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(08/06/09 12:30am)
____simple_html_dom__voku__html_wrapper____>Few bands have attempted and succeeded in crossing multiple world music genres with critical success – Paul Simon’s “Graceland” being an example. Yet Foreign Born’s latest album, “Person to Person,” manages the fine art. Released June 23 by Secretly Canadian, Foreign Born’s first label-backed album melds and mixes styles and sounds for a positively synergistic result.Without muddling and miring the individual genres, Foreign Born conflates African percussive styles with shining indie pop guitar progressions. The only credible indictment of the album is the weak lyrical construction.From the opening track, “Blood Oranges,” simplistic lyrics become evident: “In the summer we survived.” Wow, how poetic.Yet, if the listener can withstand the dull and listless words, intricate musical arrangements make up for it. Having obviously spent a significant amount of time in the studio, “Person to Person” may sound a bit indulgent. However, the album couldn’t have been better produced. With multi-layered songs filled with fined tuned harmonies, glorious guitars and elaborate drumming, Foreign Born solidifies itself as an apt and accurate musical group. Its style is incredibly meticulous. This particular talent becomes evident during the transitions of songs. At the end of “Blood Oranges,” Foreign Born’s soaring vocal harmonies finish the song, while a catchy drumbeat ushers in the next song, “That Old Sun.”One thing is clear: “Person to Person” is a summer record. Combining the ebullient, lush instrumentation with affable lyrics, a metaphorical summer heat creeps from the record. And with titles such as “Vacationing People,” “Can’t Keep Time,” and “See Us Home,” the imagery bears itself proudly. So, the next time you’re in for a long car ride with the windows down and your hands making waves in the wind, try “Person to Person.”You won’t be disappointed.
(07/30/09 1:10am)
____simple_html_dom__voku__html_wrapper____>What is it about the 1990s that people love so much? Currently, ’90s instant nostalgia is infiltrating and infesting all of American pop culture.Was it “Seinfeld”? Kurt Cobain? Plaid? Bill Clinton? The rise of hip-hop?Let’s hope it’s the last one, rather than the penultimate.And in the 90s, Wu Tang Clan took the cake as the de facto favored hip-hop collective for discerning indie listeners. More than a decade later, E1 released their latest album, “Chamber Music.” Although “Chamber Music” might bear the clan’s trademark “W,” few true Wu Tang Clan members participate in this record. Instead, New York veteran rappers Sean Price and Carmenga come to the forefront of this record with their collaborations with less prominent clan members. The album’s supposed 17 titled tracks mislead listeners and potential customers. All but eight of the “songs” are spoken word transitional pieces or movie sound bites. Other than all of the advertising duplicity and gimmickry, “Chamber Music” actually suffices as an album. Although RZA didn’t produce any of the beats (he only contributed as an executive producer), the simple, functional rhythms provide a perfect background for the clan’s sophisticated, philosophy-tinged lyrics.Forgiving the artists for their saccharine choruses, intricate lyrics fill the album, leaving the listener wanting to put songs on repeat to catch every poetic verse from each of the copious stanzas.In keeping with the hip-hop genre, the album presents stunning indictments of the killjoy apparatchiks that pervade every minutiae of modern mainstream “ringtone” ridden rap.Other notable lyrics focus on pop culture, Twitter, advancing technology and sex.Along with numerous other critical songs from RZA and Ghostface Killah, “Chamber Music” further polarizes Wu Tang from contemporary rap music. And thankfully so.“Chamber Music” is a refreshing dose of righteous def poetry put to functional beats, hip-hop in its simplest form.
(07/22/09 10:55pm)
____simple_html_dom__voku__html_wrapper____>Sunset Rubdown’s latest studio album, “Dragonslayer,” confirms it: Lead singer and multi-instrumentalist Spencer Krug has the Midas touch of indie rock. Since his tenure with the his first band – Frog Eyes – Krug can simply do no wrong, creating nothing but critically acclaimed, best-selling records.Instead of producing rehashed and recycled music, Sunset Rubdown made another masterpiece in “Dragonslayer.”Following the successful example of 2007’s “Random Spirit Lover,” Krug’s songs and compositions in “Dragonslayer” sound like an update, or the second half, of a double-album rather than a completely original creative paradigm shift.Like “Random Spirit Lover,” obscure, infectious lyrics and catchy melodies fill this overflowing record.However, also like “Random Spirit Lover,” “Dragonslayer” repeated both what Sunset Rubdown did right and wrong.From the very start of the album, “Dragonslayer” transports its canty, discerning listeners to Krug’s imaginary reality.In the opening track, “Silver Moons,” a laboring piano, anchoring drum beats and shining guitar chords usher in Krug’s quivering voice singing, “Confetti floats away like dead leaves in the wagon’s wake / There were parties here in my honor till you sent me away / And now silver moons belong to you.”With his fragile vocals and otherworldly lyrics, Krug brings to life a fantasy made and maintained solely by his metaphors and figurative stories.Yet, for the casual listener, “Dragonslayer” simply might offer too many challenges, despite its accessible instrumentals.The album’s dense, maladroit lyrics present a maze of concepts spiked with thorny ambiguities and tangents.Its greatest flaws lie in a few disjointed songs. Both “Apollo And The Buffalo And Anna Anna Anna Oh!” and “Nightingale/December Song” merited to be split in two.However, these fragmented songs only detract from “Dragonslayer” as a meticulously constructed concept album. Instead, each song stands strong as a single.And in the end, the album rewards listeners just like fantasy and sci-fi books reward readers: Each offers fictional worlds worth exploring over and over.
