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(07/28/10 8:57pm)
____simple_html_dom__voku__html_wrapper____>Since technology ushered in an era of large-scale file-sharing via torrents and peer-to-peer programs, many find it difficult to rationalize paying for music despite copyright infringement laws.One particular music lifestyle is the undergrad “realist.”“It has been years since I bought a new CD because I don’t want to spend $15 or $20 on something that some millionaire artist probably won’t even see that much profit from,” IU student and audiophile Adrian Jenkins said. “I buy used CDs or albums to support local scenes but download just about everything else.”Jenkins is a full-time student and works a part-time job. “If I paid for all the music I wanted to hear, I wouldn’t be able to listen to nearly as much,” he said.Without file-sharing, restricted budgets likely mean restricted listening. One can always stream music online, but access is limited to a computer and Internet source.Another common musical lifestyle is that of the collector.“Having an album on vinyl or CD is like having a piece of history to me,” Bloomington resident Donna Nieva said while standing outside of Bloomington store TD’s CDs & LPs.TD’s, like other record stores, knows that for collectors, there’s intrigue in a tangible recording that’s absent in digital copies. Tearing away the shrink-wrap, fumbling with the tape that seems mortared to its case, prying the disc from the clutches of the jacket — these are all important to the listener as well.TD’s is one of many local music shops in Bloomington. This particular store is located in the Kirkwood Manor, next door to Moon Stones, Soma Coffee House & Juice Bar and The Laughing Planet Cafe.Recordings of all types of music can be found in the underground nook. There are multiple sections, including jazz, popular, bluegrass, metal, classical and even local. The store handles mail orders to supply the customers with more obscure titles, buys and trades for used recordings and even has a consignment option for local bands.“I often like to preview songs online before I purchase them,” Nieva said. “I like to buy albums, but I don’t want to buy a record if there are only going to be a few good songs on it and the price is high.”Another musical lifestyle is that of the musical puritan, the copyright upholder.These individuals don’t listen to any music that isn’t gained through direct purchase — not even burned CDs or playlists from friends.Such diligent consumers are hard to find and, in a college town, possibly nonexistent. For people with wide tastes in music, purchasing every desired album could run up a considerable budget.“I understand the copyright laws and why they exist, but I feel like piracy is a response to high prices,” Jenkins said. “It’s nice to own records, but when you think about it, the prices aren’t really that reasonable. People aren’t just going to stop listening to new music.”For music fans on a budget, one can only hope accessibility remains within reach among current copyright battles between the enormous record labels and consumers.
(07/15/10 12:10am)
____simple_html_dom__voku__html_wrapper____>For a band to grow a fan base, access to their music is essential.Luckily, Bloomington artists have options when it comes to recording.In the spirit of “If you want something done right, do it yourself,” some bands opt for home recordings.“We were going for an intimate, family room sort of feel,” said IU student Jake Amrhein from local band Passengers. “Most of our music is made at our house. We figured it should be recorded here, too. Plus, being in school doesn’t leave a big budget for music.”Passengers’ recordings are produced with only a microphone and a Macbook.“There is a surprising degree of control built into GarageBand,” Amrhein said.GarageBand is an application that comes standard on most Apple computers. The program, and others like it, allow for musical production at a basic level.“It gets the job done for now, at least while we are learning how to put together demos,” Amrhein said.Elsewhere, the lo-fi sound is also catching on. Many established bands are implementing the technique in their works.Small Black and Beach Fossils played July 9 at Bloomington music venue The Bishop. Both bands are known for the fuzzy productions and tape-reel feel of their albums.“Home recording is good for some people — you’re not on the clock,” Josh Kolenik of Small Black said. “It’s fun to go to a nice place and record, but we like it better our way.”A lower-standard recording is subject to noticeable imperfections and distortion, but the flaws often add a particular charm or nostalgic element to the tracks.“There was definitely a certain sound we were going for with our first EP,” Kolenik said. “Sometimes we listen to a recording and realize it’s too clean and have to do something to mess with it.”If the self-production aspect doesn’t sound as appealing to a band or artist, Bloomington is home to many different recording studios.Mike Bridavsky, an IU graduate and previous engineer for IU’s audio department, operates the Russian Recording studio on the south side of town.“At Russian Recording, bands can focus on playing their music instead of worrying about messing with equipment,” Bridavsky said. “We make a high quality of recording available to everyone.”Russian Recording has produced works from many Bloomington artists such as Husband and Wife and Alexander the Great, as well as nationally touring bands such as BLK JKS.“There’s nothing wrong with recording at home,” Bridavsky said. “Recording in the studio is just faster, more efficient, and we can give the bands the sound they are looking for.”Hi-fi, lo-fi or no-fi — the decision is yours.
