Vol.

1, Issue 1, Winter 2007



FEATURE ARTICLES
Speaking Out In Class.........page 6
Brian Lenz ‘07
Jon Appleton Interview......page 18
Brian Lenz ‘07 & Tim Bakke ‘07

Editors’ Picks............................page 3

Editorials..................................page 9

Editor-in-Chief 2006 ALBUM REVIEWS...............page 12

Executive Editor RETROSPECTIVES

Yo La Tengo......................page 21
Lloyd Miller ‘10
Managing Editor
Pet Sounds.......................page 22
Layout Maggie Severns-O’Neill ‘08

Genre Editors
Caleb Ballou Reggae 2006 MUSIC FESTIVALS
Andrew Berry Indie Lollapalooza....................page 23
Abdallah Chammas Rap/Hip-Hop Lindsey Wolf ‘08
Bart McGuire Indie
Scott Muir Jam All Good...........................page 25
Caleb Powers Jazz
Mike Selvin DJ/House Scott Muir ‘08
Greg Sirois General Rock
Jen Swanda Country/Bluegrass Bonnaroo........................page 27
Contributors Molly Caldwell ‘09
Leon Chang, Maggie Severns-O’Neill, Ryan
Chesley, Andrew Bailey, Emily Weisburst, Lindsey
Wolf, Carlton Frost VI, Chris Symeonides, Gregory Wakken...........................page 29
Dona, Samuel Kohn, Joseph Hilgard, Noah Hall, Ryan Chesley ‘06
Henrik Bliddal, Alex Howe, Molly Caldwell,
Aimee Pritchard, Maryanna Brown, Lauren Miller,
Lloyd Miller, Max Bryer, Mark Davenport Venue Guide............................page 32
Faculty Advisor Scott Muir ‘08
George Edmondson
Squeezebox Music Magazine exists to pursue musical discourse
via the open discussion, critique, and academic appreciation We Are Scientists Live...............page 34
of music of all genres and backgrounds and their respective Maryanna Brown ‘08
compositions and concerts, to expose the Dartmouth
Community to new musicians, past and present, and to
disseminate information concerning new musical releases The Crystal Method Live...........page 35
and upcoming concerts/events of note both in the general
Northeast and on the College campus. Mike Selvin ‘07
The opinions printed within are those of the authors and
do not represent those of Dartmouth College.
 Gulag Orkestar
Beirut
2006

To dispel any unnecessary speculation,

Beirut (Zach Condon) is a 19-year-old
resident of Brooklyn. And though his
alias may belie his origins, his debut
album Gulag Orkestar merits its orphic
title. From the opening brass trills of
the title track, Condon creates an Old
World aura that is only enhanced as the
album progresses. His unique instrument
ensemble, consisting of tambourines,
accordions, congas, trumpets, organs,
ukeleles, and mandolins, beautifully
blends together to form a rich, layered
melody. Yet the instrumentation is
fellow heroes of Jamaican music, Toots surpassed by the album’s real highlight
and the Maytals, Desmond Dekker, The - Condon’s poignantly mournful vocals. It
Slickers, The Melodians, and Scotty. The is his lilting baritone voice, with a power
The Harder They Come movie, in which the soundtrack plays reminiscent of Morrissey’s, that completes
Soundtrack a major role, tells the tragic tale of a our aural experience, providing a delicate
1972 renegade singer trying to make it in the counterpart to the grandness of the
Kingston music scene that is completely instrumental backdrop. By fusing indie-
controlled by a few wealthy men. Without rock sensibilities and Eastern European
its extraordinary soundtrack, the movie influences, Beirut provides us with an
would be difficult to sit through, so I album that oozes pathos. While those
My general perception of movie suggest you bypass the movie and proceed Neutral Milk comparisons that everyone
soundtracks is that they contain one or straight to its heart. Each song is a classic is making are probably premature, there is
two solid tracks, and the rest is often and the soundtrack is a must-have for certainly some truth in them, so the next
total crap. In the case of The Harder They anyone with even remote interest in the time you feel like escaping or wallowing,
Come, this idea couldn’t be more wrong. music of Jamaica. give Beirut a listen.
My familiarity with Jamaican music
isn’t exceptional by any standards, but
I’ve heard my fair share, and The Harder
They Come may be the best. The album
features songs by reggae legend and star
of the film, Jimmy Cliff. Accompanying Executive Editor Managing Editor
Jimmy Cliff on this masterful reggae, Ska,
rocksteady, and vocal trio compilation are

the best albums of the 1980s. These five burgeoning talent as a songwriter,
tracks see The Replacements expanding managed to bottle the essence of an angry
their range of musical samplings, and suburban teenager in a mere 5 tracks.
Let It Be they mark the maturation of the band as Listening to the record, you get a tense,
The Replacements artists. Their treatment of issues familiar uneasy feeling in your chest, as emotions
1984 to the punk movement, like angst and from your adolescence come rushing over
teenage rage, with new musical styles you. These moments are measured by the
and experiments is wildly successful. “I album’s harder-rocking but less thoughtful
Will Dare” captures the excitement and tracks, creating a blend of sound that
uncertainty of an adolescent infatuation celebrates youth as much as it struggles
in a jaunting, melodic rocker, graced by with it. Inevitably, The Replacements will
Let It Be, The Replacements’ career- the fantastic guitar work of R.E.M.’s Pete never sound this good again, as they move
defining LP of 1984, represents some of Buck. “Androgynous” may not sound like further away from the harder edged stuff
the best that the post-punk/alternative it, but it is a subversive pop ballad about that make Let It Be such an invigorating
scene had to offer. This is a coming of social dislocation that is as insightful as listen.
age record, both artistically and lyrically. it is witty. “Sixteen Blue,” “Answering
Songs like “We’re Coming Out” and “Seen Machine,” and most notably “Unsatisfied,”
Your Video” are hard-hitting, piss-off-the- are ridden with such expressive, heart-
neighbors garage-rock ragers that cater wrenching angst and frustration that
to the quartet’s punk roots. However, they make you squirm uncomfortably
these songs, while a great listen, are in your seat, but reach to crank up the
less memorable than the five tracks that volume at the same time. All in all, The Editor-in-Chief
make this album a landmark and one of Replacements, aided by Paul Westerberg’s
 The Polyphonic Spree
2000-present

Indie Co-Editor

The Polyphonic Spree sounds like what would happen if The Beatles and The Flaming
Lips had a big psychedelic orgy and spawned twenty-some children who all went and
crashed a symphony orchestra. The band, which consists of over 20 members, boasts an
ensemble including strings, brass, harp, theremin, and countless backing vocals that all
Annual moe. fall northeast run: support the traditional rock combination of drums, bass, guitars, piano and vocals that
10/6-7@Hampton Beach Casino provides the foundation, but not the focus, of the bands sound. While there are some
Ballroom, Hampton Beach, NH melancholy moments, the band has a generally uplifting mood, with painfully catchy
10/9-10@Higher Ground Ballroom, melodies, unexpected arrangements and shockingly emphatic breakdowns. There is
Burlington, VT thematic and melodic simplicity in lovely contrast with structural and instrumental
10/14@Palace Theatre in Albany, NY complexity. They have two records in stores now: “The Beginning Stages of…” and
“Together We’re Heavy.” I prefer the latter but they are both kick-ass. You need this.
Over the past 15 years, moe. has
evolved from its humble beginnings
at the University of Buffalo into being
the Northeast’s premier rock jamband. Beast Moans
They have become increasingly eclectic, Swan Lake
blending a wide variety of genres 2006
and influences into a unique sound
saturated with their unique personality. Indie Co-Editor
In the process, moe. has developed a
large and extremely dedicated national
fan base with many fans traveling great
distances to see several performances at It’s intimidating to write about music because by nature any reader will either
a time. The band shows its appreciation a) scoff at your musical taste, or b) want to know when 50 Cent will remix
by practicing relentlessly in order to “Promiscuous Girl.” (Side note: can anyone think of a more ironic title for
provide a different, largely improvised Dartmouth girls’ favorite summer song?) So, regardless of the category you fit,
show every night, typically playing you will inevitably ignore this review. This is fine, I haven’t even heard the album
5-8 songs during each of 2 sets lasting yet. However, you can thank me later when you realize you played the record
at least an hour. moe.’s hard work twelve times in a row without even checking blitz, because with these three names -
has paid off, as the band has played Spencer Krug, Dan Bejar, Carey Mercer - collaborating on one album, I can’t imagine
at two of the five Bonnaroo festivals it being a flop. Dan Bejar sings and plays guitar for Destroyer and also contributes
and headlines both the Summer Camp in The New Pornographers. Carey Mercer is the Frog Eyes frontman. Spencer Krug
festival and its own festivals, moe. was arguably the biggest name in indie rock in 2005. Do the math, buy the album.
down and snoe.down, annually. Since
the inaugural Jammy Awards in 2000,
moe. has taken home ‘Live Performance
of the Year’ awards twice, as well as
honors for ‘Best Studio Album’ for Mirrorball
Wormwood (2003) and ‘Best Live Album’ Neil Young
for L (2000). They have shared the 1995
stage with the Allman Brothers Band,
Dave Matthews Band, Sam Bush, John General Rock Editor
Medeski, Trey Anastasio, John Popper,
Keller Williams, and many more. After
a busy September including moe.down
7, and a thorough tour of the west Neil Young’s 1995 offering, Mirrorball, is widely underappreciated in comparison
coast and a handful of gigs opening for to many of his records. There are no standout songs, and very few have ever been
The Who in the Midwest, moe. made performed to a live audience. However, it is unlike anything he has ever done. Pearl
its traditional fall run through the Jam was brought in as his backing band. At the time, the so-called “grunge” scene was
northeast, making 5 stops within two coming to an end with the recent passing of Kurt Cobain and the dissent of Seattle-based
hours of campus. The two-night run musicians. This set the stage perfectly for one of classic rock’s most prominent names to
at the beautiful and intimate Higher collaborate with one of contemporary rock’s most popular acts. The album is a change
Ground Ballroom was particularly for Pearl Jam. Eddie Vedder is largely absent except for a minor backing vocal on “Peace
special. Later, moe. played two nights at and Love.” Without having to deal with the shadow of a strong front man hanging over
the Chicago Theatre over Thanksgiving them constantly, the rest of the band was able to grow musically with the guidance of
weekend and New Year’s Eve at Radio Neil. The music is distorted, crowded, cloudy and best in headphones. However, Pearl
City Music Hall. I suggest checking out Jam’s fast paced, punk influenced guitar playing and Young’s drawn out wail mesh
the bootlegs. very well. The songs on the album cover everything one would expect from two artists
as socially conscious as these two. Politics, abortion, war and peace flood the albums
lyrics, but do not steal focus away from the music. Although this album is far from Neil
or Pearl Jam’s best efforts, the influence the ageless rocker had on the career of Pearl Jam
is undeniable. No longer was their music solely guitar driven hard rock providing space
for a great voice. They now moved to produce a solid wall of sound that would blend
Jam Editor with Eddie Vedder’s chilling baritone. This shift produced their two best albums, No
Code and Yield, and moved them out of the mainstream, a place Neil Young’s constant
experimentation always brought him.
 Trout Mask Replica
Captain Beefheart &
His Magic Band
Jazz Editor 1969

Dietch, who made a name for himself If Cal Schenkel’s crazy-ass cover art
drumming with Soulive, provides a doesn’t hook you, then something on this
foundation pace for the backbone of 28-tracked double album really should.
the album. Rhythm guitar and sampler Dissonant and eclectic, this seminal album
Avi Bortnick makes the album unique, is experimental rock at its best. Getting
more electronic, and arguably more through it the first time is sometimes a
Überjam progressive than anything else to come miserable experience, but subsequent
John Scofield out of this decade’s jazz scene. Bassist listenings will take you in and send you
2002 Jesse Murphy just loves a groove; he on a visceral journey. It’s no big surprise
left Scofield’s band for a gig on Gov’t that Frank Zappa produced this gem, nor
I guess for the first Editor’s Pick I can Mule’s new line-up before their second is it shocking that Tom Waits called this
choose anything I want from any period release, but left his mark on their one of his 20 most cherished albums of all
in Jazz history. Therefore, let me tell sound. Guest appearances by Karl time. Go bury yourself in this shit, but be
you about The John Scofield Band’s first Denson and John Medeski take this warned - it is not for the weak-hearted.
release called Überjam, what I consider album from good to great. Whenever
the best record ever made. This album somebody new to the genre asks me for
features Scofield’s be-bop sensibilities a recommendation, I suggest this album.
(he started out playing with Miles It’s far from pure jazz, but this fusion
Davis) coming face-to-face with the release will make anybody understand Country and Bluegrass
most cutting-edge jazz and funk artists what makes modern jazz worth their Editor
of our time. Fusion drummer Adam attention.

At the Controls
James Holden
2006

Her hyperliterate lyrics speak of loneliness,

desperation, redemption, and rebirth; they
tell stories about our relationship to the
universe, and spin poignant fables about
At The Controls is only Holden’s
Ys degradation and lost dreams. Her distinct
second commercial mix CD release, the
Joanna Newsom warble, simultaneously rough and delicate,
first being the seminal Balance 005, and
2006 combines with the beautiful backdrop of
it provides a truly different experience
a Van Dyke Parks strings-based orchestra-
from its predecessor. While Balance is
tion to create epic melodies that engulf us
immediately danceable and clearly
in their rises and falls. Though this album
reflective of a club experience, At The
may be difficult to get through on first
Controls is better suited for enjoyment
listen, it is certainly worth the effort.
at home or in the car. A quick look at
Three months after first listening to this al-
the track list is a testament to its eclectic
bum, I continue having trouble adequately
nature. Tracks by artists typically found
characterizing what happens to me when
on his record label Border Community,
James Mercer’s voice swells on the open-
such as Petter and Nathan Fake, are
ing lines of “Australia.” More and more
intermixed with artists such as Massive
I’ve become drawn to music that can ab-
Attack, Death In Vegas, and Aphex Wincing The
sorb me, and that is exactly what Wincing
Twin. The album also features two new Night Away
does. Beyond just its infectious melodies
original tracks and a remix by Holden The Shins
and driving rhythms, it possesses those
himself. While the mix certainly doesn’t 2007
brief moments when a perfect combination
develop as it would if Holden were
of notes and tones just seems to reach out,
playing in a club, it is well-structured
fill your head, and push everything else
and clearly goes places. It’s eclectic
out. With tunes like these and the main-
yet cohesive, slightly discordant yet
stream appeal their record sales imply, The
never out of key, and slightly off beat at
Shins just might be resurrecting good pop.
times yet still masterfully mixed. It is, This sophomore effort is the product of
without a doubt, the most original and a completely different CYHSY. In an
ambitious DJ mix CD you will hear all attempt to create a darker, mor somber
year. album, these Brooklyn-based rockers have
Some Loud Thunder
Clap Your Hands generally forsaken the tight, high energy
Say Yeah melodies that made their debut such great
2007 listening. Most of Thunder’s tracks are
DJ/House/Electronica disorganized and uninspired, with the
Editor notable exception of “Satan Said Dance,”
which can still rouse me to sing loudly and
frenetically shake my head.
 realize an epic evening is certain to follow. throughout the tour. In Hartford, the
Lead singer Eddie Vedder soon lends his band sedated the audience with the rare,
voice, creating an ethereal aura. Before mellow combo of “I’m Open” into “Sleight
the organ has time to drown in the sea of of Hand.” Having downed a few brews
crowd noise, Matt Cameron’s symbol beats and jumped around like a maniac for an
the way from its lofty reprise into the hard- hour and a half, things were not looking
hitting “Life Wasted.” As Stone Gossard’s good for regaining the energy needed to
guitar knifes in, the transition is complete, fully represent as a Pearl Jam “freak” for
and the band immediately hits high gear. the remainder of the show. As “Sleight of
We would not see much of Boom Gasper, Hand” ambled on I dejectedly looked to
he lights dim on a Friday night Pearl Jam’s “chairman of the boards,” Greg, my heterosexual Pearl Jam life-mate,
in Albany, New York and Boom’s the rest of the evening, but I don’t think and said something to the effect of, “That’s
anthem, “Wasted Reprise,” soars anyone protested, because what ensued it man, I’m not going to be able to get back
over a roaring crowd. The roar becomes a was some balls out rock. up for this.” Seconds later I gladly ate my
sweat of anticipation, and I am not alone as The nearly idle to full throttle transition words and was airborne again as the band
a knowing grin forms on my face when I was something Pearl Jam threw at us “shifted from first to fifth” and thrashed
out an intense “Comatose” followed by the that unbelievably contagious feeling of changed and Pearl Jam the “Leash” in Boston for the first time
ultimate blood boiler “Do the Evolution.” power and energy that keeps me paying 60 is ready to appease the since March 3, 1995, they certainly had the
A mini road trip, involving back to
back shows in Albany and Hartford, was
a great first half of the eventual four Pearl
dollars to see show after show. There are
very few bands playing today that I could
see four times in a little over a month and
“Pearl “freaks” and “normal”
fans alike.
“It’s weird, it makes it
“freaks” in mind.
Between the seldom and the redundant,
there is a lot of variable middle ground
Jam shows I would see thus far on this be completely enthralled each time. Jam has really interesting. Some that cannot be overlooked. Ripping,
2006 tour. It wouldn’t be doing the band Although, for the past ten years Pearl of the people want to ten minute renditions of “Porch” and
justice to say that this tour is taking place Jam has been plugging away just outside finally hear a bunch of songs “Rearviewmirror” are the highlight of
in promotion of their recently released the gaze of the popular eye, with this they know from the radio, many a show whether your fancy yourself
self-titled album. Touring is what they album and tour something has changed. sacked some of the songs that as a “freak” or “normal.” Perhaps the
do, and is what they have been known They have raised the bar back to the they, uh, fell in love to, biggest difference I can see between the
for throughout the past ten years while heights of the Ten era. As Eddie puts it, up and some of the songs they current shows and those shows of the past
their albums have failed to attain mass “I feel like we’ve been handing in our first got laid to, some of few years, that I’m sure the majority of
approval. That being said, there was work on time, and we’ve been getting realized the songs they ran away the fans appreciate, is that the relatively
notable emphasis placed on the recently
released album, much more so than was
A’s and B’s, but we haven’t really raised
our hand and spoken out in class. This
it’s time to, then other people just
want to hear the songs
flaccid Riot Act material has been replaced
with the raw, energetic, and powerful
placed on Binaural, Riot Act, and Lost record is us speaking out in class.” I’m
to be THE that we’ve never played new material, creating an atmosphere

