4.19 Acumen

Contact information Mailing Address: 520 E. Main St., Carmel, IN 46032 Phone: (317) 846-7721, Ext. 7143 Website: www.hilite.org Email: Staff members of the Acumen may be contacted via email by using their first initial and their last name appending @hilite.org. For example, Dhruti Patel will receive mail sent to dpatel@hilite.org.

The Music Issue

Purpose Acumen is an issue-based publication serving to supplement the HiLite.

Acumen is distributed to the students, faculty and staff of Carmel High School. Opinions expressed herein are not necessarily representative of those held by CHS, the Carmel Clay system, faculty, staff or administration.

Staff Dhruti Patel Julie Xu

Acumen Editors Reporters

Madison Adzema Gavin Colavito Elyse Goldberg Claudia Huang Sam Patterson Pablo Paliza-Carre Arsalan Siddiqui Kyle Walker Lindsey Walker

Photographers

Gavin Colavito Hailey Meyer Sam Patterson

Graphic Artists

Connie Chu Melinda Song

HiLite Editor in Chief HiLite Managing Editors

Victor Xu Natalie Maier Melinda Song Tony Tan Ryan Zukerman

Principal

John Williams

Superintendent

Jeff Swensson

Upcoming concerts in Chicago June 6 Kendrick Lamar May 9 Paramore June 7 Sting July 17 Beyonce July 22 Jay-Z and Justin Timberlake LIANE YUE / COVER GRAPHIC Page 2

JULIE XU / PHOTO

Dear readers,

Letter from the editors

With summer just a few weeks away, the season of outdoor concerts and festivals will fill the air with music. However, here we know the music never really stops, whether it’s orchestra students who practice year round to perfect their concert pieces or students walking down the halls with headphones blaring. Music has especially gained influence recently with topics such as music piracy and music’s effect on one’s emotions becoming popular discussed. Music is always evolving, and we hope this issue encompasses everything it has to offer.

Dhruti Patel and Julie Xu Your Acumen editors

Student plays unusual instrument, the didgeridoo

By Sam Patterson spatterson@hilite.org Two years ago, senior Erika Stith saw a didgeridoo at the Broad Ripple art fair. Didgeridoos are wind instruments indigenous to Northern Australia created over 1,500 years ago and are relatively uncommon in North America.

“I had to have it,” Stith said. “I had no idea what it was, but the people at the fair made it seem really cool. I was with my grandma at the time, and she was like, ‘Well I’ll buy it for you as a birthday present if you like it so much.’”

“My parents were kind of confused, but they’ve come to accept weird random things from me. I’m kind of a quirky person,” Stith said.

Stith said most of her friends react the same way.

Stith said, “I don’t run out and tell people (about my didgeridoo), but when I do, most people think it’s kind of cool.”

Soo Han, director of orchestras and co-performing arts department chair, said that reactions are a matter of perspective.

“In my experience some people find instruments even like a viola, a funky instrument,” Han said. “It’s a matter of exposure and your knowledge in that field.”

Han said he is familiar with the didgediroo.

“It’s a big long pipe,” Han said. “It creates this low drone that people accompany with percussion.”

Han said that many students are interested in foreign instruments.

“Some of the senior students and I went and toured China recently with the Valparaiso orchestra, and we got exposed to native Chinese instruments,” Han said. “There’s one instrument called the erhu. It was really interesting.”

According to Stith, her instrument is unique.

Stith said, “There are very few commercial didgeridoos.

They’re traditionally made from a tree; you hollow the branch out. Mine was hand-painted by the people at the art fair. Mine also is flared at the end to amplify the sound.”

Didgeridoos only produce one tone. “It’s more of a

rhythmical instrument, but you can control the timbre by changing your mouth shape,” Stith said. “It’s kind of entertaining to play, even though I’m not very good at it.”

Han also said that playing unusual instruments can be difficult for students.