(07/14/10 10:22pm)
____simple_html_dom__voku__html_wrapper____>We’ve come to expect the unexpected from the members of Outkast. Their convention lies in their unconventionality and ability to creatively look at hip-hop. With the discographies of both Big Boi and Andre 3000, words like “groundbreaking” and “novel” have become understatements for the artists’ abilities to consistently deliver. Isolated from ‘Dre, Big Boi steps into the ring to give a knockout performance. “Sir Lucious Left Foot: The Son of Chico Dusty” showcases the Southern Shakespeare’s lyrical capability and adaptability in a loose compilation influenced by multiple genres. Here, Big Boi and his producers, including long-time collaborators Organized Noize and Scott Storch, are inventive and original, dabbling in funk, R&B, crunk and indie-rock for inspiration.Guest appearances include artists such as Janelle Monae, Gucci Mane, T.I., Too Short and even Parliament Funkadelic’s George Clinton.The tracks evoke all facets of Big Boi, from the ruthless “General Patton” to the more reflective ego of the rapper in personal tracks like “Be Still.” Big Boi’s wit often adds substance to his storytelling. He sometimes addresses topics such as drug issues or the current standing of hip-hop, as described in “Follow Us,” a song featuring jumping synth-lines and a pop-rap hook from fellow Georgia musicians Vonnegutt: “Left foot, right foot, stepping over biters / It’s like the game is haunted ‘cause there’s so many ghostwriters.”Other times, though, the lyrics discuss more common rap themes like sex and style.Regardless of the subject, Big Boi masters the sounds of the English language with his slang and cadence. The album’s punctuated flows serve to educate other emcees about phonetics and Atlanta dialects.Pick up this album and bear witness to the often-overshadowed member of Outkast, Sir Lucious Left Foot. This album proves the work of the artist can be as experimental, entertaining and as out-of-this-world as that of his counterpart, Andre 3000.
(07/07/10 11:35pm)
____simple_html_dom__voku__html_wrapper____>Julian Lynch’s “Mare” is a collection of scenes from a dream. As an artwork, “Mare” isn’t exactly minimalist — but it is patient and low-key. Lynch, an ethnomusicology student at the University of Wisconsin-Madison, mixes genres to create a patchwork album with touches of familiarity while maintaining originality.Recommending one particular song on the album would be equivalent to reading a random chapter out of a novel. Any snippet of “Mare” will hint at what Lynch is up to; however, his musical verbiage is best realized by listening and listening again.The quality of the recording is fuzzy and distant, evoking a nostalgic, even surreal musical landscape. Patient listeners cannot fail to appreciate the slow, delicate builds and light implementation. The ambience, though, won’t thrill everyone.Waiting for Lynch to completely open up can be trying, but the overall sentiments are worth the time they take. “Mare” is interesting and provoking — vague, yet intimate.