”
Dogs in the tours following their releases. not quite sure what it was, maybe just before once ever, ever, reminiscent of the Ten days. Granted,
Both the Boston and Albany shows, for
example, featured nine of the thirteen
Eddie being onstage in front of me, maybe
his girlfriend, model Jill McCormick, in
band ... ever…never played… and
I guess what we should
Eddie isn’t plunging into the pit from a
thirty-foot perch and bassist Jeff Ament
new tracks. Many of you are probably view backstage, or maybe it really was do is take a poll at the may not be jumping quite as high, but no
thinking, “That sounds about right, play this “speaking out in class” concept, but beginning of the night one is twenty forever.
most of the new album, then four or five I had a revelation. As you may have because we’d see how Two years ago if I mentioned that
popular songs that everyone knows and guessed, I had to share my revelation with producing more obscure, introspective many of the normal people are here and I was going to a Pearl Jam show, the
can sing along to, maybe throw in a cover, my heterosexual Pearl Jam life-mate, so albums and not playing a number of mega we’d see how many of the freaks are here common response was, “Those guys are
and that’s you’re rock concert.” In most after scanning the crowd I turned to Greg hits at every show. The band cites several and then we could deal accordingly. And still around? I thought they’d broken up
cases you would be correct, but Pearl Jam and said, “Man, I think they have finally reasons for their intentional self sabotage believe me, when I was growing up, the years ago.” Pearl Jam is still here, and
doesn’t fuck around. Those nine songs figured it out, they are all there is for these campaign, most notably immaturity, last thing…I thought the worst thing you now they’re ready to let you know it. The
made up less than one third of the average people (referring to the 30 year old males stalker issues, and general contempt for could turn out to be was normal, so I say people who thought they had crashed are
28 song, three hour Pearl Jam show. You that filled audience). Pearl Jam has finally the ideas of stardom and pop culture. freaks in the most complimentary way. now coming to the shows, being blown
can see why many are starting to compare sacked up and realized it’s time to be THE Their philosophy of humility has been a Here’s a song by a fellow freak.” away, and asking for more. There is no
their shows and cult-like following, to band for these guys.” That may sound Pearl Jam trademark for the past ten years Eddie followed that quote by turning back this time, the band is having
those of the Grateful Dead, a comparison fairly cryptic, but it made a hell of a lot of and is largely responsible for fostering performing a solo, acoustic version of John fun and has given every indication that
Vedder finds laughably absurd due to sense to me at the time. I got so excited the formation of their cult-like following. Lennon’s “Hide Your Love Away.” Sure, they foresee things rolling like this for
drastic musical differences. that I even mentioned that I wished I Perhaps their shying away from the maybe the guys would like to add even many years. If you have or had any
Playing lengthy shows with high wrote for Rolling Stone, because I wanted limelight is what enabled them to stay more diversity to their set lists, but the interest in Pearl Jam whatsoever, even
frequency for 15 years can be a grueling to share all of the divine insight that had together, productive, and alive for the past heavy Ten bias, rarely playing Binaural if you just like a song or two from Ten, I
endeavor. How many relatively been bestowed upon me. Now that I fifteen years. It’s impossible to predict and Riot Act (two of their least well implore you to listen to the new album a
mainstream bands have been able to tour actually do have the chance to write about where the band would be today had they received albums), and always playing the couple times and get to a show. I would
regularly and produce albums for that it, it neither sounds quite as good, nor not. We all remember the outcome of Kurt singles are what the “normal” people come be surprised if you didn’t bump into me
long without burning out or fading away? makes nearly as much sense, but I think Cobain’s war with stardom. to see. Add to that the Mike McCready on campus and tell me it was the best rock
What Pearl Jam has done, and continues I was referring to the fact that I could not That being said, if they were disgusted highlight reel featuring Neil Young’s concert you have ever attended.
to do, certainly does put them in elite think of any other bands that have been by all of the crap that’s played on MTV “Rockin’ in the Free
company. Having had the pleasure of consistently rocking since that group of and the radio today, why not make a World,” a jammed out
experiencing the seismic level of energy thirty year olds started high school. Pearl catchier song or two and have people “Yellow Ledbetter,”
that erupts at each show, I find it amazing Jam may have fallen off the radar a bit, but listen to your music, which is infinitely and a Hendrix-esque
that this level of energy, shared by Pearl they never ceased to put on one of the best better than said crap? If they’re so “Star Spangled Banner,”
Jam and the audience alike, never wanes. shows in the business. Now that they’re passionate about politics, why not amass while the house lights
This sustainable energy is potentially back and seemingly ready to accept their a larger fan base to which they could conveniently come on
even harder to achieve during this tour, responsibility as heroes. This group of pitch their propaganda? And if they’re during the final encore,
because the band has focused on pleasing beer swilling 30 year olds now has a band, legitimately scared of making a lot of and you may catch a
the average fan by playing Ten classics one that they’ve grown up with, to get money, they could simply give even more few “normals” drop
such as “Alive” and “Even Flow” at nearly excited about again. This isn’t some joke to charities. It took them awhile, but the word legendary.
every show. In a recent interview with of a reunion tour, where you have to pay a they seem to have realized that fame isn’t Despite the increased
Rolling Stone, Eddie was asked how he is hundred dollars to watch some half dead all that bad. Letterman, SNL, and VH1: predictability due to
always able to seem really into the songs sixty year olds just trying to live through a Storytellers appearances, a Rolling Stone renewed attention
that he sings each night. His response concert. This is one of the greatest bands cover, the success of “Worldwide Suicide” paid to the “normal”
was surprisingly simple. He doesn’t fake of their high school glory days running on as a single, frequent interviews, the “Life crowd, the band never
it or use some trick to fire himself up, for all cylinders. Wasted” music video, and set list changes forgets to throw a bone
him, it’s all about the music. “I dare you The idea of familiarity is an important are all indications of this realization. or two to their beloved
to sing ‘Black’ and not feel it. I dare you,” one here. Pearl Jam is finally choosing I guess I shouldn’t be the one complaining, “freaks.” When the
was his reply. He feels that, “If you’re to be a familiar name again, like they because No Code and Yield are my two band played “Rats” in
gonna play the song, you better play it.” I unwillingly were in the early 90s, and like favorite Pearl Jam albums and they are Albany for the first time
know I speak for many, in fact, just about they could have been all along. Beginning products of the band’s former mentality, “since Matt Cameron
everyone in the crowd on a given night, with No Code in 1996 Pearl Jam began to but as this encore break speech Eddie joined the band” in 1998
when saying that I sure as hell feel it. It’s isolate all but their most devout fans by made in Albany indicates, things have and when they dropped
out an intense “Comatose” followed by the that unbelievably contagious feeling of changed and Pearl Jam the “Leash” in Boston for the first time
ultimate blood boiler “Do the Evolution.” power and energy that keeps me paying 60 is ready to appease the since March 3, 1995, they certainly had the
A mini road trip, involving back to
back shows in Albany and Hartford, was
a great first half of the eventual four Pearl
dollars to see show after show. There are
very few bands playing today that I could
see four times in a little over a month and
“Pearl “freaks” and “normal”
fans alike.
“It’s weird, it makes it
“freaks” in mind.
Between the seldom and the redundant,
there is a lot of variable middle ground
Jam shows I would see thus far on this be completely enthralled each time. Jam has really interesting. Some that cannot be overlooked. Ripping,
2006 tour. It wouldn’t be doing the band Although, for the past ten years Pearl of the people want to ten minute renditions of “Porch” and
justice to say that this tour is taking place Jam has been plugging away just outside finally hear a bunch of songs “Rearviewmirror” are the highlight of
in promotion of their recently released the gaze of the popular eye, with this they know from the radio, many a show whether your fancy yourself
self-titled album. Touring is what they album and tour something has changed. sacked some of the songs that as a “freak” or “normal.” Perhaps the
do, and is what they have been known They have raised the bar back to the they, uh, fell in love to, biggest difference I can see between the
for throughout the past ten years while heights of the Ten era. As Eddie puts it, up and some of the songs they current shows and those shows of the past
their albums have failed to attain mass “I feel like we’ve been handing in our first got laid to, some of few years, that I’m sure the majority of
approval. That being said, there was work on time, and we’ve been getting realized the songs they ran away the fans appreciate, is that the relatively
notable emphasis placed on the recently
released album, much more so than was
A’s and B’s, but we haven’t really raised
our hand and spoken out in class. This
it’s time to, then other people just
want to hear the songs
flaccid Riot Act material has been replaced
with the raw, energetic, and powerful
placed on Binaural, Riot Act, and Lost record is us speaking out in class.” I’m
to be THE that we’ve never played new material, creating an atmosphere

”
Dogs in the tours following their releases. not quite sure what it was, maybe just before once ever, ever, reminiscent of the Ten days. Granted,
Both the Boston and Albany shows, for
example, featured nine of the thirteen
Eddie being onstage in front of me, maybe
his girlfriend, model Jill McCormick, in
band ... ever…never played… and
I guess what we should
Eddie isn’t plunging into the pit from a
thirty-foot perch and bassist Jeff Ament
new tracks. Many of you are probably view backstage, or maybe it really was do is take a poll at the may not be jumping quite as high, but no
thinking, “That sounds about right, play this “speaking out in class” concept, but beginning of the night one is twenty forever.
most of the new album, then four or five I had a revelation. As you may have because we’d see how Two years ago if I mentioned that
popular songs that everyone knows and guessed, I had to share my revelation with producing more obscure, introspective many of the normal people are here and I was going to a Pearl Jam show, the
can sing along to, maybe throw in a cover, my heterosexual Pearl Jam life-mate, so albums and not playing a number of mega we’d see how many of the freaks are here common response was, “Those guys are
and that’s you’re rock concert.” In most after scanning the crowd I turned to Greg hits at every show. The band cites several and then we could deal accordingly. And still around? I thought they’d broken up
cases you would be correct, but Pearl Jam and said, “Man, I think they have finally reasons for their intentional self sabotage believe me, when I was growing up, the years ago.” Pearl Jam is still here, and
doesn’t fuck around. Those nine songs figured it out, they are all there is for these campaign, most notably immaturity, last thing…I thought the worst thing you now they’re ready to let you know it. The
made up less than one third of the average people (referring to the 30 year old males stalker issues, and general contempt for could turn out to be was normal, so I say people who thought they had crashed are
28 song, three hour Pearl Jam show. You that filled audience). Pearl Jam has finally the ideas of stardom and pop culture. freaks in the most complimentary way. now coming to the shows, being blown
can see why many are starting to compare sacked up and realized it’s time to be THE Their philosophy of humility has been a Here’s a song by a fellow freak.” away, and asking for more. There is no
their shows and cult-like following, to band for these guys.” That may sound Pearl Jam trademark for the past ten years Eddie followed that quote by turning back this time, the band is having
those of the Grateful Dead, a comparison fairly cryptic, but it made a hell of a lot of and is largely responsible for fostering performing a solo, acoustic version of John fun and has given every indication that
Vedder finds laughably absurd due to sense to me at the time. I got so excited the formation of their cult-like following. Lennon’s “Hide Your Love Away.” Sure, they foresee things rolling like this for
drastic musical differences. that I even mentioned that I wished I Perhaps their shying away from the maybe the guys would like to add even many years. If you have or had any
Playing lengthy shows with high wrote for Rolling Stone, because I wanted limelight is what enabled them to stay more diversity to their set lists, but the interest in Pearl Jam whatsoever, even
frequency for 15 years can be a grueling to share all of the divine insight that had together, productive, and alive for the past heavy Ten bias, rarely playing Binaural if you just like a song or two from Ten, I
endeavor. How many relatively been bestowed upon me. Now that I fifteen years. It’s impossible to predict and Riot Act (two of their least well implore you to listen to the new album a
mainstream bands have been able to tour actually do have the chance to write about where the band would be today had they received albums), and always playing the couple times and get to a show. I would
regularly and produce albums for that it, it neither sounds quite as good, nor not. We all remember the outcome of Kurt singles are what the “normal” people come be surprised if you didn’t bump into me
long without burning out or fading away? makes nearly as much sense, but I think Cobain’s war with stardom. to see. Add to that the Mike McCready on campus and tell me it was the best rock
What Pearl Jam has done, and continues I was referring to the fact that I could not That being said, if they were disgusted highlight reel featuring Neil Young’s concert you have ever attended.
to do, certainly does put them in elite think of any other bands that have been by all of the crap that’s played on MTV “Rockin’ in the Free
company. Having had the pleasure of consistently rocking since that group of and the radio today, why not make a World,” a jammed out
experiencing the seismic level of energy thirty year olds started high school. Pearl catchier song or two and have people “Yellow Ledbetter,”
that erupts at each show, I find it amazing Jam may have fallen off the radar a bit, but listen to your music, which is infinitely and a Hendrix-esque
that this level of energy, shared by Pearl they never ceased to put on one of the best better than said crap? If they’re so “Star Spangled Banner,”
Jam and the audience alike, never wanes. shows in the business. Now that they’re passionate about politics, why not amass while the house lights
This sustainable energy is potentially back and seemingly ready to accept their a larger fan base to which they could conveniently come on
even harder to achieve during this tour, responsibility as heroes. This group of pitch their propaganda? And if they’re during the final encore,
because the band has focused on pleasing beer swilling 30 year olds now has a band, legitimately scared of making a lot of and you may catch a
the average fan by playing Ten classics one that they’ve grown up with, to get money, they could simply give even more few “normals” drop
such as “Alive” and “Even Flow” at nearly excited about again. This isn’t some joke to charities. It took them awhile, but the word legendary.
every show. In a recent interview with of a reunion tour, where you have to pay a they seem to have realized that fame isn’t Despite the increased
Rolling Stone, Eddie was asked how he is hundred dollars to watch some half dead all that bad. Letterman, SNL, and VH1: predictability due to
always able to seem really into the songs sixty year olds just trying to live through a Storytellers appearances, a Rolling Stone renewed attention
that he sings each night. His response concert. This is one of the greatest bands cover, the success of “Worldwide Suicide” paid to the “normal”
was surprisingly simple. He doesn’t fake of their high school glory days running on as a single, frequent interviews, the “Life crowd, the band never
it or use some trick to fire himself up, for all cylinders. Wasted” music video, and set list changes forgets to throw a bone
him, it’s all about the music. “I dare you The idea of familiarity is an important are all indications of this realization. or two to their beloved
to sing ‘Black’ and not feel it. I dare you,” one here. Pearl Jam is finally choosing I guess I shouldn’t be the one complaining, “freaks.” When the
was his reply. He feels that, “If you’re to be a familiar name again, like they because No Code and Yield are my two band played “Rats” in
gonna play the song, you better play it.” I unwillingly were in the early 90s, and like favorite Pearl Jam albums and they are Albany for the first time
know I speak for many, in fact, just about they could have been all along. Beginning products of the band’s former mentality, “since Matt Cameron
everyone in the crowd on a given night, with No Code in 1996 Pearl Jam began to but as this encore break speech Eddie joined the band” in 1998
when saying that I sure as hell feel it. It’s isolate all but their most devout fans by made in Albany indicates, things have and when they dropped
Life’s Soundtrack was a relaxing activity where one didn’t
have to concentrate on anything in
particular and could lose himself, even if
just for a moment. Those days are largely
gone.
Why do we do this? Because we can.
Ear-buds, iPods, laptop computers and
car stereos allow us to get our aural fix
while we go about our day-to-day lives.
After having spent the afternoon in
novack half studying, half chatting, with
your headphones half on, why would
you bother to spend an hour listening to
driving, music? You’ve been listening to music all
or day! Maybe I’m the only one that feels this
working, or way, but a song sounds different when it’s
jogging, or only coming through the one ear-bud that
fucking. When isn’t dangling near my shoulder. when I
you are watching take the time to sit on my couch, close my
a movie and somebody asks you what eyes, and listen intently to a piece that isn’t
you are doing you say, “I’m watching a competing with kilograms of background
movie.” But when was the last time you noise, I gain much more appreciation.
were actively listening to a record? Almost Musicians put their heart and souls into
all of the time we spend listening to music, their work. They devote their lives to it.
Indie Editor we are doing so as a secondary activity, as Every nuance is intended to be grasped,
an enhancement to make studying more every lyrical phrase pondered. We won’t
bearable, to make the basement scene less even notice most of the audible nooks and
Wow. I’m surprised you’re reading this awkward, to make your walk to class less crannies in the tunes we listen to, unless
article. I’m shocked you were able to fit it boring. There is of course, nothing wrong we meet the artist halfway and give them
into your busy day of class, reading, blitz with this. Music makes everything better. the focus they deserve and expect.
notifications and binge drinking. We all lead I’m listening to music as I write this very Try it sometime. It won’t take that long.
hectic busy lives, and unfortunately in order article. However, there is a fundamental You can listen to three whole LPs in the
to save time we sacrifice certain luxuries, difference between listening to music as a time it takes you to watch one shitty
but one of them has been taken too far. subsidiary activity, and to giving a piece of movie. The next time your friend tries to
Music has been marginalized as an art form, art your full attention. convince you to watch Episode II: Attack
because nobody actually listens anymore. There was a day when kids got together of the Whatever, tell him to go speak some
When you are looking at a painting you and listen to records. Just like watching Klingon or something, ditch the movie,
devote your attention to it. You aren’t a movie or a TV show, listening to music and put on some music.