“If I wanted to play one of these Chinese instruments, how do I get it?” Han said. “I think it’s hard sometimes for them to find relevance: where do they perform, who do they perform with? Are they going to be accepted, or are people going to think they’re just crazy? How do they learn? Are there method books, tutorial guides, people they can take lessons with?”

Stith said she wishes she practiced the didgeridoo more.

“I don’t play it a lot, but I should. I play piano or sing a lot more, and you can take lessons for those,” Stith said. “I don’t think there’s much, if any, of a community here. Everything I’ve learned is from YouTube videos.”

Han said he encouraged students playing weird instruments to maintain a good attitude.

“It takes some work, some dedication, some investment,” Han said. “I think it can be rewarding.”

Stith said that she plans to continue to play the didgeridoo in the future.

“I’ll probably take it with me (to college), like for kicks and giggles. It’s not like I can take a piano with me,” Stith said. “I think it’d be really interesting to hear a modern band with a didgeridoo. There would maybe be some bongos, a synthesizer, something like ‘80s music but with a didgeridoo. I think it could really have a place.”

SAM PATTERSON / PHOTO ACUMEN

Which music provider is right for you?

It seems like today’s music enthusiasts are bombarded with an endless number of ways to enjoy music. Thankfully, the Acumen can help you find your perfect path to that next jam session.

Downloading

Online streaming YouTube

• Can easily • Can search discover new for specific music with its music in a algorithm that library of 20 PAN D O RA analyzes songs million songs and suggests • Default Facebook similar ones integration helps users • Can refine your stations with find music based on a “thumbs up” or “thumbs friend recommendations down” • After six months of • Displays lyrics and unlimited service, the biographies for some desktop version is free up artists to 10 hours of music per • Has 1 million songs in its month library

Pandora

P

LU

NA

E 146th St

Best Buy

• Has an expansive library of both indie and mainstream music • Offers customized playlists, Internet radio stations and community sharing • Interface includes upcoming dates for concerts, festivals • Lacks on-demand streaming capability since the service is primarily focused on music discovery

• Voted Indy A-List’s best CD store

• Sells vinyl and cds • Offers a broad range of genres

Other streaming music providers exist on the Internet.

Some critics even say they’re better than the more popular or more trusted options.

Grooveshark

• Has a wide selection of music • High prices

31 E 106th St

Indy CD and Vinyl store

465 N College Ave

• Ad-free and unlimited streaming • Lacks a free version, with the least expensive option costing $9.99 per month

INDY CD THE MUSIC EXPERIENCE

Lass.fm

Rhapsody mp3

MP3

Amazon mp3

• Offers competitive prices on new and classic amazon albums • Interface is a bit outdated

MUSIC STORE

Best Buy

Apple may be PSST developing ‘iRadio’ to compete in the Internet radio market.

The death of the CD seems to be inevitable, but local music stores are helping to revive it.

AND VINYL

MOG

• The only major music store provider with a desktop version • Some songs have been encoded so they can only play on iPhones and iPods

You Tube

• Service is completely free, and ads are typically skippable or nonexistent • Library and audio quality are limited by what songs other users have uploaded • Some services download videos to enjoy offline, but their legality is questionable

Spotify

iTunes

Thanks for downloading!

LUNA

Many people still want to own their music. Music downloads made up 80 percent of all digital music sales in 2012.

Purchasing CDs

• Offers the best audio quality • Registration is required, even for its free version

MELINDA SONG, JULIE XU, DENNIS YANG / GRAPHIC NPD GROUP, STATISTA, PANDORA, TECHCRUNCH.COM, NIELSEN, STRATEGY ANALYTICS, CNET, PCMAG.COM, PCADVISOR.COM / SOURCES April 19, 2013

ACUMEN

ROCK ON: After

a long day of school, musician and senior Daniel Lukovic plays the guitar. According to music theory teacher Maggie Hite, music is a way for many artists to express emotion.