(07/07/10 8:06pm)
____simple_html_dom__voku__html_wrapper____>Eminem is popular for the same reason entertainment like the “Saw” series is: The works are completely inhospitable but somehow provide grotesque intrigue.Ever since the beginning of his music career, Eminem has claimed the title of “most controversial rapper.” His lines are so notorious that most can’t be reprinted in publications or even repeated in most social contexts, covering the whole gamut of violence, crime and drug use. The imagery masquerading in such spectacular flow begs the question of whether or not content even matters in today’s music — but most people don’t listen to the lyrics, anyway.“Recovery” is the much-anticipated follow-up to the rapper’s last release, “Relapse.” Oddly enough, Eminem hails the old album as a failed attempt despite its popularity — so it’s no surprise Shady brought a few changes to “Recovery.”For one, the crazy accents are gone. Shady is rapping how we are used to hearing him: loud and sometimes whiny, but intimidating. The album’s direction is also different. “Recovery” is much more radio-friendly than “Relapse”; Rihanna and Pink even show up to sing a few hooks. Though Rihanna’s voice is gorgeous, it isn’t enough to salvage “Love the Way You Lie” from being one of the album’s worst tracks. It’s great that Rihanna chose to work on a song spotlighting domestic abuse, but isn’t Eminem the same artist that came out with “Kim,” a graphic story about killing his wife?Regardless, the album is on par with previous records but perhaps too oriented toward the billboards. Whatever the true diagnosis, Eminem’s flow stays intact, and his wit, however crude, demands attention like a horrible train wreck.Disregard the hooks and songs about relationships and pick this album up for the shock value of Eminem’s verses in songs like “Won’t Back Down” and the absorbing self-analysis of songs like “Talkin’ 2 Myself.” They are where he is most effective. And when you do get this album, don’t tell your friends you secretly enjoy most of it, even though you can’t relate to any of the material.
(06/30/10 9:37pm)
____simple_html_dom__voku__html_wrapper____>The Bishop housed a performance Friday night that was a spiritual experience for some.Carey Mercer and the accompanying members of nationally touring band Frog Eyes made a visit to Bloomington. The concert was booked through Spirit of ’68 Promotions, and local Bloomington artists Tammar & The French & Indian War were the opening act.Though attendance was surprisingly low, the dedicated fans that did come out were mesmerized, practically hugging the stage. Their eyes bulged amphibiously at every strum, snare, shout and wail from Frog Eyes’ set. Trying to explain Frog Eyes’ sound is as futile an exercise as describing the surreal or trying to convey the landscape of a dream. The band has been aptly described in one Allmusic review as “a poetry slam for the criminally insane.” In the musical commotion swirling about the venue, one thing was for certain: This particular indie-frog has captured its select niche audience like a fly.Frog Eyes’ entire set was full of energy and dancing. The band showcased its new album “Paul’s Tomb: A Triumph,” along with some older works, employing a pair of guitars, drum kit and synthesizer. Instead of relying on the endless keyboard synth-pads and electronics many contemporary bands often choose, the experimental band pushed the limits of guitars to achieve unique sounds.Frog Eyes is more complicated live than on its albums. As if the band’s sound weren’t already chaotic and foreign enough, the close feel of the distortion and maxed-out synthesizer fuzzed the music into new, uncharted timbres.After the band performed “Latex Ice Age,” Mercer began to open up to the crowd.“This song is our oldest and therefore most cherished song,” he said. “It’s for my woman and thousands of trees, miles away.”The confessions quickly became ramblings as the unabashed frontman carried on, speaking aimlessly between songs like “Cloud of Evil” and “Bushels.” After fact-checking some wandering anecdotes with the rest of the band, Mercer told the crowd of his original approach to the night.“I was going to try and say as little as I could, because the most ungodly things have been spewing out of my mouth lately,” Mercer said.No one seemed to mind, and the crowd diligently followed the storytelling and absurdities.“I’m glad the venue isn’t that packed tonight, but Frog Eyes probably aren’t,” Bard said. “It makes it more intimate.”Mercer noted the closeness as well. “You can’t have conversations like this with 5,000 people,” he said. “Although, I would probably trade this conversation for 5,000 people.”Frog Eyes finished with an unorthodox encore. Without leaving the stage, the band asked fans to imagine they walked out and came back in on account of thunderous applause — a final awkward jest to wrap up the night’s sublimely odd tunes.