Chris Symeonides on Genres really don’t want to associate with the kind
of people who can explain the subtleties of
“Big Beat” and “Jungle”—that shit’s just
My name is Chris, and to this music, my first impression is not weird. Trust me.
I have no idea what the grimy soap scum. Problems exist even with genres which
hell “Krautrock” is. Most of the bands associated with most people assume are settled. I found
As a self-described the term had little in common with one this to be the case when I tried to explain
music junkie, it’s a very another, aside from the fact that most of what “punk” music is. How exactly am I
difficult admission to make. But the simple them originated from the Seattle area. supposed to explain that The Clash’s “The
truth is that when it comes to genres and Pearl Jam was more of a classic arena-rock Right Profile” is in the same boat as the
labels, I’m a borderline moron—but it’s revival band, Nirvana was more of an Dead Kennedys’ “Terminal Preppie”?
something that I have in common with alternative-punk mix, the Screaming Trees And this doesn’t even cover the idiocy
most music fans. Musicians are loathe to were psychedelic, and Soundgarden was a of labeling popular music “alternative” (a
accept them and do anything to distance progressive Sabbath/Zeppelin-influenced great source of jokes for music journalists
themselves from them, yet critics can’t trip band. The closest anyone came to in the mid-90s) or bands that appear on
over their keyboards fast enough to label something called “grunge” was the Alice major labels as “indie” (same thing, except
each new band with their own personal in Chains song “Sludge Factory”, which mid-00s). Let me clue you in, these titles
trademarked term. was written in the movement’s dying days. act as euphemisms for “tuneless”.
These terms just cause my eyes to glaze Of course, every band hated the term, In the end, I think this problem is best
over: Noisepop, Grunge. Dance-Rock. which was created solely to sell trashy left for the philosophers—we attempt to
New Wave Revival. Krautrock. Shoegaze fashion. But the thing is this—I like each constrain the ultimate creative expression
and slowcore. Post-punk, Post-rock, and every one of these bands, and it by arbitrarily creating boundaries.
post-modern, post-anything. The various provides a convenient label to use when We’ve solved nothing here today, but, at
colorations of Metal. House, Jungle, describing my taste in music. However, I the very least, I hope you’ve learned a
Acid, IDM, Trance, Drill’n’Bass, and all am reluctant to accept other genre labels couple of new terms to throw around in
things Electronic. And of course, catch-all at face-value due to my own knowledge of conversations to make you seem much
terms like Indie and Alternative, which are the misuse of the “grunge” tag. more-informed than you are. Because
meaningless, yet useful at the same time. Broad labels are not the only problem; really that’s what this is all about.
My interest in the labeling of genres the opposite dilemma exists as well—some Does Krautrock come with beer and
stems from my love of the music that was genres are way too subdivided. Is there sausage?
coined as “grunge”, a term that seems so really a need to divide Techno into a
despicable in this day and age that there million categories, based on where the hi-
is practically no one left who will own up hat hits? Of course, you shouldn’t really
to loving this type of music. When I listen care about the difference. Honestly, you
 Why do we all listen to music? What low frequency sounds reaching the baby. music. The teenage years are when musical
purpose does it serve? Why does music On top of the steady rhythm of mother’s taste truly develops, and though it may
affect us the way it does? Why doesn’t heartbeat, it’s no surprise that most people be influenced by the prenatal experience,
Ol’ Rover feel the groove? and babies gravitate towards beats and there are other factors. Social group and
lower tones similar to their first musical social identity have a huge impact on the
Music and Biology experiences. type of music people listen to. These songs
Music has no transparent evolutionary The common undercurrent running of your glory years will form a lasting
advantage, but is prevalent in every through most types of music relates back impression and be the music you will
society across the globe. Mothers to human intelligence. Good music (no listen to when you are old and decrepit,
everywhere use music to comfort their matter who you are) generally sets up long after your twenties have ended and
babies and nearly every ritualized event expectations that meet enough of our your musical horizons have stopped
includes music. Humans are seemingly predictions to make us pleased with our expanding.
built to appreciate music. We can detect cleverness, but violates enough of those
slight changes in pitch and frequency, Music and Sex
even if we aren’t trained to listen for You ever notice how musicians never
them, and human beings are better seem to have trouble finding buddies
at recognizing clips of songs for whatever kind of play they’re
than any computer. If you can up for? Well, that’s easy. Music =
identify songs in less than sex, or 50,000 years ago, sexual
three seconds, you can fitness. Levitin suggests that
even get a job tallying music was developed by
radio station play lists males to attract mates
for the American and then selected
Society of for by the females.
Composers and Males would
Publishers. generally perform
Listening a combination of
to music is music and dance
built into to show their
our brain’s prospective
pleasure mates that they
and reward were both
system. mentally and
When people physically
listen to music, a healthy,
neurotransmitter displaying not
called dopamine only that they
is released into could learn what
the brain, it took to play
creating an instrument
feelings of correctly and to
pleasure. create a song,
This but also, that
obliges the their motor
organism control was
to repeat beneficial able do what
stimuli that create is needed to play
the same feelings and dance. Think
of pleasure and peacock showing off
contentment, teaching for the peahens. And, as
the body to pursue certain mentioned above, music
things (orgasm) and avoid stimulates the same areas
others (sulfur). The same of the brain as arousal, but
regions of the brain that then, you knew that already.
are activated for other forms Grab your favorite music major.
of reward and arousal are also buzzing You’re the motivation for his music.
when we listen to music. Apparently, Not everyone believes that music has
nature wants you to listen music more. been a beneficial and definite part of
humanity’s development. It has been said
Music and Human Development that “its basis is purely hedonic,” “an
Daniel Levitin, musician, producer, evolutionary parasite”. I would prefer to
and assistant professor of neuroscience believe that music was developed for a
at McGill University, has written a book definite purpose, that there is some need
called This is Your Brain on Music which expectations and surprises us enough to in human beings for music. And Darwin is
takes a psychological look at the reasons keep us interested. Music that children on my side.
people across the world have devoted love is often considered repetitive and
so much time and effort to making and boring by adults, who are used to the This Is Your Brain on
listening to music. Levitin believes that standards of music in their own culture.
exposure to music begins in-utero, due to Children are still learning the rules for Music: The Science of a
the fact that babies have been shown to what is standard in music, so things Human Obsession
prefer music that their mothers listened adults have heard dozens of times may
to while pregnant. Hearing is the first be enough to interest a child. As children Dr. David J. Levitin
grow and become more acculturated by
sense to be fully developed, in about the
their society’s music, they tire of simplistic Penguin Books
fifth month. Music in the womb would
sound like it’s underwater, with primarily tunes and listen to more complicated
 Off the Dome
Jay-Z, Tupac, Eminem, and the Game. but are able to put together entire tracks
Relax, I’m not saying he (or the Game for by simply reiterating or varying their
that matter) is as good as any of the other freestyles. There is something about the
emcees in the category – not yet at least. I “off the dome” approach that has a special
am simply suggesting that these rappers appeal for me. The spontaneity adds a
have an intuitive knowledge of the flow unique and refreshing aspect to a song that
that allows them to rap without an obvious lyrical preparation cannot match. In the
rhythmic structure. midst of a pure freestyle, the artist loses
Emcees like Jadakiss, Big L, Cam’ron, consciousness in a sense, as unfettered
Fabolous, Ludacris and Lloyd Banks have expression becomes one with the beat.
had tremendous success with highly If you ask me, the ability to come “off
structured rhythms, as their styles allow the dome” is a true sign of emcee talent
more focus and stress to be placed on their and skill. Of all of the Hip-Hop greats,
descriptive, vivid and/or playful lyrical regardless of how they approached
content. Less originality and variations in recording their songs, they all are or were
the flow usually allow for more creativity gifted enough to drop bars and bars of
with the word choice, which explains why beautiful and fluid rap improvisation, and,
When listening to the Lil’ Wayne’s Jadakiss and Big L are among the best at in some cases, they are even skilled enough
albums , I can’t help but follow the conveying hard and poignant lyrics, and to make entire tracks of spontaneous
ridiculous flow and word intonations, as why Ludacris and Lloyd Banks manage to inspiration. I personally commend rising
the 22 year old seems to land his squeaky rap with such playful and witty imagery. hip-hoppers like Lil’ Wayne who take the
voice so effortlessly and unpredictably on All professional emcees can plan “off the dome” approach because it truly
any beat given to him. Although some may out a structured song before hand, but adds a refreshing flavor to rap music while
find his lyrical content a bit mundane and a much smaller portion of them have giving it more credibility as a musical
his voice a bit aggravating, I can overlook the skill to freestyle impressively and genre. Maybe record labels should make
these shortfalls, because his original flow properly incorporate it into recorded art. it a pre-requisite to freestyle for 200 bars
variations and emotion-filled vocal tones Such rappers are set apart by this “off before being able to sign an emcee to a
make up for them. the dome” approach, where they step deal. A few purely lyrical rappers might be
I have grown much more fond of Weezy up to the microphone with less written lost, but I guarantee that the fake bullshit
(as some call him) over the years as the preparation. Eminem has been rumored you hear on the radio that gives rap a bad
countless hours of hip-hop listening have to completely freestyle some his songs, name would be cut-down immensely.
led me to favor erratic and fluid rhythms which may explain the randomness of
over formulaic and repetitive flow types. I his subject matter in songs like “Rain
would put Lil’ Wayne in the same category Man.” Jay-Z and Lil’ Wayne have been
as “free-flowing” emcees such as Biggy, known to write almost nothing on paper

PROTEST MUSIC feminist, anti-war – were occurring

almost simultaneously. Growing numbers
arguably equal importance). Many major
musicians attempt to get their message
and influence of the baby boomer across verbally at concerts and festivals
Protest music, generation galvanized movements. The if not in their music, and just as many
in one form or draft must also be taken into account, support causes they believe in with
another, has played which undoubtedly increased the their own funds, such as Elvis Costello,
an important role popularity of the anti-war movement and Dave Matthews, Bonnie Raitt, and the
in many periods of history. Musicians protest music. Dixie Chicks (who have recently had to
often give a face and a voice to social Having over 300 television stations and cancel many scheduled concerts due to
reform and other movements. Artists such more publications describing what shoes their politics). While a number of hip
as Woody Guthrie, Joe Glazer, and Pete to avoid than those that focus on current hop and pop musicians have written
Seeger played a formative part in the U.S. events makes it all too easy to avoid songs protesting the war, these songs
labor movement. Bob Dylan, Joan Baez, absorbing news. Now large corporations are virtually ignored as album fillers.
Harry Belafonte, Phil Ochs, Peter Paul and have a near-monopoly on radio stations, There are also countless musicians who
Mary, and countless others sang for civil stripping earlier generations’ independent independently create and produce their
rights, free speech, and disarmament. A DJ’s of the influence they once had. The own music with a message; however in
musician today however would have a recording industry has become more and most cases you have to know where to
great deal of trouble making a name for more commercialized, which involves look. Musicians are still protesting, but
himself using the same approach. choosing profits over message and like it or not the
At a Crosby, Stills, Nash & Young offending as few people as possible. audience isn’t what it
concert I attended this summer, Young The music of the singer-songwriters of once was. If you’re
attempted to engage the audience in a the 60’s probably didn’t change anyone’s looking for a lone
sing-a-long rendition of his newly released mind – the music was simple and the songwriter and
“Let’s Impeach the President for Lying,” message often obvious – and a resurgence his guitar singing
and Crosby & Nash’s “Immigration Man.” of protest music today would most likely new songs and
With exception, the crowd seemed a great not do so either. However, the music and asking for peace,
deal more appreciative of “Southern festivals offered a focus and an outlet for be prepared to do
Man,” “For What it’s Worth” and “Ohio.” the causes of the time, brought awareness to some solitary sifting.
I was frustrated with what seemed like a generation through popular culture, and
a desperate attempt at recreating an encouraged dialogue and action.The ability
atmosphere that doesn’t exist anymore. of music to unify that generation is perhaps
Why is it that songs of the same genre lack something important missing in the realm
the audience and influence of similar songs of activism for our own.
from other eras? Many artists, such as Ani Difranco,
The cultural and political environment Green Day, Pearl Jam, The Coup, and
today is quite different than that of the Bright Eyes feature themes of social
Vietnam War era. Then, several influential or political discontent (as opposed to
movements – civil rights, free speech, those regarding ones “lady lumps,” of
 The Young Knives Audioslave
Voices of Animals and Men Revelations
Release Date: Aug. 21, 2006 Release Date: Sept. 5, 2006
Wea International Sony