GAVIN COLAVITO / PHOTOS

According to CHS students, music does not influence personality but impacts emotions

By Madison Adzema madzema@hilite.org

Music is an extremely influential and prominent part of children’s lives, increasingly so with the popularity of portable music devices, according to the 2010 Kaiser Family Foundation’s Study, “Generation M2.” The study also concluded that the degree to which music and emotion correlate completely depends upon the listener. For guitarist and junior William Chen, music is an outlet to creatively express his emotions.

“I know it’s a cliché, but (music) really is just a way for me to express myself and free my mind,” Chen said.

Music theory teacher Maggie Hite said she believes music is a way to express emotion that cannot be

“I know it’s a cliché but (music) really is just a way for me to express myself and free my mind.”

Junior William Chen Page 4

expressed otherwise.

“We don’t participate in music in order to win trophies or improve test scores; we do it because our education and our lives won’t be complete without it,” Hite said via email.

Although it does not necessarily determine one’s personality, Hite said she considers music a prominent factor of one’s mood. Guitarist and senior Daniel Lukovic said he agrees with Hite’s ideas.

“The music you listen to definitely amplifies or intensifies your mood, but I don’t think it affects personality as much as people think,” Lukovic said.

Backing up Lukovic, the “Generation M2” study implies that music has the power to influence or even have harmful effects on teenagers’ personalities.

Psychology teacher Robin Pletcher disagrees. She said that music taste does not dictate personality, but that music taste is influenced by factors such as environment and culture.

“Students are so dependent on music now,” Pletcher said. “I see most kids walking down the hall with their headphones in not interacting with their peers.”

Chen said he does not believe his personality has been affected by

his music taste.

“However, I think to some degree personality dictates music taste but it’s still not a huge factor. People listen to what they like, plain and simple,” Chen said.

According to an Atlantic article, “Secondhand Music,” everyday sounds can subconsciously affect one’s mood throughout the day. The article states common noises can enter people’s minds and influence their thoughts.

“Music is defined as organized noise.

With this in mind, I would not consider background noise throughout the day as music. I actually find excessive noise such as walking down the hallway very distracting,” Chen said.

Hite said she also does not consider everyday noises music, although they can inspire music.

“I think that it’s interesting that we very rarely experience pure silence just like we rarely experience pure darkness. There is almost always something around us that creates light or makes noise,” she said.

Lukovic said he agreed with Chen and Hite, believing that background noises throughout the day do not qualify as music. He does, however, believe that they can control people’s moods.

“I think subconsciously the little noises throughout the day to make a difference.

The slamming of a locker is going to make you tense, annoying voices are going to keep you on edge, the hum of a computer can be calming.” Lukovic said.

The “Secondhand Music” article also described the difference between happy and sad tones in music as major mode and minor mode that Hite agreed with.

Major mode, which produces happy emotions, is the most common musical mode. Hite said she would describe major mode, or third note, as uplifting.

She said lowering a note just half a step can create a huge difference in the tone of a piece of music.

“This is a gross generalization, by the way. Plenty of music is both major and sad or minor and uplifting. Some find heavy metal or hard rock grating, while others find it enjoyable and relaxing,” Hite said.

Chen and Lukovic said they have this in mind when they produce music both individually and with their bands.

Lukovic said, “It’s allowed me to express myself in ways that when I’m sad I don’t wallow, I have music. I’m angry I don’t throw something, I have music. It’s always there for you, no matter what.”

ACUMEN

CHS students, staff maintain that piracy affects the music industry, despite findings

By Kyle Walker kwalker@hilite.org

J

unior Ethan Stanley said when he is looking for something to do, he pulls out his guitar to record, uses a program called Mixcraft to add tracks and puts the finished product on SoundCloud to share with people.

“I don’t do it necessarily for money.

It’s just kind of a hobby of mine,” he said.

As artists, Stanley and others who may consider profiting from the music they make face a set of unique difficulties, including the growing issue of music piracy. However, according to a March 2013 study, piracy may not be such a large problem after all. The study, conducted by two European Commission researchers, shows that it may have a negligible effect on the music industry. It’s a claim that, though highly disputed, raises questions about piracy and its true consequences.

