extension. Each night provided entertainment well past midnight, and people came out for every bit of it as if sleep wasn’t a factor in their trip at all.In addition to the music, Bonnaroo included comedy acts, movies, a sports bar for catching the NBA Finals and even interactive group activities like drum circles, yoga and gardening clinics.Wheat Thins sponsored a way to beat the heat and hunger with an air-conditioned snack den full of all types of flavorful crackers. There were Eco-Fashion shows, panel discussions on climate change and even hula hoop lessons.ExodusThere was never a dull moment at Bonnaroo; and after getting acclimated to the campgrounds and making friends with our neighbors, leaving felt like moving away from a hometown.We packed our things in the middle of Sunday and said our goodbyes early to prepare for a quick departure after Explosions in the Sky. The way this final show proceeded couldn’t have been more encapsulating.The progression of the set accurately paralleled my Bonnaroo experience: crescendoing anticipation that finally burst into a magnificent feedback and reverb-drenched unexplainable noise of pure unadulterated joy.I’ve already made up my mind. You can count me in for next year.
(06/13/11 10:04pm)
____simple_html_dom__voku__html_wrapper____>My father has a scowl on his face.The 2011 season of “American Idol” is in full swing and playing from the television in my living room. Beside Jennifer Lopez and Randy Jackson sits an aging man that meant more to my dad than any other musician growing up in the 70s.Steven Tyler, the frontman of the classic rock band Aerosmith, evaluates a contestant’s performance, while my father judges the latest career move by the idol of his youth. Watching the television, my dad tries to seem unconcerned, but his defeated eyes and deep sighs give away his disappointment and disapproval.My father’s expression seems to say this cannot be the same performer that played countless sold-out shows for him and his friends decades ago; that it must be an impostor. Sitting on top of his stereo are over a dozen albums by Aerosmith. Some are live or parts of box sets, and he even has the Greatest Hits collection, which seems a little redundant. Each CD sits inside its original case, complete with wrinkled liner notes very much intact.Beside those CDs is my ipod. As I notice his displeasure, it fills my mind with dread and questions about my own music idols.Will my favorite artists follow the same well-trodden road of dollar-chasing and artistic compromise?Will Ben Gibbard still be making music when I am my father’s age? Do poor reviews of a long-standing favorite mark the beginning of their end?Does everything great inevitably fizzle and die?In the blockbuster hit “Gladiator,” Djimon Hounsou’s character tries to impart some wisdom to Maximus in between his battles.“You have a great name. You must kill your name before he kills you,” Juba said.The advice begs idols to leave on a good note so they may preserve their greatness. It’s exactly what the two heroes of hip-hop Notorious B.I.G. and Tupac Shakur did and they are forever hailed as rap deities for it.Had the two lived on to produce more albums, it’s possible they may not have been so well regarded in the long run. The conjecture seems pessimistic and perhaps it undercuts the rappers, but if history is any guide we see that “only the good die young” often means, “only the good know when to stop” or more directly, “the good are such because they died before they could taint our images of them.” Seriously, if Kurt Cobain were alive right now he probably wouldn’t be showing up on the tops of music charts or all the T-shirts and merchandise the shopping malls are so flooded with. Death can be the best career move of all.The principle carries into the world of professional sports, as we have seen with Michael Jordan’s not-so-magical return to the NBA with the Wizards, and into literary realms with Jack Kerouac’s increasingly indiscernible alcoholism-induced ramblings well after “On the Road.”So then what if Death Cab for Cutie would have died (no pun intended) right after their first major label release, “Plans?” Would they be immortalized as indie-rock pioneers, champions and masters? Could Gibbard have been our generation’s Jim Morrison? The answer is a resounding “maybe.” Instead of taking advantage of the momentum though, they’ve shown that inspiration, an element tightly interwoven with quality, is something that dwindles over time.It is a grave transgression to produce under a glorious title without the same spirit that gained the reputation in the first place. While the quote, “if you love something, you have to let it go” isn’t as intricately constructed as the sentiment of “What Sarah Said,” the idea particularly reverberates in light of the most recent career move by one generation’s idol.