T his British trio’s freshman effort surfaces among the recent

flood of British post-punk art-rock revivalists. Echoes of the
Strokes and the Futureheads reverberate throughout the
record. Additionally, The Young Knives’ roots are obvious and
increasingly commonplace: XTC, the Jam, and Gang of Four are
F ive years ago when we heard rock supergroup
Audioslave’s eponymous debut album, we were blown
away. It wasn’t Soundgarden Redux or Rage Against
the Machine Rehashed, but rather possessed a new sound
that incorporated some of the best elements of both bands.
Guitarist Tom Morello retained his raw style of play from
most prominent. And yet, Voices of Animals and Men could be one
of the most distinctive debuts of 2006. Rage, and Chris Cornell’s dark and emotional vocals replaced
Opening with “Part Timer”, the album is immediately charged, de la Rocha’s occasionally annoying rap, giving us an album
infective, and restless. A majority of the tracks share these that was at once heavy and melodic. While it may not have
qualities, resulting in a record pregnant with edgy hooks and been revolutionary in breaking down genre barriers or
melodies that will inevitably pulse in your head later in the experimenting with new sounds, it was a powerfully hitting
day. Even tracks like “Another Hollow Line” and “Temblings of record that swept us away and had us angrily shrieking and
Trails,” which ease off the frantic riffs, find brilliance in their keen wailing along to its tunes. It established the band’s strengths:
melodic punk sensibilities. power, anger, and the ability to get us carried away.
Of course, like any worthwhile band, the true character of Latest release Revelations’ title track (also the opener) aptly
The Young Knives resides in more than catchy hooks and jittery reveals that this new album is lacking those very qualities
bass lines. Henry Dartnall’s vocals can only be described as that made the debut worthwhile. Quitting smoking and
idiosyncratic; sung with a pitch-shifting British twang, they are excessive boozing has taken the character out of Cornell’s
fantastically treacherous. “In The Pink” features choppy lines voice and smoothed out his compelling rough edges, or
of cynical fury intermittently met with a sinking, melancholy at least the album has been remastered to sound that way.
refrain that makes you feel as though you fell into a Shins’ album. “Revelations” – and half of the other tracks on the album
The Knives weave pleasant harmonies, hard-hitting anthemic – sounds like soulless, mainstream rock. There are certainly
verses, and random, nearly out-of-place falsettos so tightly that moments when they sound like the hard Audioslave we love,
the result is a quirky sound, which is complimented by the band’s but overall, the melodies and arrangement are so trite that
solid instrumental groundwork. The writing is generally as good not even Morello’s guitar can salvage them. There’s just no
as the other aspects of the album. Although many of the lyrical edge or energy.
references are lost on an American audience, their wit shines The half of the album that isn’t just bland rock finds
through, highlighting their penchant for furious observations Audioslave attempting to create a new sound. Morello has
on subjects like the working class (Weekends and Bleak Days), described the record as “Led Zeppelin meets Earth, Wind
elitism (Loughborough Suicide), and boredom (Part Timer). and Fire,” and on tracks like “Original Fire” and “Broken
Unfortunately, Voices of Animals and Men is far from perfect. City,” we do hear some funk and R&B influences though the
Rearing their appalling heads about halfway through the album, Zeppelin is missing. These moves may appeal to a different
“Tailors” and “Half-Timer” are terrible songs, and they absolutely audience than the band is used to, but fans of Audioslave will
kill the rush delivered by the previous 6 six tracks. The energy likely be disappointed. The funky guitar riffs and variegated
of the first half of Voices never fully returns after this mid-album rhythm stylings just aren’t Audioslave’s forte.
two-track train wreck. If you’re really craving some new Cornell, try and find
Despite its weak points, this is an excellent debut by a band a bootleg of an unplugged show he did in Sweden as a
whose sophisticated immediacy is instantly appealing. Overall, promotion for Revelations. Download “Moth” and be done
Voices of Animals and Men is an invigorating listen – before “Part with this disappointing effort from a band we deserve more
Timer” even finishes, you’ll be hooked. from.
Tim Bakke Chet Ramamurthy
 A duo that has remixed everything from After a chilled-out interlude in the
Britney Spears to Dido to Nalin & Kane form of “Not Enough” and “Amsterdam
to the theme of Brokeback Mountain, Josh Interlude,” the tempo picks up again with
Gabriel and Dave Dresden finally give us a relief from vocals and a floor-shaking
their debut genre-defying artist album. The “Sydney,” leading to the finale uplifting
album as a whole has a very harmonic, “Tracking Treasure Down.” It sounds like
introspective feel and while certainly not it should be an anthem but unfortunately,
a typical “dance” album, there is a broad it doesn’t quite make it.
range of styles here, Good though they are, I can’t
from a deep dance shake the feeling that the
floor sound verging vocals do get in the way of
on house to an almost some of the tracks and are
commercial, radio- a distraction from G&D’s
friendly pop style. All excellent production skills.
but two tracks have While all cuts from this
vocals, though not the album have their moments,
ethereal vocals we’re there’s no true standout
used to in trance; track here. Nonetheless,
instead it’s about innovative use of sounds in
punch and attitude places, careful filtering and
Girl Talk here. effects, and a very unique
Night Ripper The opener “Let Gabriel & Dresden style make this album a
Go” is typical of great listen and certainly
Release Date: May 9, 2006 the whole album, Gabriel & Dresden something fresh, provided
Illegal Art with lots of vocals, Release Date: Aug. 8, 2006 you’re not expecting four-
jingly synths,
background acoustic
Organized Nature Records to-the-floor pumping dance
floor tracks throughout.
guitar arpeggios, and Overall, this album feels
percussion, which combine to sound like it wants to be great, and has all the
Night Ripper sounds like the unconscious more like rock than dance. Nevertheless, elements required to make it a classi but
of a pop-music obsessive five milligrams it’s catchy, thoughtful, and uplifting. it’s crying out for a tougher remixed
of Adderall short of heart explosion. Appearing a few lackluster tracks later, version that cuts most of the vocals and
Composed of mash-ups, it joyously the snappy “Closer” is one of the album’s ditches the dodgy synths but keeps the
bounces from sample to sample to highlights, with sharp production and great patches.
sample—over 150 in all. Overall, it is one great synths, though I would have liked to
of the most fun albums in recent memory, hear a non-vocal remix. Samuel E. Kohn
a frenzied celebration of all that is pop
music. About two minutes into “Smash
Your Head,” the “Tiny Dancer” piano This time, celebrated genre-defying gives way to “Backstage Girl,” a terribly
melody drops like a bad habit as Biggie turntablist DJ Shadow (Mike Davis) long story of a sexual tryst with a
raps like a man about to die. Words fail, seeks to establish his continued groupie (complete with guitar swagger
jaws drop, white people dance; the mash- relevance by embracing the rising that desperately needs to be sent back to
up as grace. trend of Bay Area hyphy hip hop. Kid Rock) that’s really only an excuse to
Girl Talk is Philadelphia DJ Greg Gillis, This move fails – the mainstream rap use the line, “I gotta stop fucking with
and his genius is selection. Every sample is tracks taking up half the album could these bitches off of MySpace, dog.”
precisely the best part of a great song: the almost have been written by anybody That said, some of the hyphy
string hook from the Verve’s “Bittersweet else. The underwhelming tracks manage to
Symphony,” the piano line from Phantom performances of guest be catchy - “Enuff”
Planet’s “California,” the 50 Cent’s first artists such as Keak proves charming
verse from “Hate It or Love It.” Part of the Da Sneak and E-40 with its salsa dance
fun of the album is trying to identify the come off as phoned- sensibilities, and
samples’ sources, which range from the in reminders of these E-40’s son Droop-E
Pixies to Southern rap to the Beatles. artists’ fondness for provides a bonus
The greatest achievements of Night the finer things of remix of “3 Freaks”
Ripper are the glorious juxtapositions in the hyphy culture: stunner that improves a bit
vein of the Biggie/Elton John masterstroke shades, gas breakin’ upon Davis’ original.
described above. The album is full of such and dippin’, getting But nowhere does
moments: the Game verse is on top of dumb, turf dancing, the album get any
pastel synths that put his fire on ice, and and buying magazines better than the
the “Bittersweet Symphony” sample is laid about car stereos. aforementioned
under the most profane rapping the Ying- Davis’ experimental 1960s soul of “This
Yang Twins have to offer. If that sounds style does shine DJ Shadow Time,” an enjoyable,
crazy, wait until you hear it. through a bit on each The Outsider if not slightly
The samples have intensity in common. song, though, even if Release Date: Sept. 19, 2006 rudimentary, exercise
About ninety seconds into “Hold Up,” the only as the cheery ba- in turntablism. With
“Laffy Taffy” chorus soars over a beat of ling! of a Game Boy Universal Records/Island Records The Outsider, Davis’
unearthly speed. Before the song is over, or an odd choice of scatterbrain style
every sound is new: call-and-response synthesizer. Sadly, his genre-mashing misses the mark.
rapping backed by chopped-up snares, style doesn’t operate with the usual In future albums, I hope never to
and Weezer’s “Say It Ain’t So” guitar solo smoothness, leaving the album a jumble again hear The Federation rhyme “ghost
as the fireworks over the grand slam. of self-contained tracks thrown together ridin’ the whip” with “[she] ghost ridin’
Night Ripper is a party. Invite your friends. in a schizophrenic hodgepodge. Soulful my dick.”
1960s Al Green sounds are suddenly
replaced by the thumps of mainstream
Alex Howe rap. A frantic storm of electronic beats Joseph B. Hilgard
 Lately, it seems as if every surfacing they also mimic Queen with high-pitched
new wave band breaks out with a hit group background vocals, and the track
debut record only to spiral into relative comes off as clumsy and awkward rather
oblivion due to an uninspired sophomore than empowering and energetic. Although
slump. lead single, “When You Were Young,”
The Killers clearly harness inspiration, authoritatively and aggressively charges,
but it seems altogether too fake. Rather the album lacks a definitive toe-tapping
than developing in a jam. Without the incredibly
new direction all catchy anthems found on Hot
their own, Brandon Fuss, Sam’s Town ultimately
Flowers and company lacks a substantive base.
strive to no avail The Killers take
to assume defining themselves too seriously, and
characteristics of the negative effects manifest
legendary artists. They not only musically, but
leave behind the bits lyrically. Flowers struggles to
and pieces of David establish a deeper meaning
Bowie channeled so to his lyrics, but he lacks the
beautifully on Hot literary skill to pull off the
Fuss, in favor of lofty metaphors he shoots The Mars Volta
motivation from a The Killers for. Lines such as “he doesn’t Amputechture
supposedly more look a thing like Jesus” fall
mainsteam musician: Sam’s Town flat and leave the listener Release Date: Sept. 12, 2006
Bruce Springsteen. Release Date: Oct. 3, 2006 entirely unimpressed. The Universal Records
Unfortunately, such a
stretch proves far out
Island, Lizard King Records Killers must continue to
pursue musical adaptation
of the group’s reach; and evolution. Next time
they simply lack the experience and talent, we want to see them do something unique,
among other things, possessed by the Boss. original, and true to their style. I’m baffled. I don’t get it. The Mars
“Bones” showcases Flowers’s voice by Volta should not be in the Billboard 200
pushing it slightly passed its limits into a (peaking at No. 9). The general public
Gregory Dona
warm, embracing tremble. Unfortunately, should not like them, but it does. Granted,
they did have the advantage of riding the
coattails of At The Drive-In, and have John
Gov’t Mule began in 1994 as a power the point of seeming stale at times. The Frusciante and Flea of the Red Hot Chili
trio, a love letter from frontman Warren worst offenders are “Mr. High & Mighty,” Peppers playing on their albums. But come
Haynes and bassist Allen Woody to classic which follows in the same vein as “Mr. on, their songs are long, bombastic, and
groups like Cream and the Jimi Hendrix Man” from Déjà Voodoo and the Free cover lack structure. However, I guess once in a
Experience. Although the band had to “Mr. Big” (see a pattern here?) from their while a band receives recognition for being
replace Woody after his death in 2000, and 1995 self-titled debut. Not to mention one of the most adventurous Progressive
added a permanent keyboard player on “Nothing Again,” which is such a rehash Rock bands out there.
their last album, 2004’s Déjà Voodoo, they of Voodoo’s “Little Toy Brain” that Haynes This is their third album since
have stuck to their classic-rock guns. High can’t help but play a nearly identical solo. their debut in 2003. While it is not as
& Mighty is no exception If you’re already mind-boggling as their debut or as
– Warren and the boys have a Mule fan, High & uncompromising as their sophomore
come back with more of the Mighty is an album effort, The Mars Volta really hit their stride
same bluesy rockers and worth getting excited with this one. The album encompasses
heartfelt ballads fans have over. This band is at all that has made the ‘70s Prog bands
come to expect. its best in comfortable legendary: breaking new grounds without
Haynes’s powerful, classic-rock territory, sounding contrived. Rather than abusing
soulful voice, like an older as evidenced by the the old template, they bring back what
Chris Robinson with better disappointing reggae makes this style progressive: being bold
enunciation, is in top experiment “Unring The and taking risks in their composition
form, adding a sense of Bell.” If at times a little of music. They manage to meld widely
drama to the album.. This too formulaic, the album differing influences ranging from Metal,
is especially true on the is still altogether good. Classic Rock and Latin music into organic
up-tempo “Streamline The arrangements songs. To be sure, there’s the meandering
Woman,” as the somewhat Gov’t Mule are generally an of ambient passages and the seemingly
generic lyrics (“Ooo, High & Mighty improvement over Déjà endless guitar solos which some might
streamline woman, let me Release Date: Aug. 22, 2006 Voodoo in that Danny find annoying. For fans, though, that’s
be good to you”) become Louis’s keyboard parts the beauty of The Mars Volta – they do not
convincing through Red Ink mesh a little better with cater to cookie-cutter conceptions of what
Warren’s strong, but the rest of the band, and music should be.
nuanced delivery. Another highlight of the feel like less of an afterthought. If you So thanks to the Volta, Prog is back in
album, “Like Flies” pairs a sinister guitar approach this album expecting the band to the spotlight, where it used to be in the
line with lyrics that harshly criticize pop break new ground, you’ll be disappointed. days of Genesis, King Crimson, Pink Floyd
culture, accusing those “who wouldn’t However, if you’re looking for more of the and Yes. In sum, this is an outstanding
know the difference between Vin Diesel Mule you have come to know and love, work of art that has to be appreciated to its
and Van Gogh” of “spreading filth / then by all means, pick up the album. fullest. I suggest headphones!
buzzing all around my head / like flies.”
Haynes’s formidable slide guitar chops Noah Hall Henrik Bliddal
make an appearance for the reflective,
nostalgic anthem, “Brighter Days.”
High &Mighty’s biggest strength is also Gov’t Mule’s original bassist, Allen Woody, died of a heart attack in 2000.
its biggest flaw – it’s more of the same, to Andy Hess, bassist for the Black Crowes, currently tours with the band.
 hard guitar riff and a thrashing drum beat. and growth, the song takes your mind,
A track similar to “Glasgow Mega-Snake” wraps it around a mesmerizing pedal steel,
is “We’re No Here,” another heavy-hitting and fazes you in to whatever daydream
post-rock episode of the Mogwai of the you want. Aptly named, “Acid Food”
past. The sole purpose of “We’re No Here” comes as the drug of choice of the album.
seems to be drawing as much sound as Mr. Beast isn’t a Young Team. It’s not
possible out of their instruments and even a Come on Die Young. Instead, it’s a

“
expelling a riot of the loud and angry. grown-up version of the smashing tracks
The theme of restraint seems to be a of their earlier albums. None of the songs
constant in Mr. Beast, limiting yet reach the six minute mark, while past
controlling their epics like “Mogwai
potential. In Fear Satan” on
tracks like “I ...[“Acid Food”] takes your Young Team reached
Chose Horses,” fifteen minutes or
which feature mind, wraps it around a more. The album

”
a combination
Mogwai of a soft, slow mesmerizing pedal steel, portends greatness;
it just needs the
Mr. Beast mix of guitars
and synth with
and fazes you in to whatever time and space
to realize what it
Release Date: Mar. 6, 2006 the comforting daydream you want. can become. The
Matador Records spoken Japanese harder, post-rock
of Tetsuya Fukagawa of the hardcore band tracks could use more freedom in
Mr. Beast is not just the title of Mogwai’s Envy, the self-control is reassuring. The song expanding and swelling to the grand sizes
latest album – it’s a metaphor for the chooses not to go places, but instead to wax of Mogwai’s earlier songs. While maybe
music they create. Each track is an animal and wane gradually within its boundaries. lacking in scope and ambition, the album
that seethes, growls, and purrs. With the “Acid Food,” another vocal track, is one finds beauty in Mogwai’s newfound
explostion of Young Team onto the scene, of the shining moments of Mr. Beast. The minimalism. The piano sings softly and the
Mogwai redefined a genre and gave life steady background complements the lyrics drum hits clean and crisp to craft a new
to a creature that would spawn multiple perfectly – “we learnt them as we went / direction. Mogwai says it best themselves:
bands for years to come. If the long, epic forgot them straight away / the ones we left “we’ll come back the other way.”
tracks of their earlier albums were the behind / the ones we sent away.” Almost
untamed animals of the post-rock world, as if Mogwai describes its own progression Leon Chang
this latest album takes these beasts and
tacks on a title to their names. Call it “Mr.” Over the course of the last two years,
Beast. Steve Lawler has distinctly changed his
“Auto Rock” opens with a simple style as a DJ. Long gone are the days of
piano melody, growing in force as synth “Dark Drums.” The tribal house style
counterparts and a pounding drum beat with which Lawler built his reputation
bring the track to a peak. This is the new, has been replaced by a mix of minimal
sophisticated sound of Mogwai. There is techno and synth-driven electro,
still that undeniable power and intensity reflecting a recent trend that has seen
in each track, but you can feel the reins many DJs (Lee Burridge, James Lavelle,
being pulled in ever so slightly. The tracks and even John Digweed) making this
sound clean and crisp, the muzzle is transition to a more “electro” sound.
strapped a little tighter. Tracks like “Team While Lawler’s shift has managed to
Handed,” “Friend of the Night,” and retain his signature grittiness, it has
“Emergency Night” possess the grace and drawn rather harsh criticism, having
elegance of the New York Philharmonic. occurred more rapidly than the pace at
The increased piano presence contributes which the average DJ evolves his or her Steve Lawler
to creating this pleasant sensation. The style. Viva
simple melodies swell and spread, The first release from what will be
exploring more complex rhythms and a three part commercial series entitled
Release Date: June 27, 2006
sounds. In particular, “Team Handed” “Viva,” the mix distinguishes its three Viva
has a beautiful piano melody that shifts discs as separate “days.” The first disc
from a lullaby to a sonata and back again. is a warm-up, the second a peak-time “Jah,” and the Tiefschwarz remix of
A lighter touch can be felt all around, set, and the third an after-hours session. Lindstrom’s “I Feel Space.”
creating the sensation that the album fears Disc one is heavy on the synths, with Disc three’s after-hours mix is full of
breaking the silence that falls between thicker drum patterns and more vocals obscure down tempo and ambient tracks.
each key of the piano. than the other two discs. Nothing When big room DJs experiment with
Yet, whatever happened to the Mogwai groundbreaking, but the best disc to down tempo mixes, the result is very
we knew? Where are the cutting, searing listen to at home or in the car. unpredictable. Lawler’s attempt, while
tracks that would have our ears splitting Disc two, the peak-time set, sounds comprised of interesting songs, falls flat.
and our hands turning up the volume? most similar to what Lawler has been Sometimes mixed and sometimes just
“Glasgow Mega-Snake” brings back the playing in nightclubs. Although the faded, the third disc lacks cohesion and
sharp sound of distorted guitars and tracks are minimalist in nature and create comes across as rather boring.
crashing drums and delivers the intensity significant energy, tension and a tangibly All in all, Viva is a very solid release
of older Mogwai. Honestly, how can a darker feel, despite dub-heavy drums and will probably prove to be one of the
song with the word “Mega-Snake” not be and simpler synths that, at times, lack year’s best. Lawler proves that although
the rocker of the album? The song crushes any real melody. The driving bass lines, his signature tribal drums have been
as much rage as it can in less than four accompanied with punchier drums, reduced to something far more minimal,
minutes. The live version on the album result in a minimal, yet big room sound. the grittiness that characterized his earlier
is even better, and shows the absolute This is my favorite of the three, featuring style is still very much in effect.
power Mogwai can explode with given highlight tracks such as the Misc. remix
the chance. Not much can awe the senses of Trick & Cubic’s “Easy” M.A.N.D.Y.’s Mike Selvin
like the tried-and-true combination of a
 What would be the product of three spark the adrenaline of the runner and
of America’s top corporate forces – Nike, extended background moans provide
Apple, and Fox Broadcasting Company additional motivation to keep pushing. As
– coming together for a musical project? fatigue begins to set in, an amalgamation
Apparently, their combined influence of horns motivate the athlete to keep him
results in a 45 minute and 33 second track energized and performing at his peak.
from “OC” darlings These fade and give way
LCD Soundsystem. to the quickest time frame
Nike merged their yet. The body naturally
fitness prowess picks up on the frequent
with a group made aural vibrations and
popular by Fox’s hit responds with an inspired
show to mastermind last push to the finish line.
a jogging oriented, This rapid thrust peters
iTunes exclusive track. out and surrenders to
The group mixed a charming assortment
their addictive dance of chimes and various
beats, showcased on other mellowing sounds,
media phenomenon ensuring a relaxing
Kaki King “The OC,” with consummation of the
...Until We Felt Red Nike’s image to LCD Soundsystem workout.
craft a musically Although appealing
Release Date: Aug. 8, 2006 impressive track 45:33: Nike+Original Run as a standalone track,
Velour Recordings tailored perfectly for Release Date: Oct. 17, 2006 “45:33: Nike+ Original
the jogging hipster. Nike (iTunes only) Run” truly shines by
perfectly complementing
A passive beat eases
the listener into a comfortable jog a 45 minute run. The band achieves
before introducing breathy, rhythmic flawless timing – its ability to motivate
Kaki King has come a long way since whisperings calling for a slight lagging muscles just as they begin to
her debut release “Everybody Loves acceleration. As the song progresses, give way proves exceptional throughout.
You,” a showcase of her unbelievable and the pace picks up, pitches elevate, and Many wondered how LCD Soundsystem
unprecedented acoustic guitar technique. more sporadic noises arrive, all of which could improve upon their 2005 double disc
There were virtually no lyrics or non- indicate a need to kick the conditioning release. This function-specific project is a
guitar instrumentation on the entire into full gear. Trippy blips frantically worthy start.
record. I was shocked that her sophomore scattered throughout the tune subtly Gregory Dona
effort “Legs to Make Us Longer” contained
sparing use of drums, vocals, and other After capturing thousands of new fans with
added layers to her trademark sound. Now their brilliant album Z, it seems only proper
on her third record, “…until we felt red,” that MMJ would provide a live album to not
she has completely transformed into a only give a taste of their legendary live shows
singer and multi-instrumentalist who uses (the 3 and a half hour set from Bonnaroo this
full arrangements and prominent vocals in year comes to mind), but also to give new fans
many songs. While it is very different from a glimpse into their older catalog. The band
her old sound, I think “…until we felt red” is tight and energetic throughout, shifting
might be Kaki’s best yet. seamlessly from the old to the new, but the
Kaki’s vocals sound like those of a listener is left wanting a bit more. Perhaps
ghost, the most benign beautiful ghost the lack of true improvisation in the solos
imaginable. They are gorgeous and plays a part, but it’s the total lack of contact
haunting but at no point threatening. with the audience that is most unsettling. I
Instead they sound inspired and other- may be spoiled from listening to dozens of
worldy. The opening track “yellowcake” Pearl Jam boots that each have at least one
provides not only some of the most hilarious story in them, but really the only
appealing guitar on the album, but also My Morning Jacket indication that this is a “live” album is the
a vocal arrangement that stands your audience noise that filters in at the end of half
hairs on end. The non-vocal additions are Okonokos (Live) the songs. It’s truly a shame, because MMJ is
unpredictable and eclectic, including lap Release Date: Sept. 26, 2006 truly capable of putting together a landmark
steel, Wurlitzer, heavy bass, flugelhorn, Ato Records live album— but this certainly isn’t it.
dulcimer, some mild electronic elements… Chris Symeonides
the list goes on. On one song Kaki is
credited with playing “a bowl of corn.” consummate frenzy of finger-picking, improved in so many other ways that there
There is even a touch of distortion here harmonics and an innumerable variety of is simply no time to dwell on the past.
and there, but only on deep bass and other techniques. My biggest complaint In the end the album is reminiscent
various floating sounds. with the record however, is her neglect of of classical music but led by more
Both structurally and instrumentally, the “slap guitar” styling that put her on modern elements. There is a distinct jazz
King has taken her songwriting to an the map in the first place. Perhaps she felt influence, with a little rock and roll as
entirely new level of sophistication. Tracks that now, with the use of drums, it was well as some noise on the side. Its all very
such as “you don’t have to be afraid” are not necessary to call upon the percussive low key, but involving; something that
able to take us to many different worlds in nature of her old slap guitar. Ironically, you’ll be able to use as bedtime music,
a single song, something King was never though, these new songs are much less but only once you’ve listened to it a
able to do as a solo guitarist. The songs are percussive than her older work, even with couple times to get your head around it.
generally both appealing and interesting, the addition of drums. There are a handful Otherwise it will keep you awake with
easy listening with heavy thinking. The of instrumental songs, and lots of time images of brilliant red snow and molten
guitar is still the most prominent part spent on solo guitar, but at no point do we hot guitar strings zipping through your
of the arrangement. The acoustic guitar even get a hint of “Everybody Loves You.” hair. Yikes.
sound is intricate and gorgeous with a However, her sound has evolved and Bart McGuire
 O ne of the greatest things about Beck is
his ability to completely change styles
every album. From noise-rock to folk
to mournful acoustic ballads to Prince-
itself throughout. “Think I’m in Love”
and “Soldier Jane” are the same damn
song. (Tired Cliché Alert: Beck sings that
he “Thinks [he’s] in love” but it “makes
style audio sex, Beck has shown himself [him] kind of nervous to say so.”) The voice
capable of a great many distinct styles. sample that begins the album pops up
However, it looks like Beck has finally run again midway through, and the bass line for
out of ideas. His previous album, Guero, “Cellphone’s Dead” reappears on the last
was a straightforward no-frills album, a track. “New Round” sports a tedious and
re-treading of territory already explored. repetitive two-note swivel that is later copied
Now, The Information reveals a surprising by “Motorcade.” One almost feels that Beck
lack of progress, featuring the same new is stretching just to reach the one hour mark.
flavor – plain. Beck has now dedicated two Lazy and uninspired, The Information
consecutive albums to a middling rehash pays lip service to the breadth of Beck’s
of his earlier works. Centered on what style while demonstrating none of it, but
an arithmetic mean of Beck would sound it’s the timing that’s most worrisome. By
like, all the tracks lean slightly one way following up Guero with more of the same,
Beck or the other; some folksy, some balladic, Beck could well be dedicating himself to
some slightly hip-hop, with halfhearted writing garden-variety junk the rest of his
The Information folk guitar and a dash of turntable samples days. Download “Elevator Music” and
US Release Date: Oct. 3, 2006 throughout. “Cellphone’s Dead” and never look back.
Interscope But it’s not just that Beck is reheating
his earlier albums – The Information repeats Joseph B. Hilgard