According to Stanley, he never

“It takes nights and maybe even weeks for a big (music) project, so just putting it all to waste and giving it out for free if you’re trying to make a profit is worthless. It’s not right, in my opinion.”

Junior Ethan Stanley

pirated music even before he became a serious musician.

“I don’t pirate music because it’s very illegal and Countries on U.S. Piracy Watchlist personally, from a moral standpoint, if you just download (music) for free, people who make their Algeria profit from music are not getting anything from it,” Argentina he said. “They’re not getting Canada any reward from all the hard Chile work they put into it.”

China Though he currently India distributes his music for Indonesia free, Stanley said he might one day consider selling Thailand it. In any case, he said, Pakistan being an artist himself has Venezuela influenced his perspective on piracy.

CONNIE CHU / GRAPHIC “Making songs takes IIPA / SOURCE a long time,” he said. “It takes nights and maybe music industry.” other people’s intellectual property, even weeks for a big (music) project, According to Spilbeler, the issue and if they were to put out a CD and so just putting it all to waste and of piracy requires a line to be drawn spend their time and efforts putting giving it out for free if you’re trying between what is and is not ethical. together that kind of product, they to make a profit is worthless. It’s not “I think there are plenty of arguments would probably want to be rewarded right, in my opinion.” where people would say, ‘Well, if I buy for it,” he said. “When you take other Brian Spilbeler, broadcasting teacher the CD and I put it into a digital format people’s work, and you do it in a way and station adviser at WHJE, said and I share it with my friends, what’s the that does not give that person the he also disagrees with the assertion difference between that and handing money or the credit that they should that music piracy does not affect the a CD to a friend of mine that I know?’” have, I think that (you) cross lines that music industry. he said. “There’s a line there that we’re (you) shouldn’t cross.”

“My assumption would be that it drawing in terms of the concepts of As an artist, Stanley said he also does affect the music industry, since what you buy and (whether) you can encourages students not to pirate music the music industry in the past has share it.” from artists they enjoy listening to. been based on the sale of albums and Spilbeler said he believes pirating “Definitely don’t (pirate music),” he records and so on,” he said. “When music falls on the unethical side of said. “You’ve got to respect the artist people can obtain the music without the line. and what he or she does. Keep that in paying for the album or the record, “Pay for your music because it’s mind.” the artist’s music.” that could have an impact on the

Looking Globally

By the Numbers

2

years in prison for Japanese citizens for illegally downloading music or films due to a recent change in laws April 19, 2013

25% 70 percent of the public find that piracy is socially acceptable

in music piracy due to the increase in subscriptions to services such as Spotify and Pandora

$800 average worth of pirated music on a teenager’s iPod JULIE XU / GRAPHIC CNN, TORRENT FREAK / SOURCES Page 5

Album reviews

Justin Timberlake exceeds expectations with his new musical style “The 20/20 Experience” RCA Records

After a musical hiatus that spanned more than six years, Justin Timberlake is back with his newest album, “The 20/20 Experience.” Timberlake’s fans had high expectations that were fulfilled despite using a musical approach different from what he used in the past.

In his previous albums, “Justified” and “FutureSex/ LoveSounds,” Timberlake and his longtime producer, Timbaland, used up-tempo, pop-oriented rhythms in the music. In addition, his past songs contained provocative lyrics. Nevertheless, both albums received positive reviews, creating the high expectations that many Timberlake fans have. However, despite their past successes, both Timberlake and Timbaland decided to take a different approach in “The 20/20 Experience.” This time, the duo decided to use slower

The Flaming Lips

“The Terror”

Warner Bros. Records

The Flaming Lips either lost a bet or have a wry sense of humor. That’s the only logical deduction you can make after they dropped the single “Sun Blows Up Today”from their new album “The Terror” for a Hyundai Super Bowl commercial in February. The iTunes bonus track is almost a complete departure from the rest of the album, which features a bleak, slightly disorienting compositional sound heavy with krautrock and noise influences that still manages to satiate listeners’ desires for the Flaming Lips’ signature psychedelia.