(07/22/09 10:50pm)
____simple_html_dom__voku__html_wrapper____>This year, numerous popular indie rock acts, such as Animal Collective, Antony and the Johnsons and Dirty Projectors, successfully abandoned their earlier characteristically obscure styles in favor of simpler, more accessible sounds. As a result, their albums sold like hotcakes. Cass McCombs followed suit with “Catacombs,” his fourth full-length album.Released July 7 by Domino Records, “Catacombs” marks a departure from McCombs’ oblique lyrics and dense atmosphere in “Dropping the Writ,” his previous most-recent album, released in 2007.Instead, McCombs returned to the bread and butter of the traditional, sensitive singer-songwriter: acoustic ballads.From the opening track of the album, “Dreams-Come-True-Girl,” simple guitar chords and a catchy bass line usher in McCombs’ voice singing, “You’re not my dream girl / You’re not my reality girl / You’re my dreams-come-true girl.” Functioning also as the first single, “Dreams-Come-True-Girl” epitomizes and introduces the rest of the album. Functional instrumentals accompany McCombs’ eloquent and attention-grabbing lyrics.Speaking of troubling past delusions and future aspirations for love, McCombs paints a vivid picture dripping with Americana.Even physically resembling Nobel Prize-winning writer, John Steinbeck, McCombs sings simply with accessible lyrics about a struggling past, a hesitant present and an unsure future. Without McCombs’ labyrinthian songs from his past albums, “Catacombs” acts like an intensely intimate and personal epistolary correspondence between lovers. Each song sounds like a letter between devoted, faithful lovers separated by an ocean. Melancholy yet hopeful, copious songs fill this brimming album, which nearly overflows with longing, love and sincerity. Other than repetitive and effortless instrumentation, McCombs succeeds in every way with “Catacombs.” This album solidifies the singer-songwriter as consistent and honest. Although bereft of technical instrumental skill, McCombs’ lyrics thrust him in the ranks of other past prominent, poetic singer-songwriters such as Nick Drake, Scott Walker and Elliott Smith. “Catacombs” is the perfect yearning summer afternoon album looking forward to the inevitable crisp, cold autumn nights.
(06/19/09 6:18pm)
____simple_html_dom__voku__html_wrapper____>Mundane poems and tales of death and drug use filled the John Waldron Arts Center Wednesday night. As a part of the IU Writers' Conference, workshop participants recited their latest creative work, which included portions of short stories, poems and published books.The IUWC began on Sunday and concludes on Saturday. In its 69th year, the IUWC allows participants to "join faculty-led workshops in fiction and poetry, and take classes in fiction, poetry and creative nonfiction," according to their website.This year, the IUWC faculty includes published authors, established poets, professors and even Tom Chiarella, the fiction editor of Esquire Magazine. The workshop entails daily classes Monday through Friday. Also, faculty members take turns to recite free readings for participants and the public during this week at the John Waldron Arts Centers.On Wednesday, participants finally got to share their personal work with fellow participants, faculty members and members of the public who attended.Junior Kaleb Havens, an intern and participant in the writers conference, coordinated the night's reading. Garbed entirely in black, except for a bright red tie, Havens introduced the night's activities, and explained that each particpant would only have three to four minutes to read their work, in the interest of allowing all the writers an oppurtunity to read.In total, 20 participants related their latest creative work. Standing in the middle of a barren hardwood floor, staring through bright show lights, participants spoke into a microphone for about 50 listeners and observers sitting in the stands.From the very beginning, the sound system sabotaged the night's readings. When the first participant, Matt Beckham, took to the microphone following Havens' introduction, he mumbled away into a tiny microphone, producing nearly inaudible words and scratchy feedback. Yet, with some straining, listeners could hear Beckham's tale about a woman near death and her thoughts about how strange and unnatural it is.Throughout the night, listeners were treated to varying levels of talent. A number of participants came from different backgrounds. Some came from the Middle East and some from Central and South America.Sadly though, most did not impress. Only two speakers stick out in mymind: the poet Alan Green and the short story writer and junior Nikita Allgire.Green, a theatrical reader who used his hands as much as his booming voice, recited a story about homosexuality and loyalty to his mother."Where have all the gay boys gone?" Green said, with a flourish. "I'm a call-my-mom-once-a-day lifer; the cordless umbilical cord..."Allgire's story focused on self-examination. His story would have made Socrates proud. He opened his story by saying, "I'm a pretentious prick," but then went on to explain that the narrator maintained only a facade, and was actually deeply self-loathing."I don't deserve my girlfirend," Allgire said. "I am a self-aware glutton."Those were the only two stories that got the audience reacting: sometimes wincing, and other times guffawing. In short, many readings were lackluster and easily forgettable. Hopefully, the faculty will redeem the readings with their own original work.