suppressed panic and anger: “When the

refrigerator naked and the cupboard is
bare/ People got to strip naked, stick ‘em Every issue we provide our predictions on
up in the air/ Was it lies when they told some upcoming releases, and next issue we’ll
you wasn’t nothin’ to fear?” he asks the see how they panned out.
man on the street. That bare-cupboard
uneasiness works its way into every line; Modest Mouse
the closest Thought gets to romance is the We Were Dead Before the Ship Even Sank
rape and victimization of “Baby” – not Release: March 20, 2007
very close. Behind him, the band skips the
flaccid jams that marred earlier albums With legendary guitarist Johnny
and reminds us that they are the tightest Marr (formerly of The Smiths)
unit since P-Funk went into orbit. Make no
mistake: this is the best Roots album yet. joining Mouse as a full-time
?uestlove’s growing skill behind the member, this album is sure to be strong a
boards transmutes the once childish follow-up to 2004’s Good News for People
Who Love Bad News. Expect typical Mod-
The Roots studio trickery into magic. Lead single
“Don’t Feel Right” is the showstopper: est Mouse melodies infused with Marr’s
Game Theory four minutes of anguished-soul wails, disinctive high energy riffs.
US Release Date: Aug. 29, 2006 percolating percussion, and a bridge that
sounds like Herbie Hancock’s clavinet on
Def Jam the warpath. Only the closer, an 8-minute Klaxons

“
canonization of the late producer J Dilla, Myths of the Near Future
Since their inception as “The Hip-Hop fails to compel. The rest of the material Release: January 29, 2007 (UK)
Band” more than a decade ago, The Roots is uniformly strong; even as the music

”
have struggled industry follows Heralded as Britain’s hottest new group,
to translate their the iTunes Pied Klaxons will not live up to the hype.
musical prowess Make no mistake: this is Piper back to Their album, which is due out in the
into popularity. the old days of
After their the best Roots album yet. singles and pop
U.S. later this year, will inevitably fall
lackluster The confectionary, short, leaving us ever searching for the
Tipping Point (2004), The Roots have next great hope from overseas.
with its silly attempts at club-fare, it released an honest-to-goodness album.
seemed that the boys from Illadelph were It is worthy of purchase and extensive Arcade Fire
doomed to be forever name-dropped by headphone time. Bravo. Neon Bible
only palefaces and hipsters. Release: March 5, 2007
Not quite. It seems that the band spent Mark Davenport
their leave listening to Public Enemy’s It
Takes a Nation of Millions To Hold Us Back, We’re cheating. We’ve heard it. It’s
and have answered that manifesto with good.
one of their own. The songs are terse and
dark, woven together in one long suite of My album Radiohead

sucks! =(
gnarly funk. Drummer/guru ?uestlove’s [Currently Untitled]
production is as exciting as any Bomb Release: “Sometime in 2007”
Squad track, and he still makes the skins
crack and pop like no other. Black Thought
If you liked The Bends, then legit. If Kid A
is focused and articulate; he flows like Ron
Hubbard played – no showboating, just and Amnesiac were more your style, then
polished delivery. His lyrics are all barely- –The Staff shit. This album will rock like it’s 1995.
A Conversation With:
Jon Appleton
Jon Appleton joined Dartmouth’s music department back in 1967. His achievements at Dartmouth since then have been impressive. He is the co-
inventor of the NED Synclavier, which is regarded as the first self-contained digital music synthesizer. Winner of the Guggenheim, Fulbright and
National Endowment for the Arts fellowships, Appleton also created the College’s graduate program in electro-acoustic music. Tim Bakke and Brian
Lenz got a chance to sit down with Professor Appleton to discuss his achievements, the state of electro-acoustic music, and his teaching experiences at
Dartmouth. At the end of this fall, he will be leaving Dartmouth’s undergraduate program after 35 years for a visiting professor’s position at Stanford.

SB: What initially turned you in the were much more open back then. There than a Powerbook G4. So people just
direction of electro-acoustic music? Was was bigger interest in alternative music couldn’t believe that it could be possible.
it the excitement of uncharted territory? culture, and today we’ve hit a low spot Similarly, they couldn’t believe that you
Or maybe it was easier to make a name? because of the complete control of most could have a musical instrument based on
of the outlets by a few major corporations a computer you have in your home. Well,
JA: No, it wasn’t easier to make a name that continue to buy each other out. that didn’t deter me.
because nobody knew what electro- So pretty soon you have just 2 or 3 big
acoustic music was when I started. I corporations that are controlling the rights SB: We have the benefit of having the
was actually quite traditional before I for music throughout the United States. synthesizer around for so long, with
discovered electro-acoustic music. Once I These companies basically decide what we so many different means of electronic
started to play around with the primitive listen to. But this will be very short-lived, innovation. To even imagine that back
equipment we used in those days, I found I think, because people are sick of hearing when you were starting must have been
that I was making a kind of music that was the same thing over and over. Also, as the so immensely difficult or trying of a task
really interesting and that I liked. So that means for music distribution by the net – to picture where that can go. In the
was an important part of it. become more the usual channel…maybe it present day, do you see any paths that
already is. Anyway, I started working on have yet to have been explored?
SB: Coming up with music that is not the synclavier back in 1973. That was when
necessarily groundbreaking but new and John Kemeny was president of Dartmouth, JA: Yes I do, but when I tell people they
unique seems to be increasingly difficult and he used to tell people, “Someday think it’s a crazy idea.
these days. Do you agree with that? everyone will have a computer in their
home.” Everyone would laugh, because SB: Most innovative ideas start out like
JA: It’s much harder today than it was in in those days computers were things that that, I think.
the late sixties. My first electronic piece filled entire buildings. Do you know what
was in 1963, but I didn’t really gain a the Kiewit Center was? That was built just JA: Did I ever give you that article about
reputation until the late sixties/early for a computer. It had miles of cabinets the brain cap when you were in my
seventies – I think that was because things housing a huge computer less powerful class? The idea behind the brain cap is
 “
that by using magnetic resonances you It was called New England Digital
understand what your favorite music Corporation.
is, based on all your experiences about I really enjoy teaching.
music, your collected emotional, acoustic SB: I read in your “incomplete”
information and the way it is stored in autobiography that you were discouraged However, a lot of people
many different places of the brain. that when you were performing, the
Read the article. It is called “A Vision of audiences were more interested in the who are in academia do
technology than they were in your music.
the Future: Musical Delivery Systems
in the Mid-21st Century.” That is what I Did that make you lose hope? not. They do it as way of
foresee in the future.
JA: It didn’t make me lose hope, it just
supporting themselves
SB: You were talking about the made me less interested in being a to do their research or,
development process of the synclavier. performer.
in my case, composition,

”
You said you weren’t discouraged by the
fact that it seemed outrageous. Were there SB: Did it make you doubt your choice to
any major setbacks or hurdles? enter the electro-acoustic world? but they don’t really
JA: No, the main hurdle was finding JA: No. I always knew there were people
take [any] pleasure in it.
interested companies to produce this who really liked what I did, but those
musical instrument, because their vision weren’t necessarily the people who were
showing up at the concerts. – it’s all recorded and assembled. Even
was so narrow that they couldn’t even synthesized voices are becoming better.
conceive of how they could be used. I
SB: What do you think of the current There’s no question, for example, that
can give you a perfect example of that.
state of electronic music? if you really want new tunes by Frank
What we developed in that instrument Sinatra, you can have them. It’s just a
was the first live sequencer, where you question of developing the technology to
could play on a keyboard and push a JA: Well, I think it is very interesting
that when I started in this field, it was capture the nuances of the way he sang.
button and it would play it right back.
something quite separate and unique. It I don’t know that people are particularly
That had never existed before: you had
was a kind of music that was completely interested, but there are so many projected
to put it on tape and rewind the tape
different from the music that other possibilities of manipulated digital audio
to play it back. And they all have that
people knew or what they even thought in ways that are really mind-blowing. The
now, but when we showed it to people
of as music. And today, that’s changed real question is: “How do you interest
they thought it was a trick, they didn’t
completely. It has all been incorporated, people in trying something new?”
believe that it was commercially feasible;
they couldn’t accept it. Eventually bits and pieces of it from everything; from
rap to synthesizer stuff to the whole idea SB: Do you know anyone now who is
one company did, but it was easier for
of people doing records where not a single doing what you were doing, making
my co-developers to start their own
musician gets together in the same room totally radical or different or unique
company and try to sell it, so they did. music?

JA: Do you know John Zorn? Check him

out. I think that he does very unusual
things. There’s also a musician by the
name of Michelle Redolfi. Look them up
on the web. Their work is so complicated
that I can’t quite explain it. They’re not
complicated to experience, it’s just that you
have to see the range of things that they
do. Let’s see, who else. I also find DJ Olive
and a Montreal DJ named Kid Koala very
interesting. Those are some directions that
I think are new.

SB: What initially inspired you to start

teaching?

JA: I really enjoy teaching. However, a

lot of people who are in academia do
not. They do it as way of supporting
themselves to do their research or, in
my case, composition, but they don’t
really take pleasure in it. I think that
what happened is that when I went to
college – and I went to Reed College – I
had some really dedicated teachers, and
they inspired me to do the same thing.
It made such a difference: people who
took the time to talk to me, to listen to my
aspirations and goals, to introduce me to
new things, not to hit me over the head ­– I
just think that’s important.

SB: In your autobiography, I know you

mentioned your stepfather Sasha as
giving the gift of music to you.

JA: Well, he did. But that was pre-school.

 SB: Where do you see the music These are very difficult abilities to attain,
department going at Dartmouth? but they are very important. I don’t think,
to be honest, that someone needs to study
JA: I think the music department is in very music at Dartmouth to become a good
serious trouble right now because it’s been musician. I just don’t think that. When
split into two. There is a very conservative I went to Reed College, they had one
group who would like to get rid of all of music professor and maybe five courses
the composers and experimentation in music. I did it by myself. I got together
in electro-acoustic music, and I with players who wanted to play my
think it’s a very sad situation. music, and I learned just by doing it. I
All you have to do is go still think that that’s not a bad way. Music
interview someone like courses in theory can help you along, but
New William Summers. they can also cripple you. Because you
Go ask him what don’t want to know what the rules are
England he thinks to make music: there are no rules! There
Digital’s of electro- are rules of good taste, but nobody wrote
acoustic those down in a book. There aren’t any
synclavier music. See rules to what could be music or what’s
what he tells going to sound good. You have to make
you. He doesn’t your rules. Now it’s good to know about
believe that the past, just like you’re not going to
there’s been invent the light bulb without knowing
any good music something about electricity, conductivity,
written since 1900. and so forth. Just like you should know
So the fact that you can something about basic science before
tolerate people like that, you invent something, you should know
well I guess you can tolerate something about basic music, what
I was six when he came into my life. And anybody then. You don’t have to people have done in music in the past,
so, I was just surrounded by music. But like music to know that it’s moving before you compose something. But aside
I think I was musical before that. I do forward and that new kinds of music are from that, I guess that the more music
believe that there are genetic propensities coming around and being discovered and you listen to, the more sophisticated you
toward musicality. There’s no question people are enjoying it! It may not be what will become in your taste, and that will
about it. I think there are a lot of people you personally like! You have to be able automatically transfer over into what
who never develop them or never have to separate yourself from your taste when you do as a composer. You don’t need to
the opportunity but I think that it’s there, assessing the quality of music. And a lot of study it. Studying music really sometimes
and it’s not the only way to do it. I teach people are not able to. does cripple you. Just doing it and being
everything – I have taught basic theory, critical of yourself and being persistent
harmony, and all of that. But I think in SB: You aren’t going to be here much are most important.
this particular field [of electro-acoustic longer. As a closing question, for any
music], you can bypass traditional musical student who’s interested in pursuing an
training and get at the heart of people’s experimental direction in music, what
essential musical abilities. And that’s really would you suggest to them in that pursuit

“
good. That’s what makes it exciting, and here at Dartmouth?
that’s why in my undergraduate class
right now you can see JA: If you are at
that these are kids Dartmouth, I think
who would never you should get to
have done anything To make a career in know Larry Polanski, John Zorn
like that, and all of
a sudden they’re music you have to have only a professor here. Not
am I leaving, Eric
Check out Zorn’s 2006 re-
making pieces in persistence. A belief Lyon left last year, so lease, Astronome. This Avant-
ways they never
thought about, and you can attain your going to replace us.
who knows who is Garde album functions as a
it’s fun for them. goals, whether you are a They haven’t made three-act aural play.
any decisions, so I
SB: Because performer or composer. don’t know who will
otherwise they be here. DJ Olive
would need to spend That you can deal with
a long time learning discouragement [or] that SB: Maybe even Gregor Asch (aka DJ Olive)
the fundamentals of looking further, once
you’re willing to listen you leave Dartmouth, put out Heaps As, Live in Tas-
musical theory.
to criticism, but also that do you have any mania in 2006. The listener