(06/02/11 9:18pm)
____simple_html_dom__voku__html_wrapper____>Summer brings storm clouds and blackouts, so WEEKEND’s got some advice to keep you entertained when the power goes off:Binge EatSince the refrigerator and freezer aren’t well insulated, they won’t be keeping your food cold. Pass the time by consuming everything you can. You’re kind of obligated to. Even if you have to share, make sure food doesn’t go to waste because you paid for it and you’re out of student loan money until the fall semester starts.Go ahead, eat the whole carton of ice cream. No one knows when the power is going to come back on. You can’t hold out on the hope of microwaving Ramen Noodles any time soon.Read a BookNow you have time to pick up that tattered copy of “Atlas Shrugged” that you’ve been meaning to finish. You don’t want to watch the movie anyway. Quit trying to read by lightning and grab a couple candles to illuminate the pages. Light the “Summer Rain” scented one to be ironic.
Make MusicUnplug the amplifiers and electric pianos. Then, gather up the string, brass and percussion instruments. Employ all your friends and compose some storm-inspired music.Imagine the thunderclaps actually are “bombs bursting in air.” There’s no motivation like the sound of impending doom. Who knows, you could end up writing the next “Star-Spangled Banner.”Play a Board GameGo dust off your favorite board game and gather your friends out of hiding for some classic entertainment. Battleship, for one, is especially entertaining when your roof is leaking. It’s like you’re out at sea, except you’re in your living room! Don’t you love your college lease?Hide and SeekCome on, it was fun as a kid! You remember the rules, count to 100 while your buddies hide themselves. Hint: The best hiding place will be in your flooded basement. Your landlord must not have told you about this spot because he didn’t want to give it away in case you wanted to play hide and seek during a blackout. That must be it.Aimlessly DrinkOk we admit it: There’s seriously nothing to do when the power goes out. Get creative with your roommates and invent a timely drinking game. Drink for however many seconds it takes for the thunder to catch up with the lightning, chug when the tornado sirens come on or take a shot every time you get an update from IUNotify.
(05/26/11 9:31pm)
____simple_html_dom__voku__html_wrapper____>Put simply, Lollapalooza showcases the hottest artists from a very broad spectrum of music.Grant Park is set to deliver just like it has every year since 1991, but it is up to you to make sure you see everything you want. Here’s some advice for once you get on the inside from a seasoned veteran.DECIDE: Find a schedule of the concert times before you get into Grant Park and work out any conflicts of interest beforehand. Unfortunately, many of the best acts are scheduled during the same time or very close to one another. Much like the Louvre in Paris, its impossible to see every exhibition Lollapalooza has to offer. This year, the festival has even added an extra 35 acres to pack in more bands and fans, so walking from one end of Lollapalooza to the other is now a 115 acre journey. Last year I had to decide between Lady Gaga and the Strokes on Friday, Phoenix and the Empire of the Sun on Saturday, and the Arcade Fire and Soundgarden on Sunday. Just kidding, nobody went to Soundgarden. In all seriousness though, walking eats up the time you could spend watching a band or getting to the very front row like a true concert trooper.CONSUME: Make sure that you load up on carbs before this show because it starts at sunrise and doesn’t end until well after sunset. Food inside the park is tasty, but it can get expensive. Make a budget for food or pack your own sandwiches and bottled water. Also, make sure your water bottles remain unopened until you get inside the park or else you will have to discard them at the entrance.BRING: Don’t forget your colored sunglasses or a throwback Bulls cap, and wear some sunscreen because it gets infernally hot with the sun beaming down on you all day. There’s typically an air conditioned Sony tent or something else enticing, but you can’t count on being near one or a nice sprinkle to cool things off like it did during Bon Iver’s 2009 set. So grab a pocket umbrella in case it turns out the weather has more in store than a light drizzle, too.GET BUCK: During a set by Portland indie-rockers Hockey, the band returned after a set to throw cans of Budweiser into the crowd. I caught one. During a Perry’s DJ Set, I crowd surfed. I danced until my legs hurt and sang along until I lost my voice. I met tons of fellow IU co-eds and made a lot of new friends just talking to people. Remember, you’re here to have fun, so punch that beach ball, throw those glowsticks and go all out. Everyone else will be!
(05/20/11 8:56pm)
It’s been an
exciting month for Hip-Hop.