(06/14/09 10:00pm)
____simple_html_dom__voku__html_wrapper____>The band Here We Go Magic arrived an hour late June 9 to open for Grizzly Bear at the Buskirk-Chumley Theater without time for a sound check or rehearsal.“We literally just hopped out of the van, and now we’re playing,” lead singer Luke Temple said.Although Temple seemed on edge because of his lack of preparation, the audience did not care and was instead appreciative of Here We Go Magic’s performance.Senior Brock Lents said he had little expectation of the band but was pleasantly surprised.“I thought they were going to sound like Polyphonic Spree: really upbeat, like the name suggested,” Lents said. “But instead they presented a very varied sound.” Temple explained that touring with Grizzly Bear has been a great opportunity, despite hiccups like arriving late to a show. “We kind of know (Grizzly Bear) loosely just from living in Williamsburg, (Brooklyn, N.Y.), and they’ve been a band I’ve really listened to,” Temple said. “It’s sort of a dream come true to share a stage with them, especially now that they’ve become so huge and play much bigger venues.” Ed Droste, lead singer of Grizzly Bear, confirmed that his band has grown in popularity.“It’s been four years since we’ve played in Bloomington,” Droste said. “And the last time we played, there were only eight people listening in a basement.” Temple said it took a while for Here We Go Magic to adjust to Grizzly Bear’s newfound popularity. “It took us some time to get our sea legs to play in big venues,” Temple said. “We’ve been used to playing small clubs and basement shows, so it took us three or four shows to get used to it.” Here We Go Magic had performed in Bloomington before. They played at the Cinemat in the spring when they were touring with The Callers. “We feel the most comfortable in small venues where we have more of a direct connection with the audience,” Temple said. “It feels like it’s more of a holistic experience, and it’s a more organic show without the theatrics.” Temple said his adoration for smaller venues might come from his background as an acoustic singer-songwriter.However, Here We Go Magic’s sound is a 180-degree change for Temple. “Here We Go Magic does not subscribe to a specific palette, so we can do whatever we like,” Temple said. “In terms of the singer-songwriter, I still want to have that, and there’s a place for it.” Temple had finished recording a solo record last year but delayed its release until later this year in favor of releasing the eponymous Here We Go Magic album in the spring. “We have this band where we can do this psychedelic, atmospheric thing, but I can always do the Luke Temple stuff, which is more narrative and simple,” Temple said. “I can do both now.” Although always having been an artist, Temple was not always a musician. “I’ve painted all my life, and I went to art school for college,” Temple said. “But since I started playing music, I’ve only painted to support myself, painted murals and decorative art, which is like bitch work.”After making music his focus, Temple said it was a simple choice between painting and music for what he would devote himself to. Temple also took time to dole out advice for students and aspiring artists. “If you enjoy, if you really love writing music, and you really like making music, and you really like performing music, my only advice is keep doing it,” Temple said. “Just keep persevering, and eventually you will find the right avenue for it.”
(06/11/09 12:51am)
____simple_html_dom__voku__html_wrapper____>As their newest album tops the charts (the fifth straight to do so), Dave Matthews Band have incontrovertibly established themselves as a pop band for the masses: a saccharine medley of folk rock melodies and jam-band extended improvisations.Although they may have mainstream appeal, their sound is far from kitschy. In “Big Whiskey and the GrooGrux King,” the band have succeeded in making an impressively accessible genre-crossing magnum opus.Matthews and company begin with a welcome kick of jazz in the opener, “Grux.” Starting off with a simpering trumpet and staggered percussion, it’s nearly impossible not to recall Miles Davis’ virtuosic “Bitches Brew.” The bold move should be applauded for its impeccable ability to set the mood for the rest of the album: Mardi Gras meets funeral procession.Saxophonist LeRoi Moore only died in August, but the band performs in perfect harmony.“Funny The Way It Is,” the album’s first single, takes off when the quick, minimalist electric and acoustic guitars kick in along with Matthews’ vocals, and the song becomes immediately stuck-in-your-head catchy.Matthews’ naked lyrics reveal his vulnerable state of grieving for his recently deceased bandmate. In “Spaceman,” Matthews sings, “I pray to heaven to keep my place / Till I look to the mirror and saw the Devil’s face.”Throughout, Matthews dwells on death and grieving. In “Time Bomb,” he emotes “Baby, when I get home / I want to believe in Jesus / Hammer in the final nail / Help me pick up the pieces.” As the album’s best, “Time Bomb” attacks the disastrous American war efforts in the Middle East, the futility of death and the ideals of faith.Instead of hitting the bottle to get over Moore’s death and the sad state of the world, “Big Whiskey and the GrooGrux King” sounds like self-induced therapy. Yet the band have created a powerfully cathartic album without making it personal or original. Matthews’ unfocused use of death and grieving appeal to all but fails to evoke true empathy in listeners. Despite its few flaws, this release will likely touch fans’ hearts.
(06/04/09 12:20am)
____simple_html_dom__voku__html_wrapper____>Julie Doiron, the Canadian indie singer-songwriter who wore a cherubic, diminutive, black electric guitar and a long, red sundress flowing down to her knees, joked in between songs about how she felt indecent about wearing such a short dress.She exemplified the night: a light-hearted indie musical jaunt.On Tuesday at Bear’s Place, Doiron performed a two-hour set with her backup band.Currently, Doiron is touring in support of her latest album, “I Can Wonder What You Did with Your Day,” which was released on March 10 by Jagjaguwar, a Bloomington-based indie record label.After three opening bands performed for an hour and a half, Doiron took to the stage and started off her set with a rollicking, rhythmic ballad at 11 p.m. When the lights dimmed and the rapt audience hushed, everyone’s gaze fell on Doiron, who began her performance abruptly without an introduction. Because of the seamless harmony between the band members, the concert felt and sounded like an entire band rather than a solo artist. Doiron’s drummer hammered out simple, functional beats, one after another. Each beat kept the band anchored and drove them forward to each new note. Doiron’s bassist presented a similar performance: simple, but adequate. Most notably, Doiron and guitarist Fred Squire played off each other like the great musical duos of the past: The Everly Brothers, Simon & Garfunkel and John Lennon and Paul McCartney. Although the band performed precisely, the biggest draw of the night was the most bittersweet aspect of the night’s concert: Doiron’s airy vocals and heavy-hearted lyrics. With melancholy lyrical narratives about home and hearth, Doiron spoke directly into the heart of each audience member, who listened intently.Yet, because Bear’s Place’s trashy sound system garbled up songs and tossed the levels willy-nilly, listeners were left trying to delineate Doiron’s voice. But their straining was rewarded. Doiron’s flawless voice recounted her stories of heartache and insecurity. Doiron strummed simply as she sang the majority of “I Can Wonder What You Did with Your Day.” She also included a few songs from earlier in her career, spanning more than 10 years and a dozen albums. When Doiron sang “I open my eyes in horror / To see what I’ve done / It was the wrong guy / He was the wrong guy” from her 2007 album, “Woke Myself Up,” audience members literally leaned forward to catch each and every word. Despite the serious subject matter of her songs, Doiron kept the mood light, with quips and anecdotes between sets throughout the night.Overall, her set sounded mature, with even her earlier songs sounding as developed as her latest. After forgiving Dorion for the shabby sound system, the night did not disappoint. When the night ended in uproarious applause, Doiron and her band deserved every clap and display of adoration.