(06/23/10 7:34pm)
____simple_html_dom__voku__html_wrapper____>“Total Life Forever” is musically the next logical step after the acclaimed “Antidotes.” Foals have added maturity to their sound by constructing a different setting and providing an atmosphere, showing themselves much more patient now, for better or worse.While the album doesn’t jump up out of its own ambience as often as it should, it does still achieve the magnitude of “Antidotes,” relying on layering and swelling to attain its proportions instead. The opening track, “Blue Blood,” illustrates this point by gradually adding melodic lines and percussion instead of throwing the entire song at the listener as one big dance-inducing heap. Such structures are an indicator of maturing artists, and the ability to step back from a previous sound to put faith in a new direction is certainly laudable. However, on “Total Life Forever,” it seems as if there are hints of a lagging intensity, which, if allowed to fully manifest, could ruin what makes Foals great.Tracks like “Two Trees,” for example, have potential but don’t end up really going anywhere. Foals seems struck by a tranquilizer dart: Yannis Philippakis’ vocals lightly ride atop the placid ripples of Jack Bevan’s snare and Edwin Congreave’s airy, aimless synth.To stay in its listeners’ attention and hearts, Foals needs to look toward “Miami,” “Spanish Sahara,” and “This Orient” as prototypes for the future: danceable, dynamic and concrete.
(06/16/10 8:47pm)
____simple_html_dom__voku__html_wrapper____>Amid rows of CDs and vinyl, people lined up to see Damien Jurado perform the first of two concerts Saturday.His new album, “Saint Bartlett,” dropped May 25 and is the catalyst for a continental tour stretching across the country and the calendar. Bloomington’s favorite record shop, Landlocked Music, played host to Jurado in the early afternoon at no charge to the fans. Everyone noticed the heat, but worries seemed to slip away under the fragile acoustic of Jurado’s songwriting. Unaccompanied, the musician played a range of songs, including a solo performance of “Arkansas” and a recently written tribute to a Chicago poet, among other hits. “The concert was very intimate,” graduate student McKenzie Beverage said. Beverage, like many of the fans, planned on attending both shows.Later that evening, once the rain broke the heat, The Bishop invited Jurado to play another set. This time, he wasn’t alone.Members of the opening band Kay Kay and His Weathered Underground teamed up with Jurado to form what the tour poster called “The Saint Bartlett Band.” They were deserving of the title, too. The musicians played Saint Bartlett nearly song-for-song, accurately and passionately.Jurado’s full band included drums, guitar, piano, bass and backup vocals. Even the faint, ambient static of “Kansas City” was reproduced flawlessly by an electric guitar.The audience gazed on the stage from standing and sitting positions, respectfully quiet while the band showcased the album, seamlessly making the transition from track to track.After the show, Jurado could be found in front of the venue, catching up with grateful fans and conversing in a light drizzle of rain. The audience was thankful for such an extended affair and Jurado’s dedication, catering to the schedules of the town. “Back in Seattle this kind of stuff doesn’t happen,” Jurado said of the recent storms.The weather didn’t hold the town back, though; both venues were packed with Jurado and Saint Bartlett disciples.
(06/02/10 10:56pm)
____simple_html_dom__voku__html_wrapper____>May 26 was host to many peculiarities. “Where’s the Bearded Lady?” someone jokingly inquired from the audience. Perhaps she’s with Buckminster Fuller.Armed with a myriad of acoustic guitars, Kristian Matsson, The Tallest Man on Earth, performed a sold-out show with Nathaniel Rateliff in front of a crowd packed shoulder-to-shoulder, wall-to-wall at The Dome House.Actually, the expression “wall-to-wall” is slightly deceiving: The Dome House is a geodesic dome and technically has but one wall. Constructed on a beautiful plot of land, the home is located on South High Street. With the help of the dome’s acoustics, Mattson’s music shook and soothed an eager audience. Most of the sound came out of two large PA speakers and filled the high ceilings of the structure to create a full and reverberating timbre. Though The Tallest Man on Earth stands well below six feet, his presence towered. His raspy howl wailed “The Garden” and “Where Do My Bluebird Fly,” among other crowd favorites. Temperatures were high inside the building, and many chose to sit cross-legged between sets. Others went outside for a smoke or to check out the koi pond or giant teepee, both located on the property. The Dome House is a distinctly aesthetic building, and Bloomington was fortunate for these homeowners to open their doors to the music scene.Matsson’s performance proved some of the greatest shows aren’t always the ones hosted at the Verizon Wireless Amphitheater or Conseco Fieldhouse. The most meaningful ones are often held within more intimate quarters. House shows and small venues have a mood all their own: unique and personal. These concerts happen frequently here, allowing for closer interactions with the artists and the music. More often than not, the atmosphere is cozier, more sociable, and on an altogether different level from the bigger venues, so go out and see one tonight!