(05/13/11 7:37pm)
____simple_html_dom__voku__html_wrapper____>The next few months promise an exciting line-up of new releases from many accomplished artists. Check out the expectations and predictions our WEEKEND staff has for some of this summer's highlights:Tyler, the CreatorDeath Cab for CutieMy Morning JacketBon IverLil' Wayne
(04/27/11 6:58pm)
____simple_html_dom__voku__html_wrapper____>What do you get when you mix the Avett Brothers, the Beatles and every other indie-folk band you’ve ever heard of? Why, you get the Head and the Heart’s self-titled debut, soon to be released on Sub Pop. While the Head and the Heart don’t bring many new things to the folk genre, the album has a few redeeming qualities that make it worth hearing. Foremost, the standout track, “Down in the Valley,” is epically constructed, and its dynamism and group vocals make it a repeat listen. Tracks like “Cats and Dogs” and “Ghosts” have a charmingly quaint country feel to them, occasionally infused with strings and jangly, vaudeville piano lines. Referencing “rooster-claws,” “Bibles” and “lonely days,” the album is everything you would expect it to be but rarely anything more. The Head and the Heart prove it has an ear for harmony. However, the band doesn’t separate itself from its influences enough to be anything more than a good opening act for the Low Anthem, Vampire Weekend or (unfortunately) Dave Matthews Band.
(04/21/11 1:29am)
____simple_html_dom__voku__html_wrapper____>You have heard this album before. Bell X1’s latest release, “Bloodless Coup,” combines multiple influences into one Irish-tweaked indie rock album. By channeling styles from its peers, Bell X1 forgoes striving for the novel, instead choosing to work within a familiar space that fosters comfortable and familiar melodies geared toward previous fans and new listeners alike. Traces of Radiohead, the National, Rogue Wave and especially Talking Heads can be found in Paul Noonan’s Celtic croons and shouts. In many of the songs, synthesizers lead the progressions as much as guitars while elements of hip-hop are laced throughout the album, too. Reminiscent of David Sitek’s recent “Maximum Balloon” album, tracks like “4 Minute Mile” and “Safer Than Love” incorporate dirty, fuzzy bass lines to inspire head-nodding and dancing desires. “Velcro” is the album’s standout track, lyrically and compositionally provocative, bemoaning modern life and love. Bonus digital track “Amsterdam Says” is a close runner-up, soothingly painting a story of ruined love set in the canal-laden streets and structures of the Dutch city. For fans of indie-rock looking to play it safe yet still concerned with diversity of sound, “Bloodless Coup” is a sure bet.
(04/06/11 10:19pm)
____simple_html_dom__voku__html_wrapper____>The Mountain Goats’ latest release, “All Eternals Deck,” marks the band’s 14th studio album and its first season in North Carolina working with Merge Records (the label that released Arcade Fire’s Grammy-winning album “The Suburb,” among other influential artists).Upon the initial sampling of The Mountain Goats, new listeners might find the distinct nasal qualities of John Darnielle’s singing rather unpalatable. Unfortunately for both the listener and the band, this obstacle presents a significant challenge in appreciating the expansive poetics of Darnielle’s acclaimed writing. (Among other praises, SPIN magazine just named Darnielle Indie Rock’s Greatest Lyricist.) While the music isn’t exactly sonically adventurous, the songs are almost always lyrically impressive by imparting stories that are detailed enough to be evocative, yet open enough for the listener to easily read themselves into. Tracks like “Damn These Vampires,” “Outer Scorpion Squadron” and “For Charles Bronson” are the most digestible, enjoyable and accessible pieces, while the up-tempo, punk-folk “Estate Sale Sign” and “Prowl Great Cain” are works that are simply better read than heard.
(03/30/11 8:14pm)
____simple_html_dom__voku__html_wrapper____>Somewhere between R&B, hip-hop, ambient indie rock and dubstep, fits The Weeknd's “House of Balloons.” The Weeknd is made up of relatively unheard of musicians: singer Abel Tesfaye and producers Illangelo and Doc McKinney. Mysteriously, the band’s website lists only an email contact, a link to a free download of “House of Balloons” and the cover art of an obscured, naked body. "Balloons" eclectically samples from contemporary artists like Beach
House, as well as 1980's Siouxsie and the Banshees. Drenched in reverb,
the tweaked covers set the stage for Tesafaye's unapologetic
seductions and confessions. Combining How to Dress Well and The XX, plus R&B-hoppers like Frank Ocean and The-Dream together in one giant synthesis might prove a similar musical experience, but there's an integrity about the tracks on “Balloons” that's entirely The Weeknd's. Each tracks play like the diary entries of a tortured lover caught up in swag, sex, drugs and relentless partying. The result is a one-of-a-kind sound with an edge that artists like Ne-Yo and Ginuwine couldn’t ever allow themselves, as well as a surprising amount of humility and self-consciousness from such a young rapper and singer. “House of Balloons” is an exciting step in a new direction and an absolute must-have for 2011.