(06/02/09 5:10pm)
____simple_html_dom__voku__html_wrapper____>Julie Doiron’s characteristically winsome vocals, minimalist guitar melodies and melancholy heart-heavy lyrics will serenade listeners at Bear’s Place at 9 p.m. Tuesday. Spirit of ’68 Promotions is bringing Doiron, the Canadian singer-songwriter, to the 21-and-up event in Bloomington as its first booked performance this month. Tickets remain available and on sale for $7. In addition to Doiron, who will headline the show, Bloomington-based band Everybody, and Vicennes natives The Broderick will open the night. Doiron is currently touring in support of her latest album, “I Can Wonder What You Did with Your Day,” released March 10 on Jagjaguwar Records, the Bloomington-based indie record label.Rick White, Doiron’s onetime band-mate in Eric’s Trip, produced her latest album. As such, the album’s use of electric guitars and drums makes it more rock-oriented than Doiron’s other solo albums, which revisits the sound and style of Eric’s Trip, White said Eric’s Trip’s music sounds like “sappy melodic pop music on top of thick distortion,” drawing influence from Dinosaur Jr.’s heavily distorted guitar and Neil Young’s folk leanings.Yet, Junior Parag Santhosh said he finds Doiron’s sound lo-fi, but enjoyable. “I’m quite taken by her unassuming, yet elegant vocals,” Santhosh said. Doiron’s performance will draw listeners because of who she is and her easy demeanor, Santhosh said. Doiron is a cute and somber songstress sure to please audience members, said Lucy Robinson, senior publicist for Secretly Canadian, Jagjaguwar Records and Dead Oceans. Junior Mark Mitchell said he thinks Doiron’s performance will certainly be moving. “Listening to her lyrics, I feel like she has something to say,” Mitchell said. “It’s perfect coffeehouse music. Good to wind down to.” Senior Brock Lents said he enjoyed Julie Doiron last performance in Bloomington last year when she performed with Mount Eerie and Fred Squire in October at the Cinemat in support of her critically acclaimed collaborative album with Mount Eerie, “Lost Wisdom,” which was released on Oct. 7 2008. “The show was lovely, low-key and she had just purchased a new guitar that day from Roadworthy next door, “ Lents said. “Her explaining that to the audience, while holding her new purchased guitar made us feel closer to her.”
(03/26/09 3:08am)
____simple_html_dom__voku__html_wrapper____>Cellist Julia Kent learned a thing or two about discipline when she first arrived at the Jacobs School of Music. The stiff competition over the practice rooms galvanized her into waking up early, sometimes at 6:30 a.m.“When I arrived, every room was occupied, and I thought, ‘Hmmm ... how early do you actually have to get up here?’” Kent said. Although she hasn’t maintained her rigorous practice schedule since college, Kent has garnered both success and critical acclaim as a solo artist and collaborator, most notably as a consistent member of the band Antony and The Johnsons. Out of the array of musicians she has worked with, Kent said performing with Lou Reed was her favorite experience.Although Antony and The Johnsons is most well-known for frontman Antony Hegarty’s haunting lyrics and distinct voice, Kent’s work is part of what makes the instrumentation so in-tune. Her cello skills, which she perfected at IU, anchor the band’s sound. The group received the 2005 Mercury Prize Award for the album “I Am A Bird Now,” which included Kent’s recordings and string arrangement. She also contributed to this year’s “The Crying Light,” which was released on local label Secretly Canadian. After graduation and before joining Hegarty and co., Kent went on to join the cello-rock band Rasputina. She enjoyed her stay with the group, citing the experience as a “liberating (feeling) to be part of a project that was completely cello-centric.” She also relished the perks of being on Columbia Records. “It was interesting to get swept up in the whole major-label experience and to have the chance to do a lot of touring, most memorably opening for Marilyn Manson,” Kent said. “It definitely gave me an informed perspective on the music business.”The Vancouver, Canada, native decided to take up the cello at the age of 6, after she attended a Mstislav Rostropovich concert with her parents. She suspects her parents’ encouragement played a role in her decision.Kent chose to attend IU for its world-renowned music school and the opportunity to additionally pursue a degree in arts administration. She also said she thought highly of the IU faculty, whom she describes as “truly stellar” and “immensely inspiring.” Although she is a band member and musical collaborator, Kent released a solo album, “Delay,” in 2007. The debut features multi-tracked cello, omnichord and field recordings of airports. After spending so much time in airports while touring, Kent became fascinated with airports as wide open spaces and the locus of intense emotion with the impact of departures and arrivals. “I tried to convey in music specific emotional states that I found became intensified by the transitions of travel,” she said. Currently, Kent is touring in Europe with Antony and the Johnsons. She said she has already completed a lot of material toward a future solo record. “I’m eager to get it finished and get it out,” Kent said. “I continue to work with any interesting artists who come my way.”