”
JA: That’s right! This advice for making
you are willing to be any sort of career out friendly album combines ele-
way you jump ahead
ments of reggae, funk, dance-
with the technology
critical of your own work. of it?
that enables you to hall, and Latin flavor.
do that. JA: Oh that’s a very
simple question to
SB: This is your last term at Dartmouth, answer. To make a career in music you
right? have to have persistence. A belief you Kid Koala
can attain your goals, whether you are a Head to http://www.djkoala.
JA: Well no, I teach a graduate seminar performer or composer. That you can deal
next summer and the summer after. And with discouragement, that you’re willing com and click on his dome.
then in the springs I teach at Stanford. to listen to criticism, but also that you are
willing to be critical of your own work.
Hope I don’t die before i get old:
On their website they have set up
a mock online petition to Congress
of country, jazz, electronica, psychedelic
rock, and classic Brill Building pop, most
of even the most obscure of popular culture
is their 1990 album Fakebook, a collection
of covers of forgotten gems from the pop
to make ketchup America’s official often filtered through the lens of their canon ranging from the Kinks (“Oklahoma,
national condiment, wryly condemning signature hazy, atmospheric sound. The U.S.A.”) to the Holy Modal Rounders
the “increasing ubiquity of soy sauce, earliest prominent example is the 1995 (“Griselda”) to indie culture darling and
Branston Pickle, sriracha, chutney and the album Electr-O-Pura, which features, total nutcase Daniel Johnston (“Speeding
scourge of undocumented salsas on our alongside sleepy ballads and extended Motorcycle”).
tables.” That should tell you a great deal feedback jams, the irresistibly catchy “Tom But to my mind, Yo La Tengo’s
of what you need to know about the three Courtenay,” a song about the Swinging masterpiece (aside from the superb new
seasoned veterans of the indie rock scene London of the 60s that would fit right into album) remains 2000’s And Then Nothing
that make up the band Yo La Turned Itself Inside-Out, an
Tengo. album composed mostly of
Releasing their Sonic quietly beautiful songs about
Youth-inspired debut album, the joys and pains of mature
Ride the Tiger, in 1986, they love and relationships.
have since become standard- It’s their most textured,
bearers for the entire indie atmospheric work, generally
rock movement, hailed by told from the point of view
critics and fans alike as of suburban loners taking
one of the most innovative comfort in each other’s
and consistently exciting of company in the late hours
contemporary bands. Their of the night. There are still
blend of ironic humor, naked the cheeky pop culture
emotion, and amplifier- references (as in the brilliant
crushing noise rock “Let’s Save Tony Orlando’s
pyrotechnics has proven House”) and distorted
enduring. Their live shows guitar workouts (“Cherry
continue to be a celebration Chapstick”), but the heart of
of pure rock energy unlike the album lies in songs like
almost anything around the lilting “Crying of Lot G”
today. And to top it off, they and the country-esque ballad
have just released, at the “Tears Are in Your Eyes.”
onset of their third decade as Perhaps Yo La Tengo’s most
a performing unit, an album moving (not to mention
may just be the best of their gorgeous) song, the latter is
career. I Am Not Afraid of filled with close harmonies,
You and I Will Beat Your Ass yearning guitar lines, bursts
does not really take Yo La of distant feedback, and
Tengo in any decidedly new delicately brushed drums.
directions, but it acts as a Nevertheless, And Then
blissfully perfect summation Nothing was greeted with
of their past achievements. mixed reviews in some
The album starts out with quarters, with a number of
“Pass the Hatchet, I Think critics complaining that Yo La
I’m Goodkind,” a ten- Tengo had abandoned their
minute blast of distorted rock roots and were drifting
riffs and tight grooves laden into a sort of comfortable
with guitar feedback that Starbucks coffee-sipping
recalls their early days as middle age.
Sonic Youth imitators. But Their latest album has
their real strength as a band not only proven this theory
becomes apparent once they move into the Beatles’ catalogue were it not for the untrue but confirms that they remain at the
more tightly constructed songs. amplifiers being turned up to eleven and top of their game and are one of the most
Lead guitarist and singer Ira Kaplan got the ending devolving into a noisy and vital artistic forces in music today. As they
his start as a music critic, and he and his atonal, yet exciting, guitar solo that ends embark on their fall North American and
wife, drummer Georgia Hubley, possess up drowning out all other sound. Their European tour, they can be pretty confident
an encyclopedic knowledge of 20th-century next album, 1997’s I Can Hear the Heart that, indeed, not many bands can beat their
pop music, a fact reflected in the great Beating as One, boasted an even greater ass.
stylistic variety of their songs. Indeed, stylistic diversity and has proven one
throughout their career Yo La Tengo’s of their most popular efforts. Yet, most
albums have been littered with elements representative of Yo La Tengo’s deep love

Yo La Tengo Getting Better with Age

 Waiting for the Day
The 40th Anniversary of
PET SOUNDS
It’s okay. You can admit it: the Beach What emerged was nothing if not at the time. Clapton later said, “I’ve often
Boys have been collecting dust in your revolutionary. Wilson’s tendency towards played Pet Sounds and cried.”
music collection (and your heart) for a working abstractly and intuitively led Most famous of Pet Sounds listeners,
while now. If you ever did “wish they all to an album that was conceived of as of course, were John Lennon and Paul
could be California girls,” the sentiment a whole, and built as such from the McCartney. The two reportedly heard Pet
has long faded. Harmony and 32-bar ground up (think of Pet Sounds as you Sounds prior to its release, while recording
songs no longer strike your fancy. Calling would an impressionist painting, or Revolver, and adjusted the album in
surf music “dated” is an understatement. grassroots political movement). Wilson response to Wilson’s compositional
I understand. recorded individual riffs, harmonies, complexity. McCartney in particular was
Now, my turn: remove Pet Sounds or other such pieces weeks apart from a devout fan of Wilson’s; his fascination
from your shelf. Immediately. I don’t one another, layering and building on with Wilson’s tension-forming bass lines
care if you hate the Beach Boys (or do different parts of a track before it was (look to tracks such as “That’s Not Me”)
not like demands being made of you via conceived of as a whole. A concept that would surface in subsequent Beatles
magazine). Pet Sounds is underplayed. It was itself innovative, this layering also recordings (“Fixing a Hole,” for example).
deserves better. In fact, its 40th birthday accounts for the unconventional sounds The 1967 release of Sgt. Pepper’s Lonely
deserves a look back at the history and and instrumentation on the album (listen Hearts Club Band was the final chapter
legacy of this landmark album. Let’s give for Wilson’s dog at the end of Caroline, in the rivalry between the Beatles and
Pet Sounds what it deserves, starting now. No). The one-man, intensely theoretical the Beach Boys, taking Wilson’s ideas on
At the start of 1966, the Beach approach to making an album is the source composition, instrumentation, and the
Boys had achieved success through of the compositional genius that one senses album itself a step further. On the whole,
popularizing “surf rock”, cranking out while listening to I’m Waiting for the Day or the desire to “beat” Pet Sounds led to an
16 top-40 hits such as “Surfin’ USA” the title track, Pet Sounds. album that legitimized pop music as an
and “I Get Around.” Front-man Brian The second important feature of Pet art (at least for a time), and popularized
Wilson, however, was experiencing Sounds is its treatment of the album as an Pet Sounds’ spin on both psychedelic
rapid creative growth that undermined art form. In the 1960’s, most LP’s were and conceptual pop. Even the emotional
his interest in the band. 1965 marked constructed by stringing a few “singles” range and percussion-heavy composition
Wilson’s introduction to LSD, as well together with other songs whose primary (listen to the percussion on “Within You
as his decision to stop touring with the function was to add length. Pet Sounds Without You”) are reminiscent of Wilson’s
Beach Boys. It was in 1965 that Wilson departs from this. It has been suggested masterpiece.
began laying the ideological groundwork that Pet Sounds functions as a concept The release of Pet Sounds marked
for Pet Sounds, though he himself did album: a narration from a teenage boy’s the beginning of the end for Wilson. He
not understand where his new “brand” perspective on the angst of finding and descended into a spiral of mental illness
of pop music was going. In the end, it losing love. This explanation functions and drug abuse that would dominate the
was the release of the Beatles’ Rubber well, but fails in explaining the adapted next 20 years of his life. Consequently,
Soul that provided Wilson with both the folksong, Sloop John B. More important he was fired from the Beach Boys in
competitive drive and the inspiration than debating the presence or lack of 1982. For a time, it seemed that both
for his new album. The new promise lyrical congruence, however, is the Wilson and Pet Sounds had passed their
of Rubber Soul was twofold: both its emotional breadth and depth of Pet moment in the limelight. However, the
emotional range and its track-to-track Sounds. Beginning with the lofty romance 1990’s marked a comeback for both
coherence were jarring to Wilson. of “Wouldn’t It Be Nice,” the listener is parties: Brian Wilson reemerged onto the
In January 1966, Wilson bought a swept into a journey that encompasses popular scene, and Pet Sounds took on
house outside of L.A. and called on a remarkable range of emotion. The a new life. Recently, critics have hailed
relatively unknown songwriter Tony instrumental tracks on the album (“Let’s the importance of the album. It was
Asher to help write lyrics for his inspired Go Away for a While” and “Pet Sounds”) recognized on several “millennium”-
creation. By having nothing to do with build on this range despite their lack of type lists of important music, and as the
the Beach Boys, Wilson gained the narration. best of the 20th century by British MOJO
obsessive creative control he had desired Pet Sounds was released on May 16, Magazine. The growing notoriety of Pet
for years, and the two went to work 1966. It was the first album since the Beach Sounds has spurred the release of several
recording in Wilson’s home. This shift Boys initial success to not go gold, and was box sets and studio sessions, as well as a
is crucial to understanding Pet Sounds. passed on at that year’s Grammy Awards. live tour. Wilson may not have reached
Wilson stepped entirely outside of the Capitol Records was equally disappointed his fans initially, but he has certainly
Beach Boys and used the band strictly by the album, and did little to promote made them amongst music fans and
as performers of his music. Rarely has it. Though it floundered in the U.S., there musicians today.
an individual had Wilson’s level of were a number of key figures listening
creative control in the composition across the pond. Pet Sounds gained fans
and production of an album. Wilson’s amongst British critics and artists, amongst
painstaking perfectionism was well- them John Cale and Elton John. Eric
suited for the task. Clapton was another Pet Sounds devotee
 For me, Chicago is music. hours, I aimlessly wandered
Growing up in Milwaukee, I learned the festival grounds hoping to
to curse the city’s sports teams and discover new music. First stop
berate its drivers, but I have to admit was Editors, a UK band I was told
that when it comes to concert choices, I would love if I liked Interpol. I like
Chicago is far superior. At least once Interpol. I do not love Editors. Editors,
every summer, when options in my own in fact, sound a lot like Interpol… only
city were lacking – which they always were – my not as good. I left halfway through their set,
friends and I would pile into our parents’ cars and unimpressed.
make the trek to the Windy City. It was no surprise, then, Two hours in and already losing energy, I was
that when presented with the choice of taking another sophomore relieved when British MC Lady Sovereign bounded onstage,
summer astronomy quiz or taking my friend up on his offer to Veuve Clicquot in hand. Lady Sov is a lot like me – a short and
do “whatever it fucking took” to get my “lazy ass out of New skinny white girl who curses and guzzles alcohol while jumping
Hampshire” and to Chicago’s Grant Park for Lollapalooza, I around obnoxiously spitting out ridiculous rhymes – but she’s
opted for the latter. A week later, we set off on the 19-hour drive also got an accent and a side ponytail, not to mention critical
from Hanover and began what was to become the best weekend acclaim and a deal with Jay-Z, making her infinitely cooler. Her
of my summer. erratic stage presence and British snarl, in addition to the man
Created in 1990 by Jane’s Addiction frontman Perry Farrell behind her “playing the canvas”, made the show one of the
as a traveling festival showcasing some of alternative music’s weekend’s pleasant surprises.
most groundbreaking acts, Lollapalooza was resurrected in The performance of the night, however, went to Sleater-Kinney
2005 as a stationary festival taking place over three days in the who, without being overly-indulgent or nostalgic for what was
heart of Chicago. With 130 performers and eight stages this to be one of their final shows, rocked through one of their most
year – twice as many as last year – Grant Park was packed with solid and straightforward sets yet. Relying heavily on material
festival attendants, making it nearly impossible to see everyone from 2005’s The Woods but ending with old-school favorite “Turn
we wanted to see without an airtight plan, and even then the It On,” the trio played with the same enthusiasm and energy that
extensive trek across the park made splitting sets tricky. inspired me to pick up a guitar and “rock out”, as the kids say,
My own Lollapalooza experience, not counting the road at age 14. (Never mind that the guitar was quietly laid to rest in
trip from Hanover, began Friday morning with several delays its case a year later – Sleater-Kinney is still responsible for my
courtesy of the Chicago Transit Authority, causing us to miss all passionate, if short-lived and technically flawed, rock career.)
but the last few harmonies of The M’s, our intended first show. Saturday began with the sultry sounds of Leslie Feist who,
Having no desire to see anyone in particular for the next few despite her adorable head-shaking and fist-pumping, managed
 Upper Midwest on top of generic guitar
riffs works. Halfway through the set Finn
raised his Bud Light to the crowd and
declared it “the most fun [he’d] had before
three in the afternoon.” Not including the
very drunken El ride to Grant Park that
morning, I had to agree with him, and The
Hold Steady officially became my new
favorite band.
The performances by Andrew Bird and
The Shins, despite being other “favorite
bands,” were plagued by sound problems
and imbalances, proving that some acts
(especially Bird and his subtle loop-
stationed melodies) are better heard within
the intimate setting a club or theater offers.
Of Montreal, on the other hand, complete
with witty banter and costume changes, led
the audience into a dancing frenzy, leaving
everyone’s legs as happy as their ears.
As the evening cooled down, Wilco
played to a receptive hometown crowd
and Jeff Tweedy, looking very much like
a leprechaun with his hat, green jacket,
and full beard, admired the audience for
knowing “how to go to a festival.” The set
was perfect, comprised of favorites from
their most recent two albums as well as
several new songs, though I may be biased
to rouse only a portion of her sleepy, sun- to extend every song into some sort of punk – after all, I first stumbled upon Wilco on
soaked audience. The quiet Canadian’s jam grew tiresome after the third song, but Milwaukee’s lakefront years ago and still
vocals were often overpowered by the no one in the crowd could resist bouncing maintain that you haven’t really heard
bands playing at nearby stages, muffling and shaking with the band well past the Wilco until you’ve heard “Via Chicago”
her already-subdued songs. After standing concert’s scheduled end, making it one of stretching across Lake Michigan as the
through half a lackluster set by Built to the sweatiest and most fun experiences of summer sun sets behind you.
Spill and a few soulful songs from Lyrics the weekend. The final show of the evening was
Born, I crossed Grant Park to where Sunday proved to be the best day of Broken Social Scene, performing (finally!)
thousands had already gathered to hear the trip, starting with an energetic set with all of its 11+ members. Musically one
Gnarls Barkley. The set itself, in spite of a from The Hold Steady. Described by a of the best shows I’ve ever seen, the only
few unexpected covers and the amusing friend as a combination of “a TI-86, a disappointment was when it ended fifteen
coordinated tennis outfits sported by the Budweiser, and a Gibson SG,” the band minutes earlier than all of the festival’s
band, lacked the enthusiasm I expected, looks like the tired and slightly overweight other shows so that the Red Hot Chili
and as soon as Cee-Lo finished the middle-aged men my dad hangs out with Peppers could take the stage across the
last hummed notes of [if-I-hear-it-one- – hardly a recipe for rock success, but field. Bitter, I skipped the Peppers and
more-time-this-summer-I’m-going-to- somehow lead singer Craig Finn speak- instead hopped in the car again, ready for
shoot-someone] “Crazy,” most audience singing about Catholic schoolgirls and the
members had already turned around
to leave. Annoyed, the man behind me
drunkenly screamed for “Transformer”
– one of the best songs on the group’s
debut album – and got what he requested.
However, the depressingly slowed-down
version of the song almost made me wish
for “Crazy” again.
Disappointed, I ran back across the park
just in time to catch Wayne Coyne of the
Flaming Lips, surrounded by Santa Clauses
and aliens, entering a giant inflatable ball
and rolling over a fanatical crowd. The show
continued with Coyne shooting confetti
and balloons into the audience, and though
Pitchfork has called the set a “disaster,”
everyone should see a Flaming Lips show
at least once, for the spectacle if for nothing
else. Next was the New Pornographers
who, despite the absences of both Neko
Case and Dan Bejar, flawlessly played
their catchy pop songs, with AC Newman
cracking jokes about performing between
Common and Kanye (pronounced CAN-
ye). I opted to pass on Can-ye, however, in
favor of international star Manu Chao in
one of his only US appearances. Chao’s live
performance sounded very little like his
Latin and salsa recordings, and his tendency The Flaming Lips frontman Wayne Coyne preparing to roll over the audience.
 by Scott Muir
For 8 of my classmates and me, the long course, and spent a couple of delightful funk despite the blistering heat. After the
journey to tiny Masontown, WV for All hours tailgating with resisting hard- set we made the steep hike back to the
Good Music Festival was hands down core wookies who informed us that the campsite to escape the oppressive sun and
sophomore summer’s greatest adventure festival was a scam: “It’s only half good, to ‘prepare’ and pace ourselves for the
(not to mention the overwhelming man.” Our enthusiasm undiminished, we long day ahead.
highlight of ’09 Whitney Paterson’s provided them with a couple Keystones We returned to the stage for John
summer vacation). As we left campus early for a taste of Dartmouth. By the time we Medeski and the Itch’s inaugural
in the afternoon on July 14th, I could hardly were sufficiently sketched out by our performance. Medeski (Medeski, Martin
believe that we had assembled such a new friends, we were allowed into the and Wood, The Word) enlisted Eric Krasno
mighty crew of foolhardy, fun-loving men festival without additional charge. We of Soulive and Adam Deitch of John
and women for such a trek. No expenses were extremely fortunate to quickly find Scofield Band specifically for this festival
were spared. In our giddiness, we threw a flat site and set up camp. After grilling set of tight, lick-laden funk that recalled
down more cash than any of us could some delicious burgers and throwing back MMW’s 1996 classic, Shack Man. We were
responsibly justify spending, arriving with a few cold ones, we were ready for a full surprised by the brand-new band’s intense
enough beer, BBQ, and absurdly-sized weekend of music. cohesion and lack of improvisation, but
snacks (shout-out to ’07 Chris Fiore and All Good is unique among festivals of the music was perfect for working the
his handy ‘inner circle’ BJ’s card) to feed its size (19,000 in attendance) in having sunburned crowd into a groove. After a
half of the free-loading drains on society only one main stage area with a sidestage thoroughly strange but largely uninspired
in attendance. After stopping in Cranbury, for short, between-set performances by set from Les Claypool, Maggie Severns-
NJ to pick up Whitney, we drove all night, smaller acts, which makes it much easier to O’Neil ‘08 and I were fortunate enough
sharing stories, asinine observations, navigate the grounds and catch most of the to discover the festival’s best keep secret,
uninspired anecdotes, and Gushers sets. Before the day started, I confidently the unadvertised campground tent
fruit snacks. A few quick stops for meat, asserted that I would rage harder than sponsored by Ropedope Records, where
propane, and beer, and we were ready to anyone else (musically, that is), but I was All Good’s funkiest artists let it all hang
enter the gates at sunrise. pleasantly surprised that my companions out. As the sun mercifully set behind the
Unfortunately, the local volunteers were gave me a serious run for my money. ridges, Medeski and the Itch provided
not ready to let us enter without paying Bassist Oteil Burbidge (Allman Brothers a full hour of pure improvisation, more
the $15/head ‘early arrival fee,’ despite the Band, Aquarium Rescue Unit) and the than making up for the restraint of their
sun having already risen on the opening Peacemakers opened the festival with an main stage performance. The three players
day of the festival. We refused to pay, of enthusiastic set of bouncy, Southern-fried communicated effortlessly, churning out
 album, III. The relaxed, spontaneous
atmosphere allowed the players greater
improvisational freedom, but Moore
and his band mates maintained the
album’s tight, funky sound with their
well-developed chemistry and incredible
rhythmic command.
After returning to the campsite to throw
back a few more beers and ‘bombs, we
made our way back to the main stage
to catch the Black Crowes. The Atlanta-
based rock band wasted little time,
ripping through anthems ‘Halfway to
Everywhere’ and ‘Sting Me’ to open their
primetime set. From there, the Crowes
took a decided turn from the expected list
of crowd-pleasing renditions of hits and
rockers, electing to play a delightful mix
of underplayed tunes (‘Cosmic Friend’
and ‘Young Man, Old Man’), soulful
ballads (‘Bad Luck Blue Eyes Goodbye’
and ‘Thorn in My Pride’) and choice
covers (‘You’ve Got to Hide Your Love
Away’). The band continued to build
up momentum, energizing the crowd
with a scorching version of Neil Young’s
‘Alabama.’ It seemed the set was coming
to a close as they launched into their old
A view of the concert lawn. hit ‘Remedy,’ but Jimmy Herring (The
Dead, Aquarium Rescue Unit) appeared
grooves that sounded far too sweet to be brethren with unwarranted disdain: “Ugh, for an extensive take on the introspective
spontaneous. The mad scientist seemed to they even make soccer gross.” Meanwhile, Allman Brothers Band classic, ‘Dreams.’
be completely in his element with his new Bennet Meyers ’08 was so inspired by The Crowes soared to new heights as
band mates as he aggressively attacked the fanciful festival atmosphere and the Herring traded fiery, blues-inflected
his organs and synthesizers in front of the beauty of the West Virginia mountains in solos with guitarists Marc Ford and Rich
small, but intensely enthusiastic crowd. It the hot July sun that the physics major Robinson, while Chris Robinson delivered
was definitely one of the highlights of the decided to abandon his hard science track a heart-wrenching vocal performance that
weekend, and I think it’s safe to say we and become a writer. After spending nearly rivaled the legendary Greg Allman
were getting down. hours trying to convince us that this himself. It was the definitive peak of an
After retiring back to the campsite for was a momentous and overwhelmingly incredible weekend of music, drawing a
some rest, dinner, beers and Jagerbombs positive event in his life, he gave up on raucous ovation from the largest crowd
(the official drink of the heady music his afternoon-long dream. Note that of the festival. The Crowes responded
festival), we made our way back to despite my repeated insistence that Bennet in kind, returning for an encore of Joe
the stage for G.R.A.B.’s (Mike Gordon contribute to the notebook I brought Cocker’s ‘Space Captain.’ After the dust
and Trey Anastasio of Phish with the specifically for such inspirations, he did settled, the Greyboy Allstars closed
Benevento/Russo Duo) primetime not actually write anything during his out Saturday night with an impressive
performance. Although the set was much short-lived career. demonstration of their trademark
more energetic and enjoyable than their Late in the afternoon we returned to west-coast funk. The Allstars are back
rain-soaked Burlington show earlier that watch New Orleans’ Galactic funk it up on and at the top of their game, having
week, it still left much to be desired, as the main stage. Drummer Stanton Moore reconstructed their sound throughout
the band never lived up to its potential. It led the band through a variety of material their lengthy reunion tour after a six-year
just wasn’t the sum of it’s four incredibly from throughout their long career with his absence. Melodic masters Robert Walter
talented parts. Nevertheless, the peaks driving bass drum and tasteful, innovative (keys), Karl Denson (sax) and Elgin Park
were quite high and we all enjoyed licks. Next, Chicago’s Umphrey’s (guitar) traded virtuosic lines and funky
ourselves thoroughly. The majority of our McGee breezed through a relaxed, but riffs as they collectively led the band
crew retired before the Disco Biscuits late- airtight set of its unique brand of eclectic through the long set, alternating their old,
night ‘rave your face off’ set to save our improvisational progressive rock. Half up tempo jazz compositions with new
energy for Saturday’s marathon lineup, of us wandered from the unfinished set harder-hitting funk.
while sleep-deprived Dara rocked all night to catch ‘Stanton Moore and Friends’ on Unfortunately, our academic
with her sketchy Bisco friends. She paid the tiny Ropeadope stage. The setting obligations forced us to leave early
the price the next day. sun painted a magnificent panorama of Sunday morning and miss performances
Saturday proved to be one of the most oranges, reds, and purples, leading Bennet by the Aquarium Rescue Unit, the
jam-packed (no pun intended) days of to conclude, “I hate beauty.” Meanwhile, Wailers, Mofro and others, but I think
music I have ever experienced. Tea Leaf the wildly enthusiastic stage emcee riled we had all just about had our fill. After
Green, San Francisco’s up-and-coming up all the ‘party people,’ repeating the surrendering 85 hours (nearly 30 spent
jam-rock quartet, woke us up with a ingenious mantra, “Go ‘head, it don’t on the road), hundreds of dollars, and
roaring early afternoon set. Next, Railroad stop.” Moore’s Galactic bandmates millions of brain cells, we returned
Earth, one of the finest Newgrass bands (minus saxophone/harmonica player exhausted, sunburned, and utterly
touring today, picked up a storm, rocking Ben Ellman) filled in for his missing satisfied. The sacrifices made were
out surprisingly hard on their acoustic trio players, keyboardist Robert Walter inconsequential in light of the incredible
instruments in the scorching heat. We (who later appeared with the Greyboy times we shared and our pride in
retired for a couple hours in the shade Allstars) and guitarist Will Bernard (T.J. knowing that we pulled off the perfect
to relax and grill more burgers. On the Kirk, Midnight Voices), as the quartet ran heady festival experience. The wookies
way back to the campsite, self-hating through the drummer’s excellent new were wrong. It was definitely all good.
hippie Sara Khan ’08 stopped to shun her material from his then unreleased trio
 selling cool beverages in the ever classic
Bonnaroozies, the Bonnaroo adaptation of
the coozie. A man offers me a pamphlet,
which I accept unthinkingly. It starts
off promisingly enough, “You are going
to engage in lots of crazy activities this
weekend, many of them illegal.” Great, I
think. “BUT what happens when the fun
ends? God is watching you!”
by Molly Caldwell “Oh man!” I say dropping it. My
Dartmouth friends in the back grab it and
DAY FOUR—Sunday, June 18th down, throwing glow sticks, knocking start cackling. “The South!” they exclaim.
beach balls into the air, and dancing the Our camp site is named Camp Luke
“BONNAROOOOO!” a figure clad in hippie dance. Behind me, three Dartmouth Skywalker in the Star Wars section.
home-made, orange plastic overalls yells, kids attempt their own rendition of the There are Port-a-potties and trailers full
while running through the crowd that hippie dance, but it looks more like of sinks placed randomly around the
waits before the What Stage. He darts in the Drunken Bar Crawl. It’s certainly camp grounds for the 80,000 people in
front of me and my friends who are sitting nothing compared to Joan Osborne’s stage attendance. VIP ticket-holders get showers,
close to the stage in high anticipation of presence. She has positioned every flowy- but they also have to shell out 300 more
Phil Lesh and Friends, who are preparing dress inch of herself in front of Phil Lesh dollars a ticket for these showers. Any true
to perform the last show of the 2006 and is twirling her heart out. hippie would scorn such luxury.
Bonnaroo Music and Arts Festival. At first, I’m a little annoyed, as her only At seven o’clock the music starts.
“Oh wow!” one of my friends comments. contribution seems to be a little backup The main path leading to the entrance
It turns out the orange overalls have been on the choruses and she is obstructing of Centeroo, where the ten stages are
cut out in the back and a bare bottom is my view of Phil Lesh. “Who is this chick located, is called Shakedown Street and
weaving its way through the crowd at eye- anyway?” I think to myself. However, is full of vendors selling everything from
level for those of us fortunate enough to be that question is answered about half-way hammocks to five hundred dollar blown-
sitting on the ground. through the first set as Lesh and Friends glass bongs. A girl ahead of me stumbles
I ask, quite legitimately, “Was that a man transfer from “Scarlet Begonias” into “Fire through the crowd waving a handle of
or a woman?” on the Mountain” with Osborne belting Jack Daniels above her head. I watch as a
“A man,” my friend Udit replies out the vocals. She’s equally strong on the mounted police officer rides by and scoops
immediately. “That was one hairy ass.” cover of “All Along the Watchtower” that the bottle out of her hand. No glass bottles
Hairy Ass Man isn’t the only character in immediately follows. Lesh and Friends hit allowed at Bonnaroo by ruling of the Clean
the audience. Beside me, a boy about my a large number of Grateful Dead songs, Vibes Clean-up Crew.
age lies flat on his back staring straight up ranging from the country funk of “Big After my friends and I enter Centeroo,
into the clouds above. Every so often he River” to the bluesy “New
giggles. Speedway Boogie,” on
I lean over to the kid and whisper, “I which Osborne’s vocals
want in on the joke. I can never get the have an almost Billie
clouds to talk to me.” Holliday sultriness. Near
He ignores me but I don’t feel too the end of the set, Lesh
insulted. Periodically, people squeezing and Friends do a number
their way closer to the stage will get a look of squealing guitar jams
at this guy and stop with huge grins on with a psychedelic touch.
their faces. “Box of Rain” is their
“Having fun, man?” they’ll ask. single encore as the sky
Giggle. pours down on the ecstatic
Ahead of us, a girl wearing wings is crowd.
sprinkling everyone who passes with goo
from a broken glow stick. “I’m a fairy,” she
sings out. The mushroom fairy, I guess. DAY ONE—Thursday,
The last day of the festival has been June 15th
highly satisfying, with concerts by Soulive,
moe., Bonnie Raitt (making several anti- My friends and I arrive
Bush comments), Sonic Youth, Steve Earle, in a caravan of cars on
and Béla Fleck and the Flecktones. The last Thursday morning. We
is my favorite, being comprised of some wait about two hours
of the best musicians in the world. Lead on the highway, which
by Béla Fleck on the banjo, the Flecktones is nothing compared to
are made up of bassist Victor Wooten, Jeff the thirty hour interstate
Coffin, who plays two saxophones at once, backup of Bonnaroo
and Future Man, inventor of the Drumitar, 2002. In all directions,
an extraterrestrial-looking instrument people sit on the top of
that possesses all of the powers of a full their cars smoking bowls,
professional drum kit. or run along the side
A roar comes from the audience and of the interstate tossing
we’re all on our feet as Phil Lesh and Frisbees. As we turn off
Friends take the stage. Lesh is joined by the highway onto Bushy
singer Joan Osborne from the Grateful Branch Road, the two mile
Dead days, guitarists Larry Campbell and long dirt road that leads
John Scofield, plus the usual members to the Festival site, a 700-
John Molo on drums and Rob Baracco acre farm in Manchester,
on keyboard. They kick off the show TN, our car is accosted
with “Uncle John’s Band,” which sends by all sorts of people
the crowd into motion, bouncing up and handing out free stuff and Radiohead frontman Thom Yorke getting emotional.
we approach That Tent where a band
I’ve never heard of before, The Motet, is
playing. They are amazing! Created and
led by drummer Dave Watts, the Motet
plays their music with a focus on the
percussion. The result is a dance-jam that
includes funk, African, reggae, salsa, and
jazz beats.