(03/03/11 2:50am)
____simple_html_dom__voku__html_wrapper____>Perhaps more ironically than intended, the opening track of album “We’re New Here” finds poet Gil Scott-Heron recalling a barroom conversation where he tells a woman he is “hard to get to know, and near impossible to forget.” “We’re New Here” is producer and musician Jamie Smith’s (aka Jamie xx) dreamy, electronic reimagining of Gil Scott-Heron’s “I’m New Here.” Scott-Heron, often credited as “The Godfather of Hip-Hop,” boasts a catalogue with more than 20 highly acclaimed releases of various genres and musical interpretations. Smith brings the legend to contemporary listeners in an electronic tribute of present-day house, techno and dubstep. The album’s dance-inspiring arrangements of varying magnitudes not only employ Scott-Heron’s voice as an instrument alongside synth lines and snare hits, but also accentuate the poetry, cleverly matching the album’s musical structure with its lyrical content. Standout track “NY Is Killing Me,” a remake of “New York Is Killing Me,” takes the old Mos Def-esque Zulu arrangement and turns it into a paranoid, minimalist-dubstep beat that eerily creeps beneath dim city lights and down shadowy alleys of the poem’s NY. Other tracks, like “My Cloud” and “The Crutch,” darkly resemble parts of Bibio’s “Ambivalence Avenue” and Dntel’s “Dumb Luck,” uniquely spiced with styles redolent of Smith’s celebrated The XX. “We’re New Here” is definitely an early contender for 2011’s best music and stands novel in the face of the rest of the enduring and immensely influential Gil Scott-Heron legacy.
(02/23/11 10:39pm)
____simple_html_dom__voku__html_wrapper____>As anyone could have predicted, “Elgin” is a playfully intimate and generically cathartic collection of smooth R&B jams. While Ginuwine wrote most of the songs himself, the album features productions from Timbaland and Tank, as well as an appearance by rapper Trina. “Elgin” stands up to the rest of the discography with maturing content and delivery that is occasionally splashed with a personality reminiscent of the younger, more mischievous G that originally attracted audiences. The single “What Could Have Been” is the crowning achievement of the album. Epically constructed, the verses and bridges crescendo and burst into a hauntingly catchy hook about a supremely idealized relationship with a lost love claiming, “it could have been us with the kids/ house on the hill/ you the first lady and I’m the president.” Other energized tracks include “Batteries,” a song about Ginuwine being a replacement for a vibrator, and “Kidnapped,” a dance-track about a sexual encounter where the role play includes an abducted hostage, Ginuwine clad in all-black and no ransom. Some other notable slow jams include the seductive “Body” and the sentimental “First Time,” perfect for all different kinds of passionate sex. Unfortunately, the rest aof the album is mostly filler, flawed by being either sickeningly maudlin, like tracks “Heaven” and “Break,” or overtly sexual without charm or creativity, like “Drink of Choice.” Overall, the album is entertaining enough, and Ginuwine proves to be the “Same Ol’ G,” even at his seventh release to date.