(03/23/09 1:31am)
____simple_html_dom__voku__html_wrapper____>The hip-hop beats and sentiment of modern gangster rap will envelop audience members at Jake’s Nightclub when chart-topping rapper The Game headlines with rising emcees Nipsey Hussle and Clyde Carson at 9 p.m. Tuesday. Jake’s Entertainment Manager Dan Coleman said the decision to book The Game to perform in Bloomington was a no-brainer.“The Game is one of the hottest artists of the past five years,” Coleman said. “This is the first big show of the spring, kind of a spring break welcome back. I’m expecting a packed house.”Born Jayceon Terrell Taylor, The Game garnered mainstream attention, critical acclaim and success in 2005 when he released his debut album, “The Documentary.” The album received much positive feedback from critics and consumers. According to music Web site Pitchfork.com, “‘The Documentary’ is the best West Coast street-rap album since DJ Quik’s 2002 LP ‘Under tha Influence.’”Early in his career, a youthful Game blended def poetry and the characteristically violent dirges of 1980s gangster rap by producing and collaborating on mixtapes. “(The Game’s music) is gangster hip hop with an intelligent edge,” local DJ Brenden Eade said. “By shifting the meaning of his lyrics, he is insightful and personal.”The Game has collaborated with major rap producers and musicians such as rapper 50 Cent, co-founder of Def Jam Records Russell Simmons and gangster rap pioneer Dr. Dre. After releasing two best-selling albums, earning two Grammy Award nominations and enduring numerous label changes, The Game released his latest studio album “LAX” in August 2008. Since then, “LAX” has sold more than 660,000 copies, according to XXL Magazine. Audience members can expect The Game to rap most of his songs from “LAX,” but he has announced that he is working on his fourth album and might perform unreleased and/or improvised songs.“The Game is a mixtape beast turned mainstream icon,” Coleman said. “He’s going to destroy the Jake’s stage.”
(02/19/09 2:01am)
____simple_html_dom__voku__html_wrapper____>The indie rock leanings of Ben Kweller and the melodious vocal
harmonies of The Watson Twins will unite when the three perform Friday
night at the Buskirk-Chumley Theater.
The musicians are touring in support of their most recent albums.
Kweller released “Changing Horses” earlier this month. The new effort marks a departure from his traditional indie-pop sound.
“Always known best for his indie-rock ballads and anti-folk melodies,
‘Changing Horses,’ reveals the country side of this Texas boy,”
Kweller’s publicist Nicole Orb said in an e-mail interview. “It’s still
Ben Kweller, but this time with a twang – complete with multi-part
harmonies and immaculate pedal steel.”
The Watson Twins released “Fire Songs” in June of last year, which
followed their collaborative album “Rabbit Fur Coat,” featuring Jenny
Lewis of Rilo Kiley.
The sisters spent some time in Bloomington a few years ago, rehearsing
with local favorites Magnolia Electric Company before the two bands
embarked on a national tour.
Attendees can expect a more developed style from the songs off the Twins new album, Leigh Watson said in an e-mail interview.
“Well, we’re evolving, or at least that’s how I see it,” she said. “The
new songs are of course harmonies and all the good stuff (The) Watson
Twins is made of, but some different influences are taking the
spotlight on the new jams.”
Leigh Watson said she and sister Chandra love working with Kweller.
“We are vibing out with his new record, and (we’re) going to do a song
together,” she said. “Ben is an amazing musician and performer so being
on the road with him will be a real treat.”
Audience members can expect a new cover song by the band and some different arrangements.
The Twins already covered Neil Young’s “Powderfinger” for the American
Laundromat Records compilation charity album “Cinnamon Girl – Women
Artists Cover Neil Young for Charity,” released in February 2008.
Leigh Watson is hoping for a warm reception at the show, anticipating a frigid winter tour.
“We live in L.A. and the cold nights aren’t something we’re used to,” she said.
Union Board’s concert committee is presenting the Ben Kweller and
Watson Twins show. The student organization booked Kweller because they
believed he appeals to a college crowd, said concert committee director
Caitlyn Kuhs.
She also said that bringing Kweller adds variety to the acts Union Board books, and the tickets have been selling steadily.
Sophomore Andrew Voorhees said he expects a good performance.
“I expect both Ben Kweller and The Watson Twins to perform well, as
they are solid national acts who are gaining more and more appeal as
their musical careers progress,” he said.
