Tuesday, March 30, 2010
Joshua Boydston, L&A editor dailyent@ou.edu • phone: 325-5189 • fax: 325-6051
3B
« TOMORROW
Check out a pre vie w of the Taylor Swift concert in Oklahoma City, as well as a column in defense of Kanye West.
This week’s edition of New Music Tuesday sees a gangsta softening up, a duo breezing along and a local garage act getting a bit rowdy.
» SNOOP DOGG
Snoop Dogg’s most recent effort, “More Malice,” an extension of his tenth studio album “Malice in Wonderland,” has its moments but is very far from perfect. The album is eight tracks, two of which are remixes from the original, and one of which is on the original, leaving five new tracks. The songs range from upbeat club songs, to much softer R&B oriented songs. The album includes collaborations with Jay-Z, Bun B, Kid Cudi, Butch Cassidy, Tha Dream and most unfortunately, Soulja Boy Tell ‘Em. The high points become clear after only one listen, and they are the songs featuring Jay-Z, Kid Cudi and Butch Cassidy. Jay and Snoop both contribute quality lyrics to one of the better beats of the year on “I Wanna Rock (G-Mix),” which is one of the remixes from the original. Kid Cudi provides the hook and a verse for “That Tree,” a song that is a little more upbeat than you’d expect to hear Cudi on but a pretty cool track overall. Veteran singer Butch Cassidy and Snoop collaborate with West Coast flavor on “So Gangsta.” Certainly the worst part of the project is the song featuring Soulja Boy, “Pronto (G-Mix),” the other remix from the original that also features Bun B. Not only does it feature Soulja Boy, but the hook is him singing in auto-tune. Ridiculous, right? Bun B does his best to salvage the song with a pretty decent verse, but once Soulja Boy hopped on, the song didn’t have a chance. At best, this album is mediocre, with only a few of the songs worth your time. Snoop Dogg really doesn’t have it like he used to, providing subpar lyrics the
majority of the time. Without contributions from Jay, Cudi and Butch Cassidy this album wouldn’t have a chance. But hey, better luck next time Snoop, just don’t invite Soulja Boy along. -Ryan Querbach, journalism sophomore
SHE & HIM
“Volume Two” Key Tracks: “In The Sun,” “Over It Over Again” 7.2/10.0 The second studio album from She & Him couldn’t have been released at a better time. With its light, upbeat and effortless feel, “Volume Two” accompanies the coming of spring perfectly. She & Him, the collaborative effort of queen of indie Zooey Deschanel and wellestablished folk artist M. Ward, sounds like country music from the Patsy Cline/ Loretta Lynn era but also maintains its indie folk roots. Deschanel, who writes the music and lyrics, sounds like something from a 1960s pop song. Her voice is sweet and charming, but her unique style really sells what she’s singing. M. Ward produces She & Him’s albums and sometimes sings in the background. Aside from the occasional guitar riff, it seems as though he’s pretty OK with letting Deschanel have the spotlight. “Volume Two” is very much a continuation of She & Him’s 2008 release “Volume One,” but that is not at all a bad thing. Like “Volume One,” most of Deschanel’s songs are about heartache and unrequited love but with an optimistic outlook. Almost every track on the album is upbeat, so it doesn’t matter whether the lyrics are cheerful or not. You’re going to be in a good mood. While She & Him has a distinctly
enjoyable and contagious sound, “Volume Two” can start to get repetitive since all the tracks are roughly about the same thing. She & Him has a lot to be proud of with two very successful albums under its belt. “ Volume Two” is delightfully simple but complex enough to capture and retain your attention.
IDED PHOTOS PROV
“More Malice” Key Tracks: “I Wanna Rock (G-Mix),” “That Tree” 4.5/10
-Rachel Landers, public relations junior
COPPERHEADS
“Copperheads” Key Tracks: “Drugs,” “Killer” 8.4/10.0 Relatively new to the Oklahoma scene, Copperheads silently released a gem of an EP this December. Riding the Oklahoma garage rock wave, Copperheads get points for being — arguably — the loudest of the bunch. It’s the frenetic, crazed delivery that has this release buzzing with energy — chords struck with such a manic velocity my own fingers get blisters and such booming percussion I get a little scatterbrained. “Copperheads” is an unrelenting, rough and tumble experience not for the faint of heart. The band seems to favor “Raw Power” era punk riffs, especially evident in surprisingly harmonious “All I Need” and “USA Trash.” But while the group can carry a note if need be, the in-your-face holler of “Killer” and “Drugs” is all the more fun. It’s the fast-paced, loose-reigned punk sound of a criminally forgotten era. Kudos also go to Chris Harris’ prod u c t i o n t a l e nt s ; h e b r i l l i a nt l y l ay ers the recording into something that
maintains the raw, sonic bombast of a live show with just enough restraint to let the songs really shine. “Copperheads” may be a brisk introduction, but it says a lot about where the band will go. It seems yet another garage rock powerplayer has entered the arena, except Copperheads have the full intention of blasting you out of it. “Copperheads” is available at Guestroom Records for $3. -Joshua Boydston, psychology junior
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