(02/02/11 11:24pm)
____simple_html_dom__voku__html_wrapper____>As “The Shepherd’s Dog” has shown us, the lines between folk, jam and jazz can be interesting boundaries to blur. The latest Iron & Wine release, “Kiss Each Other Clean,” continues in the direction of the prior album by adding layers and textures to Sam Beam’s matchless songwriting but often ends up overshooting the mark into superfluity.“Kiss Each Other Clean” is much more electronic than anything Beam has previously released and bears the marks of festival exposure, too. Reminiscent of Dave Matthews Band or String Cheese Incident improvisations, synthesizers and saxophones permeate much of the album, while bitcrushed-bleeps and wah-pedals fill entire songs, burying the beauty that comes from Beam’s subtlety instead of bolstering it.These jazz and jam influences may translate well for Iron & Wine’s concert and festival play but feel overly targeted in the studio. As a result, the movement looks more agenda building than artistic — not a huge surprise considering Iron & Wine just left Sub Pop to release “Kiss Each Other Clean” under the Warner Bros. record label.Though there are some definite faults, the work is not failed by any means. “Walking Far From Home” is nothing short of magnificent. The same additions that weigh on other songs make “Walking” as epic as “The Trapeze Swinger” but much more active than anything in the entire Iron & Wine catalogue. The song’s electric static crackling, sporadically yet steadily rising, provides an entertaining setup for an uncharacteristically dynamic climax and conclusion.“Glad Man Singing,” “Tree By the River” and “Half Moon” all have a polished vintage quality to them and the lyricism remains poignant and clever. Beam persists as not only an effective sound poet but also as an imagist. “Rabbit Will Run” and “Monkeys Uptown” are great lyrical examples, but their jam endings sound like somebody patting themselves on the back for an entire minute, nearly causing the listener to forget anything valuable was even said.Ultimately, many of the songs would do well to lose a few elements and appearances. “The Shepherd’s Dog” proved that a full band does not have to sacrifice quality and that different does not have to include a synthesizer. Sam Beam’s Tiny Desk Concert on NPR, his Daytrotter Session and other solo renditions prove that a stripped-down sound is where Beam remains strongest and that songs like “Big Burned Hand” are just better without the saxophone.
(12/08/10 11:30pm)
LCD Soundsystem tops WEEKEND's list of the best albums of the year.
(12/02/10 12:09am)
____simple_html_dom__voku__html_wrapper____>It’s not the second coming. Michael Jackson is, in fact, dead. “Libra Scale,” Ne-Yo’s latest album, sounds similar to a New Testament for old fans of the King.This particular pastor preaches a slightly different set of values, though. Ne-Yo spreads his modern R&B themes of love, seduction and what might be called “giving” through ten parables of true accounts of swagger, if you’re taking the lyrics literally.The good news is that the album has songs definitely worth consideration. The catch is that listeners may feel as if “Libra Scale” is just another adaptation on something they’re regularly exposed to, as the majority of the songs are just more generic stories talking about the power of love or nonspecific descriptions of the flyest girl ever.“Libra Scale” stands out on the tracks co-authored by notables Ryan Leslie and Chuck Harmony. Another highlight of the album is Fabolous’ guest sermon on “Crazy Love,” which saves the track from the blandness of musical purgatory, or worse.As a cohesive work, Ne-Yo’s fourth studio revision leaves listeners with little hope of discovering a classic album for their collection, but as they always have, the audiences can pick out the parts of the album they like, ignore the ones they don’t and still call themselves fans.
(11/17/10 10:38pm)
____simple_html_dom__voku__html_wrapper____>Despite only having five songs, Tallest Man On Earth’s new EP, “Sometimes the Blues is Just a Passing Bird,” soars high.A fragile collection of songwriting, “Sometimes the Blues” delicately sings poetry from the same nest we have come to expect from Kristian Matsson. Entirely devoid of percussion, the album is far from empty, as Matsson’s raspy howl does more than fill space — it illuminates it.On “The Dreamer,” listeners are granted a rare chance to hear Tallest Man on Earth put down the acoustic guitar in exchange for an electric one. Above the amplifier’s fuzz, soft guitar and piano add to the ambience, while the vocals take the front stage and the spotlight.Minus the electric guitar, there aren’t really any new tricks on this EP. Matsson’s fingerstyle guitar is fairly expected, and the patterns are reminiscent of previous works. This isn’t to say “Sometimes the Blues” is monotonous, though; Matsson is just sticking to what works.