(02/10/09 1:46am)
____simple_html_dom__voku__html_wrapper____>Psychedelic rock and roll will seamlessly blend with group improvisation to recreate the melodious songs of Phish when Strange Design, a cover band, performs at Jake’s at 8 p.m. tonight.With diverse musical backgrounds, avid Phish fans Adam Chase (drums), his brother Matt Chase (guitar), Aaron Levy (keys) and Ben Markowitz (bass) formed Strange Design last July, about four years after Phish temporarily disbanded after their summer festival in Coventry, Vt., which had an estimated 80,000 in attendance.Their goal is to recreate the Phish experience, characterized by improvised songs, extended jams and audience interaction.“We recreate the exact set lists as well as the particular style of the band from different eras,” Markowitz said. “If it’s a show from the early ’90s, it’s likely to be more high-energy rock, whereas if it’s a show from ’97-’98, it’s going to be funky and sometimes spacey/ambient.”Although they’ve never played in the Hoosier state, the band said they are looking forward to playing in Bloomington. Markowitz said he expects a great show, especially considering the excitement surrounding Phish’s upcoming reunion tour, which includes a stop at Bonaroo and in other cities in the midwest.“With all the excitement surrounding Phish’s return, we know the crowd will be expecting good things and we hope to deliver,” Markowitz said. “We love playing to college audiences because they always know how to have a good time.”Markowitz said he hopes to recreate the loving bond that Phish had with its audience.“Any moments where the band/audience connection is really strong – whether it be the crowd singing along or dancing to the point of sweaty exhaustion, we have the most fun when the audience is really into it and enjoying themselves,” Markowitz said. “Being big fans ourselves, we’re having a blast getting to perform the music that we love to crowds who feel the same way about it.”As “big” fans, the members of Strange Design have seen Phish perform live many times before.“They’re so into Phish and have seen over a hundred shows together,” publicist Dave Weissman said.For Markowitz, his love for Phish began as a child, when he was exposed to the music at camp.“My counselors were really into the band and played tapes in our bunk constantly,” Markowitz said. “They even made our bunk cheer the refrain from “Reba,” now one of my favorite Phish songs.”Following Phish’s disbandment, Markowitz renewed his interest in Phish from an academic standpoint.“I studied composition in college, and at that point I began to realize how much Trey Anastasio and the other members (of Phish) were influenced by composers like Zappa, Stravinsky, Ligeti, etc., in addition to classic rock like Zeppelin, The Beatles and so forth,” Markowitz said.Strange Design’s admiration and respect for Phish stays strong, with the band anticipating seeing them perform again. However, the effect of Phish’s reunion on Strange Design as a cover band is unknown.“As fans, we can’t wait to see the guys play again,” Markowitz said. “In terms of how it will affect the band, only time will tell. But we think their return will be a positive thing for us by giving the music new visibility.”
(02/05/09 1:20am)
____simple_html_dom__voku__html_wrapper____>A pale woman dressed in black with wine-red lips walks down a bleak
city street before she stops to watch a deer. Once stopped, her eyes
roll into the back of her head as she collapses, while Antony Hegarty’s
soaring vocals envelope the setting as colorful effervescent
butterflies. This is a scene from the “Epilepsy Is Dancing” music
video, the first single on Antony and The Johnsons’ new album “The
Crying Light.”In the past, Hegarty collaborated with big names: statesman of rock Lou Reed, psych-rocker Devendra Banhart, Grammy-nominated singer-songwriter Rufus Wainwright and critically acclaimed Björk. These star-studded duets feature intricate production and a busier sound, highlighting instrumentals as well as lyrics. “The Crying Light” marks a departure from this style and instead focuses solely on Antony’s swooning vocals and lamenting lyrics.Backed by simple orchestrations and melodies on the piano, Hegarty’s tremulous vocals convey dire yet accessible lyrics documenting his thoughts on the painful and eventful beginnings and ends of life. As if tackling Oedipus’ riddle, Hegarty evokes primal vistas of conception, ailment and death. Always doting on the dark, “The Crying Light” focuses on an unreliable and preoccupied narrator.In “Kiss My Name,” Hegarty struggles to narrate pleas for sanity, an identity and his mother: “Oh mama kiss my name/I am trying to be sane.”Only accented by a few instruments, Hegarty’s vocals and lyrics take on the burden of supporting the album.And he is more than up to the challenge.Hegarty’s warbling words melt together like the warm cello used to close “Everglade” and ”Her Eyes Are Underneath the Ground.” However, at other times, Hegarty’s prominent, anthemic repetition in “Epilepsy Is Dancing” is downright indie-pop. Antony & The Johnsons’ “The Crying Light” is analogous to Animal Collective’s “Merriweather Post Pavilion” – a catchier, more accessible indie-pop album. And as such, “The Crying Light” is already an early contender for best album of the year.
(01/29/09 10:09pm)
____simple_html_dom__voku__html_wrapper____>Forget the collarless suits, mop-top haircuts and self-absorbed lyrics of The Beatles before Christmas ’65. This is “Rubber Soul.”Released in December 1965, “Rubber Soul” marks a departure from The Beatles’ established and successful style of lovesick pop songs.Instead, The Beatles began to broaden their sound with influential lyrical and instrumental experimentation. John Lennon’s “Norwegian Wood (This Bird Has Flown)” is credited as the first recorded pop song to feature a sitar, with George Harrison maintaining a simple melody on the complex, stringed classical Indian instrument. Along with Paul McCartney’s fuzz bass on “Think For Yourself” and Greek-like guitar lines on “Michelle” and “Girl,” “Rubber Soul” truly incorporates eastern musical influences to create a worldly sound. Along with instrumentation, The Beatles also prove themselves as dynamic lyricists.On the whole, “Rubber Soul” expresses a lyrical maturity missing from The Beatles’ earlier work. For the first time in their recording history, The Beatles did not include a single cover in this album. Instead, the Lennon/McCartney team offers up sophisticated and introspective lyrics filled with self-doubt and multi-layered emotions. Lennon’s Dylan-esque “Nowhere Man” eschews The Beatles’ formulaic love song, and embraces self-examination and self-exploration. With lyrics like “doesn’t have a point of view / knows not where he’s going to,” Lennon exposes his own hesitation and uncertainty in the face of growing celebrity and Beatlemania. However, Lennon’s unexpected and heavy-hearted honesty in “Nowhere Man,” “Girl” and “In My Life” ultimately leaves “Rubber Soul” unbalanced with McCartney’s light and fluffy contributions. Despite being lyrically simple, McCartney’s songs remain some of the most popular Beatles’ songs in history. Overall, “Rubber Soul” showed the world that The Beatles were more than four cute boys from Liverpool. Instead of a pop-sensation boy band, they revealed themselves as poetic songwriters and instrumental innovators.