(06/02/10 8:15pm)
____simple_html_dom__voku__html_wrapper____>Damien Jurado teams up with producer Richard Swift for a sometimes catchy, yet overall melancholy album. For the most part, the two work well together. Songs like “Cloudy Shoes” and “Arkansas” ring of Swift and previously upbeat Jurado, and such songs are the highlight tracks.But after about four or five songs, the rest of the album changes and becomes so quiet or personal that listeners might feel alienated or bored. The lyricism, as usual, is interesting and evocative, but its subtlety sometimes works to its demise. Listeners might play the second half of the album through once and never return.“Saint Bartlett” is reminiscent of an intermediate Neil Young album. For one, check out the crunchy distortion and wail on “Wallingford.” Jurado surely crafts a few hits but is most overlooked when alone or barely accompanied. Unless you’re a fan of previous Jurado, you might find “Saint Bartlett” only half-entertaining.
(06/02/10 8:00pm)
____simple_html_dom__voku__html_wrapper____>Speaking of “Fossils,” didn’t The Strokes do this nearly a decade ago? Beach Fossils’ self-titled album is essentially what “This Is It” would sound like if it were recorded on a beach.With a name like Beach Fossils, you can almost tell what the band will sound like without listening to it: simple percussion beats, surfy guitar riffs and reverberated vocals. Nearly all of the songs would fit any sunny surf or skate video. The album isn’t necessarily bad; however, it does often sound like the same song has dragged on too long.“Beach Fossils” is the project of Dustin Payseur, who plays all the instruments featured on the album. While Payseur definitely gets points for musical capabilities, there isn’t much to be said for creativity. Songs like “The Horse” and “Golden Age” are the standout tracks. No, wait — “Twelve Roses” and “Youth” are. No, actually, “Daydream” and — well, you get the picture.
(05/26/10 9:33pm)
____simple_html_dom__voku__html_wrapper____>“Distant Relatives” is creative in the sense that it fuses reggae with American hip-hop, but the combination turns out disappointing more often than not. Nas teams up with Damian Marley to create an album packed with inspirational tracks, urban testaments and world issues. Uncontested, the most noteworthy facet of the album is Nas’ lyrical content, as his rhymes are nearly the only reason to get this album. It would have been better had Nas just released the album, swapping a few tracks and stripping it of Damian Marley, Lil Wayne and Joss Stone.Most of the beats induce head-nodding, but some aren’t even hip-hop: finger-style guitarists and other studio musicians on songs like “Count Your Blessings” result in tropical elevator music, while didactic gospel themes ruin others. Damian doesn’t really stand out in the presence of Nas’ wit and intricacy of flow, but there is still some reason to buy the album: A portion of the profit goes to charities in Africa.