DAY TWO—Friday, June 16th
Three major events mark Friday.
Tragically, a twenty-one year old concert-
goer is killed when he bolts onto the
interstate in front of Ricky Skaggs’s tour
bus. Throughout the day, the shortage
of weed (despite the large amount of
back-packed drug dealers who roam
around calling out their wares) is noted
by festival attendees everywhere. It is
not until I return home that I learn the
cause. On Sunday, a U-haul headed down
to Bonnaroo was stopped carrying two
thousand pounds of weed (one million
dollars worth.) Thankfully, the music
doesn’t stop.
Ben Folds is the first big performer,
playing on Which Stage. Despite the
sweltering heat, Ben Folds is filled with
energy as he bangs away on the piano,
at one point attacking it with the stool
he’s sitting on. This antic is not the only
way Folds engages his audience. For one
song, he leads the crowd in a three-part
harmony. Later, his sweet and sorrowful
voice fills the air on a heartfelt tearjerker, a
cover of Dr. Dre’s “Bitches Ain’t Shit.”
Later, while Death Cab for Cutie, Ricky
Skaggs, and Robert Randolph and the
Family Band all perform on various
stages, I remain stationed at the main
stage watching Oysterhead, arguably one
of the best shows all weekend. Despite Just your typical mushroom fountain. Notice the lack of hippie bathing.
having not played together since 2001,
Police’s drummer Stewart Copeland, Copeland provides a steady background wearing an Elvis Mask.
Phish’s Trey Anastasio, and bassist Les to Anastasio’s laid-back jam, as they Oysterhead is followed by headliner
Claypool (from numerous bands including mesh perfectly with the funky, demonic Tom Petty, who performs his Greatest Hits
Primus, Flying Frog Brigade, and Bernie’s Claypool, who during a creepy, jailbait album followed by a slightly excessive
Bucket of Brains) reconnect instantly. cover of “Jailhouse Rock,” comes out run four encores. In a festival where
tremendous improvisation is taking place
on every stage, I find him somewhat
disappointing. However, he does create a
stir when he brings out Stevie Nicks for a
duet of “Stop Draggin’ My Heart Around.”
The late night shows compensate for the
lull created by Petty’s performance. The
collaboration between Umphrey’s McGee
and the Disco Biscuits is absolutely off the
hook, and performances by My Morning
Jacket and hip-hop artists Common, Lyrics
Born, and Blackalicious complement it
very well.

DAY THREE—Saturday, June 17th

I don’t know whether I lose my way
due to the confusion of haze and dust or
because everything in Bonnaroo moves
around in an Alice in Wonderland-esque
fashion, but upon entering Centeroo I
find myself in the middle of the 1,000
square foot Sonic Forest. The Forest is

Béla Fleck and the Flecktones are among the most talented live acts around.
 Among the Heathens

number of women) descend on this tiny and Canadian backpackers, and plied
farming village and completely take it them for information regarding their
over, rampaging through the streets like Eastern European adventures over beer
Ryan Chesley a horde of black-clad Huns. This year, I bartered for some more of our whiskey.
Special Contributor was one of them, along with my fellow One of my last coherent memories is of
pilgrim Andrew. What better way to Lukas inviting Andy and myself to come
kick off our month-long tour of northern back to Gdansk and live with him (“My
Europe? I grinned. And then my head Grandfather, he died… he left me a house