(01/29/09 5:16am)
____simple_html_dom__voku__html_wrapper____>Following the release of “The Beatles 1” in 2000, IU senior Nick Kieper fell head-over-heels in love with the lyrical mistresses “Eleanor Rigby” and “Lady Madonna.” In the throes of modern Beatlemania, when “The Beatles 1” became the fastest-selling album of all time 30 years after The Beatles disbanded, Kieper grew out his hair, wore hemp necklaces and became philosophical about the brilliance of “Revolver” and “Abbey Road” during his formative years in high school.Kieper went on to learn guitar and form Bloomington’s The Founders, which he describes as “something like ‘Good Morning Good Morning’ without the brass or ‘Think for Yourself’ with heavier bass.” Although most think of The Beatles as the decade-defining pop/rock band of the ’60s, influencing Bob Dylan, The Byrds, The Rolling Stones, David Bowie and many others, their impact can be heard and seen in a myriad of current music. The Beatles widely influenced a variety of popular modern music with their genre-blending style, meticulous album construction and intimate and accessible songwriting.“When ‘The Beatles 1’ came out, I was among the masses who suddenly had a newfound love for Lennon and his ilk,” Kieper said.And there truly were masses upon masses.The album went on to sell more than 27 million copies worldwide, making The Beatles the first and only musical artists to have best-selling albums in two separate decades – “Sgt. Pepper’s Lonely Hearts Club Band” in the 1960s, and “The Beatles 1” in this decade. The album’s success further affirms The Beatles’ long-lasting influence on the music industry and modern artists.Currently, “Sgt. Pepper” is widely acclaimed as one of the greatest and most influential albums in music. With seamless transitions, interwoven lyrics, alter-egos and a common theme, The Beatles’ “Sgt. Pepper” pioneered the art of a concept album. Since “Sgt. Pepper,” numerous current bands have released their own Beatles-esque concept albums: Deltron 3030’s self-titled album, Devendra Banhart’s “Cripple Crow” and Neutral Milk Hotel’s “In The Aeroplane Over The Sea.” For critics, “Sgt. Pepper” even became an eponym for a cohesive, well-constructed concept album. In a positive review of Of Montreal’s “Gay Parade,” Allmusic.com’s Jason Ankeny said the album “is Indie pop’s very own ‘Sgt. Pepper,’ a richly detailed, grandly ambitious concept record.” Having created the original concept album, The Beatles explored different styles and genres of music throughout their career. “The Beatles were one of the first bands to create a discography that consumes so many different types of musical styles,” said Bryant Fox, current member of Bloomington’s melodic Alexander The Great and Husband & Wife, both of which have albums coming out this year. “They perfected pop and incorporated that into blues/rock/Indian music/big band, etc., and did it very well.”In turn, The Beatles’ music is reflected across genres, from hip-hop to electronic. In addition to creating a copyright brouhaha, Danger Mouse’s “Grey Album” proves The Beatles’ music’s versatility and flexibility among genres. Danger Mouse combined a cappella versions of rapper Jay-Z’s 2003 “Black Album” with instrumentals from several samples from The Beatles’ “White Album” to create his own mash-up album. Now listeners can hear Jay-Z’s hip-hop rhythms and rhymes backed by the late John Lennon.The Beatles remain successful and influential because of their superior ability to meaningfully package a message in short, accessible pop songs. Thom Yorke, lead singer of Radiohead and solo artist, cited The Beatles’ short song length as inspiration for his 2003 album, “Hail to the Thief,” which contains songs in the two- to three-minute range. The Beatles again inspired Radiohead with songs like “Karma Police.” Radiohead used the chord progression from The Beatles’ “Sexy Sadie” – a song from “White Album” – as an intro to their ’90s hit.In Bloomington, The Beatles also inspire bands indirectly. The Beatles’ simplistic “White Album” influenced Love Anchor, a one-man band fronted by singer-songwriter Brock Lents, with its roundabout influence on Radiohead and Elliot Smith.“I’m attempting to generate complexity in a perceptibly simple way,” Lents said. “I don’t feel like I need a lot of studio musicians to accomplish my goal.” Lents echoes The Beatles in their later days when they eschewed big production after “Magical Mystery Tour.”With no signs of letting up, The Beatles continue to influence bands from Britain to Bloomington.“As long as there is planet Earth, there will be The Beatles,” Fox said.
(01/28/09 12:25am)
____simple_html_dom__voku__html_wrapper____>What do Hitler and Santa have in common? Bryan Singer’s stifled thriller, “Valkyrie,” released on Christmas Day.Despite its production and changing release dates that garnered severe controversy, “Valkyrie” ends up yawn-worthy rather than breathtaking. Singer reunited with Christopher McQuarrie – who penned “The Usual Suspects” – to chronicle an expansive conspiracy within the Nazi party to assassinate Adolf Hitler, which culminates in a failed bombing attempt on July 20, 1944.Early in its production “Valkyrie” received criticism for the casting of Tom Cruise as its lead, the one-handed, one-eyed head conspirator Col. Claus von Stauffenberg. Critics point out that Cruise’s celebrity and iconography weighs down the film’s potential. However, Stauffenberg’s character fails not because of Cruise’s overpowering star power, but rather because he is the least dynamic character in the entire ensemble. Unlike Tom Wilkinson’s conflicted Gen. Friedrich Fromm, Stauffenberg is inexplicably good. His stubborn moral high ground leaves his character fatally one-dimensional and bland. However, Singer successfully steers the rest of the cast into uncharted film territory. Singer throws Hollywood conventions aside by humanizing Nazis. Traditional Hollywood films portray Nazis as absolute evil – cold, calculating, anal-retentive, soulless men dressed in fascist black with German accents. Yet “Valkyrie”’s Nazis hesitate, falter and question the Fuhrer, which shows the audience that Nazis are human after all. Other than this singular stroke of genius, Valkyrie’s plot unravels with undeveloped characters and background information. In one instance, Stauffenberg’s mutinous sycophants hold off on executing Hitler because Heinrich Himmler is not present. If the viewer is not a certified World War II buff, he or she will lose the significance of such events because the details are never revealed.Inaction also plagues “Valkyrie”’s flawed script. The majority of the film has the viewer’s eyes following a leather attache or box of liquor. In the end, “Valkyrie” feels like an old bed – comfortable, but nothing electric.