(11/12/10 2:58am)
____simple_html_dom__voku__html_wrapper____>Indiana-bred rapper Freddie Gibbs, who now resides in Los Angeles,returned to perform in Bloomington Thursday. The IDS spoke to Gibbs about being a Midwest rapper, about Jay Cutler and about his comparison to Tupac.IDS Do you classify yourself as a Midwest rapper?GIBBS Yeah, I definitely would consider myself a Midwest rapper. That’s where I was born and raised, and that’s the story that I’m bringing to the forefront.IDS Has anything changed with your interactions in Gary since you’ve gotten famous?GIBBS Just a lot of people coming out of the woodwork that I didn’t really interact with before. But other than that, nah, ain’t nothing changed. I still kick it with the same people that I kicked it with before. I associate myself with family members. Ain’t nothing really different. I don’t think I’m famous yet.IDS Who are some people in the game you would like to work with?GIBBS I wanna work with Dr. Dre. It’s a lot of dudes, man. There’s so many producers I like, I can’t really name. I even want to do some with Kanye, probably, one day. Hopefully that will work. For the most part, I wanna work with whoever want to work with me and whoever respects my work. I don’t wanna just work with someone because I like his music. I wanna work with him because he respects me, too.IDS When do we get to hear your collaboration with Chuck English, Chip Tha Ripper and Bun B?GIBBS We’ve got a couple records done that are probably gonna leak out, but we definitely have to get in the studio and do more work. We’ve all just been on our own agendas as of right now, but when we all get together its goin’ down.IDS Have you thought about coming back and using your influence to help Gary?GIBBS Of course. There are definitely things I want to do in my neighborhood to change it. In the meantime, I gotta put myself in a good position first before I can help. I’m at home all the time. It’s not like I’m distant or disconnected from where I’m from. It’s just that Gary needs a lot of work. It’s going to take more than a rapper to change it. I can definitely do my part by speaking out and getting in the public eye and doing things in the community. But it’s going to take more than me. It’s going to take other people to step up to the plate, as well.IDS People as far-reaching as Bill Simmons have called you something of a savior for gangsta rap, and Tupac comparisons have been plentiful. How does that sit with you? GIBBS That’s big shoes to fill. As long as I’m getting those comparisons, I’m doin’ something right. I don’t go into the booth trying to sound like Tupac. I don’t think people think that I sound like him. I just think they compare the energy and the content of the music. I’m fine with that. I’m definitely a product of what he did in music. I’m fine with that. There will never be another Tupac, though.IDS You said you were hesitant to get back into the scene after Interscope went bad, and you were hustling again. At what point did you really decide to put those days behind you?GIBBS It took a lot. The things that were going on in everyday life outside of rap were messed up at the time. I just had good friends around me that stuck with me and pushed me to get back in the booth.IDS You think Jay Cutler is the future quarterback for the Bears?GIBBS Man, I hope so. We need a future somebody for the Bears. We ain’t got a clue right now. We need receivers, linemen ... We hurtin’ right now. But it will be alright. I think Jay Cutler is a good quarterback.IDS Are you excited to come back to Indiana?GIBBS Yeah, I used to come to Bloomington all the time to terrorize the campus.
(11/11/10 12:50am)
____simple_html_dom__voku__html_wrapper____>Devin the Dude hasn’t come down yet, but he’s definitely not the highest he’s ever been.“Gotta Be Me” is packed with raps about bedsheets and blunts (Devin per usual), with the occasional reflection on relationships. Despite the consistency of Devin’s work, the newest testament feels disappointingly limited to the topics.Devin raps about what he knows and delivers in a conversation-styled, flow-of-consciousness spit. From the sexy-smooth instrumentation to the bedroom flow, the intimate style of Devin the Dude’s songs make for another honest-feeling album. Unfortunately, the lyrical content works within very defined boundaries and stones the effort.The lyricism of “Gotta Be Me,” while humorous, is pretty shallow and elementary. There’s not much left to the imagination, as every sexual inclination is described in detail. Take “No Need to Call” for example, which, while catchy, sounds more like another college boast about sexual escapades (or maybe an interesting ringback idea), than a seduction or track to be taken seriously.In the end, the record will satisfy previous Devin fans but probably won’t change any minds because essentially, “Gotta Be Me” isn’t really all that different from the artist’s previous material.
(11/04/10 12:09am)
____simple_html_dom__voku__html_wrapper____>With the onset of the “chillwave” genre, we’ve been flooded with sounds of synthesizers and electric drums. Often times, it seems that when the reverb gets turned up, the bands slowly start to bleed into one another.Small Black’s “New Chain” pierces the muddled mix and distinguishes itself as one of the echo’s source notes.Besides the tired and semi-intellectual references to “nostalgic” or “dream-like” sound, “New Chain” succeeds through careful detail within its rolling resonance.This type of heavily-reverberated music, like water coloring, has to work well as a mixture. Too many colors end up turning black just as too many noises can end obscured or appear unorganized. On “New Chain,” the band pushes the envelope and knows when to seal it, too. Check out how subtlety grows into a grand noise on “Hydra” or how it all falls out just to burst open again on songs such as “Panthers”.“New Chain” is certainly one of 2010’s most impressive and accessible albums, as well as its genre’s as a whole.