I
started hurting again. with five rooms… I will give you two”);
As I stumbled around to the back of the as near as I know the offer still stands. I
car, I was offered a can of Polish beer by have hazy recollections of Andy dragging
Lukas, a burly philosophy student from me out of the car, where I was locked in
awoke on the morning of the fourth Gdansk whose camp was next to our a life-or-death battle with the spiritus, to
of August, 2006, so hungover I own. Nearby were colonies of Germans, go see the Scorpions (of “Rock you Like
could barely move, stiff-jointed Italians, Canadians, Iranians – any a Hurricane” fame), and of leaving them
and reeking of whiskey. This in itself nationality you could name, gathered in disgust because they were so bad that
was not unusual, but on this particular in tents and cars that sprawled from no amount of alcohol could possibly
morning, for some reason I could only horizon to horizon. We had befriended make them enjoyable. Andy, who has the
dimly recall, I was curled up not in my Lukas and his fellow Poles the day before misfortune of remembering the whole
bed, on a couch, or even a floor, but in by offering them some of our whiskey; thing, relates that “the guitarist was
the driver’s seat of a rented Volkswagen. they had reciprocated with something jumping around like a damned idiot for
As I struggled mightily to sit up, I heard called “spiritus” mixed with cola, which two hours,” which I suppose is as much
Manowar echoing over the fields from a tasted like nothing at all but turned out of a review as you need. According to
cranked-up car stereo: “The gods made to be some kind of high-octane Polish the official program, the theme of the
heavy metal / And they saw that it moonshine. Prompted by the non-verbal evening was “A Night to Remember….”
was good / They said to play it louder code of the metalhead’s wardrobe, Lukas So much, as they say, for that.
than hell / And we promised that we showed that he approved of my Venom Which brings us back to the morning
would!” I suddenly awoke, revitalized shirt by calling out song titles, and so of the first full day. Lukas and I, now
by the absurdity of the rousing chorus. we began screaming lyrics at each other joined by Andy (who appeared to
Was it being played ironically? Who (AHH… AUGGH… AAAAUUUGH! be in far better shape than me, the
knew? Who cared? At that moment BLACK METAL!). Fighting through swine) compared notes concerning the
all that mattered was that I was at the language barriers and the encroaching weekend’s festivities, which promised
Wacken Open Air Festival, the largest effect of the spiritus, we discussed the to be every bit as hyperbolic as the day
gathering of metalheads in the world. relative merits of Polish versus American before. A mind-boggling array of bands
It takes place every year in northern metal; he played us some of a band awaited, performing back to back on
Germany: for three days, dozens of bands called Witchmaster, we played him our the festival’s two main stages: the “True
and 62,000 madmen (and a surprising band’s demo. We met some Germans Metal Stage” for
more traditional acts, and the “Black
Stage” for the genre’s darker and more
extreme offshoots. Together with the
small, peripheral “Party Stage” and
tent-enclosed “Wet Stage,” the complete
line-up encompassed all of metal’s
distinct sub-genres, indistinguishable to
outsiders, but as different as night and,
well, even blacker night to those who
have mastered the lexicon: Black Metal,
Death Metal, Speed Metal, Power Metal,
Thrash, Grindcore, and every conceivable
blending thereof.
It is telling, however, that the most
universally anticipated acts were either
reunions of long-defunct bands or still-
active holdovers from metal’s formative
years, well beyond their creative prime:
Celtic Frost, Emperor, and Atheist in the
first case, Motörhead and Morbid Angel
in the second. Fans often reverentially
describe these undisputed innovators
and their peers as metal’s “old gods,”
undisputed innovators of almost
superhuman stature whose early works
are still venerated to this day.
A cynic (such as myself) could dismiss
the other headliners as superficially
pleasing novelty bands: Children of
Bodom, a Finnish quintet who have
The resurrected Celtic Frost hold the crowd in thrall as they intone their morbid tale
risen to popularity over the last five Extremo, a German ensemble which re- but ultimately mediocre sets from Opeth,
years on the strength of their catchy, interprets medieval minstrel tunes by Six Feet Under, Carnivore, and others. In
high-speed power metal; Finntroll, incorporating electric guitars alongside Extremo’s aforementioned pyrotechnic
whose delightful blending of Black bagpipes, tympanis, and fire-breathing. circus of creative anachronism offered an
Metal and Finnish “Humppa” music While all enjoyable in their own ways, entertaining spectacle, particularly when
was always a kind of self-parody but their strengths seem more like gimmicks several thousand closely-packed fans fell
became positively intolerable after their when placed next to the achievements of down simultaneously in the middle of
guitarist/songwriter got drunk and fell their musical ancestors. their set.
off a bridge several years ago; and In These sobering ruminations were far As the sun went down, the crowd in
from my mind on that morning, however: front of the two main stages swelled and
old gods, new gods, no matter: all the festival’s iconic 20-foot cow skull was
judgment and criticism were suspended set ablaze with torches. Finally, the first
in anticipation of the upcoming high- night’s headliners took the stage: First
decibel bacchanal. The first stop was the came Children of Bodom, who despite or
Metal Market: stepping over the prostrate perhaps even because of their inescapable
bodies of overly indulgent revelers, we cheesiness won over the thousands
threaded our way through the copious of assembled spectators with nonstop
booths hawking bootleg shirts, rare LPs, guitar- and keyboard-based frivolity.
Celtic Frost drinking horns and hand-made gauntlets. Celtic Frost, however, blew nearly
Monotheist Equipped for the struggle ahead with everyone away: a cult pioneer of extreme
some lethal-looking spikes, we returned metal in the mid-80s, they more than
Release Date: May 30, 2006 to the car for some sausage and beer proved their contemporary relevance
EMI while we awaited the day’s worthy by not only nailing 20-year-old classics
bands. In the meantime, we could hear such as “Into the Crypt of Rays” and
the afternoon’s opening act, Canadian “Circle of the Tyrants” but also delivering
“satanic fuckin’ rock-n-roller” Danko enthrallingly doom-laden performances
Jones, tell the crowd that not only was he of material from their 2006 comeback
With their groundbreaking “the fuckin’ greatest,” he got “this fuckin’ album Monotheist (see sidebar for Andy’s
1980s albums, Celtic Frost greatly eye-patch” while “fuckin’ jerkin’ off.” I’d review). Exhausted, we returned to our
influenced both modern metal and never heard of Danko before, but after campsite to rest before the final day.
more mainstream bands such as hearing his set from afar I can confidently Saturday’s afternoon performances
Nirvana. Monotheist proves to be an say that he is one of the worst people in were disappointing: Aborted, like many
excellent comeback record, featuring the world. American bands, showcased impressive
lush doom-filled sound-scapes full of My mood improved as the day wore speed and brutality but derivative
weighty guitars slurring out rhythms on. I left Andrew behind, as he had songwriting; Arch Enemy’s Swedish-style
and minimalist dark melodies, whilst heroically decided to pass out spread- death metal floundered despite their
Tom Warrior delivers surly, weathered eagle on the hood of our car (ha ha, charismatic and talented frontwoman/
vocals. fucker, now it’s your turn), and made growler Angela Gassow; and Soilwork’s
my way to witness the return of Atheist, Swedish-style death metal floundered
Key Tracks: Ain Elohim, Obscured, whose improbable mixture of technical because, well, they’re a mediocre band.
Synagoga Satanae death metal and free jazz more than lived Morbid Angel, in my opinion the world’s
up to their formidable reputation. We greatest death metal band, proved an
spent the next several hours alternately outstanding exception: the return of
Andrew Bailey breaking in our new drinking horns at original Dave Vincent and the paradigm-
the campsite and enduring competent shredding guitar work of Trey Azagthoth
even managed to incite the otherwise By the time they closed with “I am the of sleep in before we left at dawn for
complacent European crowd to sporadic Black Wizards” and “Inno a Satana,” it Hamburg and the rest of our European
frenzies of American-style pit violence, felt as though they had single-handedly journey.
raising our collective adrenaline level driven the sun below the horizon. In strictly musical terms, Wacken
considerably. As Emperor retired to the lengthening offered a handful of truly world-class
Anticipation ran high as the evening shadows, it fell to one final act to deliver performances and several fun spectacles
approached. I took advantage of the weekend’s killing blow: Motörhead, amidst a sea of mostly forgettable
Whitesnake’s set to position myself front a name which should be familiar to mediocrity (and utter crap; fuck you,
and center for Emperor, unquestionably even the metallically-illiterate. Their Danko Jones). What made the weekend

“
the most avant-garde and musically hard-charging, dirty rock-and-roll was truly memorable, however, was not the
literate Black Metal group to emerge a foundational influence on modern music per se: the total experience of
from Norway metal, and though Wacken amounts to far, far more than
in the early they’ve evolved just a parade of bands. The artists on
90s. They were little in the last stage merely provide a focal point for
returning to the ... it felt as though they thirty years, they the celebration of a thriving subculture
stage for the have remained shared by countless fans around
had single-handedly

”
first time since primitive and the world, living 362 days a year in
hanging up their uncompromising. permanent diaspora amongst menial
gauntlets in 2001 driven the sun below They are heavy jobs, oppressive governments, prolonged
after releasing a music’s great war and collar-popping SAEs. It may be
pair of lackluster the horizon. white shark, a that only the “old gods” were truly able
albums that barbaric force to live up to the expectations set by the
forsook the of nature. At scope of the event, but this is no reason
rich, majestic one point, as the to declare metal dead or even dying, as
atmosphere of their classic works for crowd of 60,000 headbangers roared for its detractors and even its fans are often
soulless prog-metal wankery. I steeled the obligatory “Ace of Spades,” 61-year quick to do. The true spirit of metal at
myself for bitter disappointment, old-front-man Lemmy Kilmister (who Wacken springs from the cameraderie of
but they delivered a genuinely looks not a day over 100), grumbled, the sprawling tent cities, the booths and
transcendental performance: an almost self-deprecatingly, “until I byways of the metal market, and from the
opening medley drawn from their 1993 fuckin’ die, right?” before launching, bottom of so many beer bottles, opened
masterpiece In the Nightside Eclipse appropriately, into “Killed by Death.” by strangers but finished by friends. The
laid the foundations perfectly for more Ace of Spades came last, of course, in all old gods still reign here, but for now,
complex works from 1995’s Anthems to its anthemic glory, providing the perfect their immortality seems assured. Until
the Welkin at Dusk, and even the baroque parting shot for the festival before we you fuckin’ die, Lemmy – until we all
neo-classicism of their later albums staggered back to the car to say goodbye fuckin’ die.
sounded monumental in a live context. to the Poles and try to get a few hours

Darkness Descends: The metal hordes gather beneath lengthening shadows as the second evening ramps up.
THIS PAGE IS NOT HERE
 “
By Maryanna Brown
Never before was there a more perfect After a group huddle, which in hindsight
combination than We Are Scientists and must have seemed incredibly suspicious,
Berlin, Germany. It was fated that this ...we slipped behind we slipped behind the curtain and into
pairing would produce epic results, and
thankfully, we were there to witness
the curtain and into another world, a world of beer without
cost. I was convinced it was heaven, but
something I can only describe as magical. another world, a world maybe that was just because I looked

”
Although any respectable scenester directly at Keith Murray, finalist for PETA’s
would never show up on time, Andrew of beer without cost. I sexiest vegetarian, without taking proper
Flynn ’07, Marianne Epstein ’08, my precautions. I was blind, blind with love
German host sister Eva, and I rolled into was convinced it was for W.A.S.
Bastard Klub, deep in the bowels of East
Berlin, fifteen minutes before the show
heaven... For heaven, it was a little small and
dingy. This East Berlin club was not a
was scheduled to start. Though we had classy establishment and neither was its
due to the fact that everyone in the crowd
to wait an hour and half before the band spoke exclusively German. coatroom, which apparently doubled as
actually started to play, it did allow us “backstage.” Admittedly, upon arrival we
Having exhausted their 13 track album
ample drinking time and an opportu- just stood there awkwardly, mainly be-
With Love and Squalor, the band left the
nity to grab a place tantalizingly close to cause there were only about twelve people
stage without even attempting an encore.
W.A.S. in the intimate venue. in this little gathering including the band.
Although the absence of an encore was
When I think about the self described Almost immediately their manager came
a bit disappointing, we can’t complain,
“most handsome bachelors in New over, “Are you guys supposed to be back
because that’s when the magic happened.
York,” which I do often and intensely, here?” clearly sensing we were randos.
When the three lusciously diminutive
a few words come to mind: spectacles, “Oh totally...”
musicians left the stage, we saw our
flamboyant bass lines, and perhaps most “You need to leave.”
dreams of meeting the band, a hope we
importantly, cats, which can be found on “But but but...” I stammered, watching
had cherished at least thrice daily for the
their album cover, band tees, and photos everything slipping away, “I came all the
previous two weeks, crumbling around
posted on their website. Their show lived way from Alaska to see this show.”
us. After we milled around the venue for
up to all of my wildest fantasies with one “We both know that isn’t true,” he
a bit, we stumbled upon a roped off cor-
major exception – there were no cats. This replied.
ridor. We surreptitiously slipped behind
was a huge blow to all of us. Cats aside, “That maybe so, but I am from Alaska,” I
the ropes, took off down the hallway, and
although the sound quality left a little to said with a shrug, expecting to get booted
made our way up a couple flights of stairs.
be desired, the set was fabulous. But not out by security within in the next thirty
When the fruits of our journey rewarded
even sketchy sound could bring down the seconds. It’s widely believed that Alaskans
us with a coat check-in, we turned to leave.
crowd’s enthusiasm for the group’s two are the most attractive and charming of
However, before we left, Eva peeked
hits, “Great Escape” and “Nobody Move the nation, and my ensuing experience
behind the velvet curtain adjacent to the
Nobody Get Hurt,” which roused even only proves that theory. We were not only
check-in and revealed Chris Cain, Keith
the most cross-armed, head nodding, allowed to stay, but were given the first of
Murray, and Michael Trapper with their
tight-panted, German hipsters to dance. many free rounds of beer that we would
small entourage. It was fate. Destiny had
However, the witty scientists, famous for receive during the course of the night.
brought me to Berlin, not to learn German,
their on-stage banter, were less than talk- And while we may have been uncomfort-
but to meet We Are Scientists, which was
ative during their set, which was probably ably awkward, we were enjoying free
a relief because I hadn’t learned German.
 endangered animal species crackers,
which were both delicious and rare.
When a heavily-mustached Chris Cain
strolled over and introduced himself,
I peed a little in my pants. After we
told him we went to Dartmouth, the
same school as his former girlfriend,
Emily Cross ’08 Grad Student, we had
our in. Plus, it turned out that she was
a climbing friend of Flynn’s. So after
Flynn scored us the in with Cain, we
all made our way over to some ridicu-
lously comfortable couches and chatted
about increasingly random subjects for
the next hour or so. Admittedly, I spent
a good part of that time not-so-suavely
gaping at Keith, who was sprawled on
a nearby couch eating take-out Thai—
much to my dismay he was not a talker.
Could this be because I spent most of
the concert repeatedly screaming, “I
love you Keith”? Perhaps.

The Crystal Method

As I sat there with Marianne, inhaling
cheesy dolphins and blue whales, while
Chris showed off his new calculator
watch and described his penchant for
racing random strangers with math-
ematical calculations, I knew this was

Live @ Crobar, NYC 7/21/06 indeed the highlight of my young

life. Eva had yet to hone her English
seduction skills—she was trying to
By Mike Selvin win over their manager using such
lines as, “How much money do you
hen I arrived at the Crobar it or techniques, did give the people what make?” Oddly enough, that line usually
was already late into the night, they wanted to hear without resorting works for her. Damn those hot German
and I unfortunately missed to their own commercial hits. In fact, women, they’re irresistible. We sensed
the opening DJ and the first the only instantly recognizable tune that Cain was one of us and Andrew
few minutes of The Crystal Method’s aside from the closer was Souwax’s invited him to join our gallon challenge
set. The main dance floor was packed “NY Excuse”. The pair truly played as we had scheduled for the next day. We
wall to wall, as one would expect from a team, one of them setting up a record must have impressed him with our
Manhattan’s largest capacity nightclub and mixing, as the other looked for the good looks and winning personalities
(3,000 people) at 2 AM. After about a ten next track to throw on. They switched because he accepted the challenge in
minute effort to navigate through the the actual mixing duties five or six times his characteristically goofy manner, and
mass of dancing bodies, I finally made over the course of two hours, and were we exchanged numbers. For the record,
my way to the stage. This summer I clearly as excited about the performance we are still in possession of said digits.
interned at a management and booking as the crowd was. At one point, Scott was They are my most prized possession.
agency for DJs called The Collective standing in front of the decks as Ken was He suggested that we show him around
Agency, and The Crystal Method is one of playing, jumping around and throwing Berlin after we got out of class the next
their clients. Although I worked full time free bottles of water and cans of Red Bull day, a prospect which would have vali-
for no pay, I was reimbursed through free to people in the crowd. While those of us dated my existence.
entry and stage/VIP access whenever our in the booth were worried he was going Maybe he never called...but he could
clients were playing. to fall off, it never seemed to cross his have. I’d like to think he just got a little
Once on stage, I found a convenient mind. busy...the upkeep of his mustache alone
spot just to the side of the DJ booth As 4 A.M. rolled around, Scott and must take hours, not to mention review-
from which to watch without getting in Ken threw on their last track, a dubby ing random localities and objects, such
the way. The Crystal Method, which is house edit of Blur’s “Song 2”. The crowd as Gatorland and the sink basin in the
composed of two guys from Los Angeles hadn’t diminished in the least, and “Song public toilet at Ekko, on the band web-
named Ken Jordan and Scott Kirkland, 2” made for an epic ending to a great site. Not to be discouraged, we called
garnered some commercial success a few performance. The track also set the tone him—he never picked up. Honestly, I
years back with a number of hit albums, perfectly for the closing DJ, Brooklyn felt like a scorned lover, and I suspect
namely Vegas, Tweekend, and Legion of native Tommie Sunshine. Tommie mixed Flynn did as well. Were we not good
Boom. Their success came as producers, from Blur straight into his own special enough to warrant a second hang-out?
not as DJs. Tonight, however, they were blend of rock & roll infused electro I didn’t sleep for weeks. Rather than
DJing rather than playing their own hits house. While still an up-and-comer, counting sheep to lull me to sleep, I
live. I wasn’t sure what to expect going Tommie Sunshine has been attracting instead counted the reasons Chris Cain
into it, but the duo played a solid two international attention of late, and that was too cool for us. Reason #23- His
hours of high-energy breaks, with the night he proved why. While I couldn’t friends are people like the Arctic Mon-
occasional tech house or electro house stay longer than about 45 minutes into keys. I’m not even British. We’ve all
track thrown in the mix. his set, it was smooth, powerful, and very gotten over the scorn, but this relation-
Their performance was top notch. original. Dropping tracks like his own ship is far from over. W.A.S. has a show
Although they weren’t experimenting electro remix of Fall Out Boy’s “Dance in Montreal on the 26th of October and
with new sounds or wowing the crowd Dance,” Tommie finished off an excellent we are so there.
with any particularly impressive tricks night in perfect fashion.
 The Penultimate Page
(LOLLAPALOOZA from page 24) (BONNAROO from page 28) eight songs, two encores, “Idioteque,”
and “Karma Police,” Radiohead is able to
the end of the weekend and the sleepy ride made up of sixteen eight-foot high metal surpass the momentous expectations of the
home, via Chicago. poles that play an ever-changing series of crowd (many came to Bonnaroo solely to
Lollapalooza has been criticized for lights and melodies as they sense a person see Radiohead) and hold the audience in
many things – lack of audience diversity, nearby. They are designed, like everything ecstasy to the very end.
heavy reliance on corporate sponsorship, else at Bonnaroo—the Silent Disco, the As we all file out after the show, towards
and a recent “bigger is better” mentality playground, the small city of hemp art— This Tent where Dr. John will shortly
– and though many of these criticisms for people on drugs. be performing in full Indian headdress,
are valid, I still managed to have a pretty However, for everyone, drugs or no I look up at one of the fifteen-foot high
amazing weekend. Lollapalooza, like any drugs, there is Radiohead. At 8:30 it plastic men that grin over the crowd. This
large outdoor festival, has its limitations. appears as though all 80,000 concert- particular man has a large, hairy, beer
It isn’t as “alternative” as it once was, and goers are waiting in front of What Stage. belly and a pair of old-school aviators. I
I didn’t get to see everyone I planned on Moments later, a wave of sound and light follow his gaze to the giant mushroom
seeing (the weekend’s casualties included engulfs the audience as Radiohead appears fountain. During the day it’s filled with
Be Your Own Pet, Cold War Kids, The and breaks into “There, There” from Hail people cooling off and bathing, many at
Go! Team, Sonic Youth, and the Violent to the Thief. The screens on either side of least topless, but now it’s deserted except
Femmes) but the fact remains that it still the stage don’t work and I can hardly see for animated bubbles which float up the
offers an incredible line-up. Ignoring all a thing, but it really doesn’t matter. Their the mushroom toward the golden glow of
the bullshit, it’s the music that draws music is so full that I feel as though I’m water spouting from the top. I can’t help
people to Lollapalooza, and it’s the music listening to it in a flawless, acoustically- but think to myself what a long, strange
that makes it worth the 19-hour drive. engineered concert hall. Through twenty- trip it’s been.
 iTunes® and iTunes Store® are registered trademarks of Apple, Inc.
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Brian, Chet & Tim

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 Digitally signed by Tim Bakke
DN: cn=Tim Bakke, c=US,
Tim Bakke o=Squeezebox Magazine,
[email protected]
Date: 2007.03.12 09:35:56 -04'00'