(01/20/09 5:24am)
____simple_html_dom__voku__html_wrapper____>Miles Benjamin Anthony Robinson’s tortured lyrics and gentle guitar strumming left audience members somber when he headlined with openers Sam Lowry & the Circumstance and Red Bird on Saturday night at The Cinemat.About 70 spectators, all bundled in winter attire, filed in and lined the walls of the intimate setting, anticipating the performances.Freshman Bradley Williams said he was “expecting a performance worthy of Spin magazine’s praise.” Recently, Spin.com reported that Miles Benjamin Anthony Robinson has “a killer live presence.”After Lowry’s band finished its set, Bloomington’s own Red Bird performed. Red Bird’s performance was a high point in the night for many audience members.“Red Bird was my favorite part of the night, as usual, mainly due to the lead singer’s intense vocal delivery and guitar skills,” sophomore Adam Peterson said.After Red Bird’s set, Robinson took to the stage with backing band member David Morrin to close the night with a set of dirges and personal laments.Robinson opened his set with a politically-minded song to match the fervent atmosphere surrounding the upcoming inauguration of President-elect Barack Obama. “Last night I dedicated this song to the 43rd president of the United States,” Robinson said before performing a cover of Leonard Cohen’s “The Butcher.”Other than songs from his LP, Robinson’s set featured a smattering of Leonard Cohen covers and a rendition of Otis Redding’s “(Sittin’ On) The Dock of the Bay.” Throughout the set, Robinson and Morrin switched off playing acoustic guitar, electric guitar and keyboard. “David Morrin has been playing with me for three years,” Robinson said. “He is the only consistent band member I’ve had.”Robinson explained the machinations and frustrations of touring and keeping inventory. “The van broke down in Ohio because of the cold,” he said. “Also, I lost the set list. I’m winging it.”Robinson kept up the political theme of his performance when he dedicated Leonard Cohen’s “The Old Revolution” – a song about hope in a time of tribulation – to President-elect Obama. After an impassioned show, Robinson ended the night with a piano solo. Upon receiving applause, Robinson walked offstage and into the audience to speak with fans and spectators about his music and expectations for the future.“I’m excited about my next record,” Robinson said. “It is produced by Kyp Malone of TV On The Radio, and he sings all over it.”
(12/02/08 5:04am)
Live from Bloomington squandered your money as it fell into utter disrepair this year.
(11/11/08 2:21am)
____simple_html_dom__voku__html_wrapper____>The German philosopher Friedrich Nietzsche once wrote: “God is dead.”But I don’t think God is dead. I think he never even existed. This atheist belief seems to be coming to the forefront of American pop-culture. Bill Maher’s “Religulous,” follows the success of recently published atheist manifestos by Oxford professor Richard Dawkins and Atlantic Monthly contributor Christopher Hitchens. My similar atheist views lead me to critique all religion.Why is religion above reproach?Whenever people unapologetically criticize any religion or faith, they are vilified and unfairly marginalized by society. Religion does not deserve any special respect or caution. It is an idea and choice like any other and must be scrutinized and investigated. Religion is an archaic superstition started by ancient charismatic leaders, which pervaded all human civilization and development. Believers are led astray by leaders who often behave rather worldly. The Pope, for instance, is the head of his own state and once blessed a fleet of Ferraris during a religious ceremony.There is no God. A rudimentary study of the problem of evil reveals the impossibility of God. If by definition, God is the all-powerful, perfect and benevolent creator of the universe, then how can evil exist or have existed in the past? Evil can only exist if there is no God, especially not the Abrahamic God. One only has to look to the story of Abraham’s attempted sacrifice of his son, Isaac, to realize the dangers of faith. Abraham is considered the founder of the major monotheistic faiths: Christianity, Judaism and Islam. According to the Bible, God tells Abraham to take his only son, Isaac, to a mountaintop, then he binds Isaac and prepares to slay him with a knife. Just before Abraham can deliver the coup de grace, God stops him and tells him to kill a ram instead. What a terrible test. Even the Danish Christian philosopher, Kierkegaard, dissected the story’s meaning to be that faith allows for a suspension of normal ethics.Put the story of Abraham in modern context: Imagine that an old man takes his son up to a mountain and attempts to murder him with a knife. He stops short of killing the poor boy and raves that an invisible man in the sky told him to stop. What would happen to this old man? The police would probably throw him in an insane asylum.Yet, with all this damning evidence, believers still have faith in a superstitious god. Their favorite argument is: You can’t prove that God doesn’t exist.Here’s Dawkins’ easy reply: You can’t prove that Zeus doesn’t exist. You can’t prove that Thor doesn’t exist. You can’t prove that the other major faith’s Gods don’t exist.However, it is overwhelmingly improbable that God, Zeus or Thor exist.I am an atheist for the same reasons why believers choose to believe in one faith and refuse the others. I don’t think we should believe in make-believe.