(05/19/10 11:34pm)
____simple_html_dom__voku__html_wrapper____>If you went to see Girl Talk, Joanna Newsom, Sufjan Stevens, Grizzly Bear or any other nationally touring band play here in Bloomington, you most likely have Spirit of ’68 Promotions to thank. Better yet, thank Dan Coleman. Coleman is the man behind Spirit of ’68. An IU grad and music aficionado, Coleman works to book concerts for the people in Bloomington and Indiana’s larger community. Until recently, many bands didn’t even entertain the notion of playing a show in Bloomington. “That’s unacceptable,” Coleman said. “We are a college town with tons of people who want to come out and see live music.”In 2004, Coleman sensed he could help make a difference and began his organization. Bloomington was ripe for development, a pit stop between Chicago and Louisville. During the next six years, Bloomington would become a hub for touring bands.Now, more than 200 well-known artists have made trips to Bloomington through the efforts of Spirit of ’68 Promotions. They play in all kinds of venues, from the John Waldron Arts Center to the Bluebird Nightclub. “I tried to put Eli Reed at The Players Pub, but they never got back to me,” Coleman said. Besides The Players Pub, Spirit of ’68 has booked at least one band in every single venue the city has to offer.“Bands are choosing Bloomington over places like Cincinnati, Indianapolis and Louisville,” Coleman said.Many of them have a habit of coming back, too. Bloomington has gone from a musical ghost town to an exclusive club with artists waiting outside for their turn to entertain.“I used to have to hunt down bands. I haven’t had to actively pursue a band in probably over a year,” Coleman said. “A lot of what I do now is say ‘no’ to bands.”Before setting a date for a band to play, Coleman must consider all the factors that go into making the best show possible for the listeners as well as the artists. Every detail matters: the venue, the season, the day of the week.This May is packed with its share of touring bands. Some of the shows include New York band Phantogram and a popular folk artist from Sweden, The Tallest Man on Earth. Spirit of ’68 schedules concerts for nearly every musical inclination, and Tuesday night was no exception. Punk rocker Nobunny and his accompanying musicians brought their own unique crowd of listeners to The Bishop. Clad in cut-off shirts and Chuck Taylors, equipped with pitchers of Pabst Blue Ribbon and clove cigarettes, fans danced all night to the music. The evening featured crowd surfers, water-throwers and even fireworks on stage.“We drive to create something better for the scene, one show at a time,” Coleman said.The movement has been revolutionary for Bloomington’s music scene and continues to contribute to the community. Reminiscent of 1968, change is happening. From one venue to another, there is a spirit of hope and freedom for musical expression and a promise of great tunes for everyone, all under one united city sky.
(05/19/10 10:19pm)
____simple_html_dom__voku__html_wrapper____>Fans of older National works will undoubtedly enjoy “High Violet,” and for those who haven’t yet heard The National, it’s high time to do so. The band has put together another masterpiece to join the ranks of previously acclaimed “Boxer” and “Alligator.”Musically, “High Violet” keeps listeners engaged from the slowest, most brooding songs to the poppiest, most driven ones. Lyrically, Matt Berninger continues to deliver, singing about growing up and family struggles in his soothing and evocative baritone. Though the drums can become a bit redundant (notice the similarities in rhythm between “Conversation 16” and “Sorrow”), the band has found its niche in the indie-rock scene and is establishing itself as a reigning champion. Its fifth studio album shows that, while the concerns that drive the songs’ subject matters are aging, The National is alive and still fresh in the ring.The instruments are memorable, and the album gives off a familiar feeling after just the first play. “High Violet” is a must-have record for 2010.
(05/13/10 4:02pm)
____simple_html_dom__voku__html_wrapper____>Bone Thugs-N-Harmony don’t have anything to prove, but they do have more to give.Since the group has been out of the streets for a while now, their lyrics, along with their music, have transformed.“Uni5: The World’s Enemy” references the band reuniting from a long separation and a distinction from the “rest of the world” in Bone Thug’s trademark Christian/Murderous Thug hybrid. Ominous yet laughable voices narrate the album, preaching world-denying religion at one moment and glorifying having unfathomable riches the next. If you can see past the absurdity of the intro and interludes, the band has put together a solid album.Dropping many violent rhymes for new struggles and grown issues, Bone Thugs retain their image as gangsters while adding a new kind of wisdom to the flow. Songs like “Wanna Be” and “My Life” motivate, offering inspiration and advice on commitment.Listeners shouldn’t expect the same Bone Thugs of “E. 1999 Eternal,” and many will be disappointed with the lack of intensity on tracks like “Universe” or the soft, poppy hooks on songs like “Gone.” Despite those issues, it’s important to remember that this band has had a career exponentially longer and more influential than most rappers.
(05/12/10 11:28pm)
____simple_html_dom__voku__html_wrapper____>The 25th-anniversary edition of “Live From Bloomington” features local Bloomington artists, accurately highlighting the area’s eclectic music scene. Every year, IU’s Union Board sponsors an album and large-scale concert in the name of charity, featuring local and regional bands.Many types of musicians are included on the collection, ranging from traditional folk artists to edgier experimental bands, all representing the musically diverse city and its greater division. This album is one of the few places listeners can find both varying genres and wholeness of compilation.Though there is a considerable distance from Snaarj’s free-flowing jazz to Andy D’s 1980s throwback rap, they both make their homes in Bloomington and on “Live.” Despite such wide differences, the album feels cohesive and works as a cursory overview for newcomers and those familiar with the area’s music. Such diversity is not only a testament to the melting pot of cultures in Bloomington, but to the varied musicians who represent the greater Midwest scene. The album is equipped to satisfy nearly any taste, ranging from the opera-influenced vocal performances of Pantree Owl to the progressive instrumental rock of Clouds as Oceans, all the way to the hard-core chamber rock of Hail Architeuthis!.When played chronologically, “Live from Bloomington” creates effective transitions between artists, grouping similar bands and contrasting others. To encapsulate the entire Bloomington music scene in 20 songs is a difficult feat; however, the Union Board portrays the scene fittingly. Some groups have been featured on previous compilations, but there isn’t any redundancy to the lineups. Any band that applies is considered for a position.Bands submit songs along with a $10 donation in order to be chosen by the Union Board. All of the proceeds from the album and concert go to Hoosier Hills Food Bank to feed needy individuals of Monroe, Martin, Owen, Orange, Brown and Lawrence Counties. “Live from Bloomington” is great local music promoting a worthy cause: a perfect combination.
(05/09/10 10:56pm)
____simple_html_dom__voku__html_wrapper____>The stress of finals week didn’t conclude with tests for some.Though the scholastic buildings weren’t in the spirit they were just a few days ago, Bloomington was at work. Students and parents crowded residence halls and packed vehicles with two semesters full of early college experience. With boxes overflowing, movers hauled through narrow hallways, down stairs and even sometimes across busy streets to get to loading sites. Preparation was essential to operate during the chaos of luggage and deadlines. Students had until 10 a.m. Saturday to vacate their premises, and some started early.“I left at 6 a.m. on Thursday to beat the rush,” freshman Aly Wiggs said.Wiggs’ parents were making preliminary trips before that, too. “They came earlier in the week so we could take the biggest things first,” she said.The move-out protocol was administered by IU Residential Programs and Services.RPS employee Mark Smith said everyone was able to function efficiently amid all the hectic activity. “We are here to help with the moving and assist anyone who needs it,” he said. “There aren’t many horror stories — the worst is usually just a leaky bag.”By now, though, the crowd has dissipated as well as the stress that came with it. The once-full dorms are empty, their residents set for home and elsewhere.—Ryan Martin
(05/06/10 5:19pm)
____simple_html_dom__voku__html_wrapper____>Undoubtedly, the most impressive aspect of Avi Buffalo is the band’s age. Frontman Avigdor Zahner-Isenberg is only 18 years old. These Long Beach natives have put out a catchy and bright album, but they still have a little growing up to do.On the self-titled album, the songs play in the theme of West Coast surf rock and pair well with a sunny day on the beach. Dreamy guitars melt over jazzy drums, and high-range vocals pierce the mix with witty, charming and overtly sexual lyrics, celebrating pushing the boundaries of innocence. The band’s young talent shines most on tracks like “Remember Last Time,” “Summer Cum” and “Five Little Sluts.”Too often though, the songs run on much longer than they should, and Buffalo moves from their sound to a second-rate jam. Many of the tunes could stand to lose a few repetitions, or even minutes. Captivating riffs end up losing the listener’s attention after so many cyclic waves.And so goes the album: shimmers of genius and creativity are sometimes swallowed by a sea of half-finished ideas, rolling into mediocrity and monotony. The album is enjoyable, but it is clearly an early work of brilliance in need of some refinement. Avi Buffalo has time, though — they’ve just begun their musical lives.