The album picks up where 2009’s experimental “Embryonic” left off, bringing a darker mood and harsher sounds to the Lips’ portfolio. While “Embryonic” featured collaborations with names like psychedelic duo MGMT and the NYC-based Yeah Yeah Yeahs’ Karen O, “The Terror” is entirely solo, a winding, immersive and psychedelic

Page 6

rhythms in a couple of songs, including “Don’t Hold the Wall” and “Blue Ocean Floor.” The new album’s songs are longer than those from his previous albums; eight of his 12 songs are longer than six minutes. In general, Timberlake transitions from a mid-tempo rhythm to a slower rhythm in the middle of his songs, such as in “Pusher Love Girl” and “Strawberry Bubblegum.” Another change Timberlake brings is a lack of featured artists. With the exception of Jay-Z in “Suit and Tie,” the album features no other artists.

Even with a lack of featured artists, his newest album showcases Timberlake’s talent. Although the album has many slow-tempo rhythms, there are still fast-tempo songs such as “Let the Groove In.” Also, the use of sudden shifts in transitions keeps listeners interested, and it might reduce the temptation of changing the song even though the songs are lengthy. Despite Timberlake’s shift away from his earlier work, “The 20/20 Experience” still meets, if not exceeds expectations. Timbaland handled production of the album well, maintaining consistency throughout.

Unlike most artists in the music industry, Timberlake talks about love interests without suggestive lyrics in his

symphony orchestrated by frontman Wayne Coyne, not unlike Pink Floyd’s 1973 classic “The Dark Side of the Moon.”

By taking notes from krautrock staple Can and sampling everything from harsh noise to sounds that likely came from a UFO, such as in “You Lust” and “You Are Alone,” the Lips have crafted a unique sound on this LP. The expert use of panning and feedback creates a disorienting uneasiness throughout the work, exemplified by Coyne’s disturbing chanting in “You Lust.” The calculated but seemingly haphazard jumble of heavy guitar twangs and feedback, harsh drum set, throbbing synth and Coyne’s surreal vocals that permeate the album in varying doses are best exhibited in the opener, “Look...The Sun Is Rising.”

Despite the sheer bleakness explored by Coyne on this record, his vocals betray him, adding a much-desired tinge of hope and desire to the album that buoys the sometimesrepetitive production. Though the recycling of similar samples creates a sense of consistency, to a lesser extent it forces some tracks into unnecessary conformity with the rest of the release. Still, the album somehow maintains a fairly varied sound with strange, “Twilight Zone”-like transitions that are just eclectic enough to string the tracks together in a unique manner.

Want more?

If you can’t get enough of Justin Timberlake, there’s good news. Timberlake confirmed that part two of “The 20/20 Experience” will be released later this year in order to complete the 20 tracks promised in the album’s title.

NEW YORK DAILY NEWS / SOURCE

single “Mirrors.” Similar to Frank Ocean’s “Channel Orange,” Timberlake combines soothing lyrics with a calm, slowtempo rhythm to entice listeners.

Even though “The 20/20 Experience” differs from his previous albums in terms of style, Timberlake’s smooth lyrics and Timbaland’s usage of different rhythms in production keep fans satisfied. Although this album differs from his earlier work, it earns the same positive feedback, if not an even better response.

—ARSALAN SIDDIQUI

Any band that’s been together longer than 20 years can’t release an album today without cries of a comeback.

This is typically followed by a tour of nearly senile rock icons shuffling about on stage mumbling the lyrics to former Billboard chart-toppers, selling out stadiums of disappointed fans satisfied only by the fact that they might be able to claim they saw the last concert.

For the Lips, this couldn’t be further from the truth. From its varied-rock roots in “Hear It Is” to its “classic” psychedelic sound on “The Soft Bulletin” and “Yoshimi Battles the Pink Robots” to today’s “The Terror,” each stage of the Lips’ evolution has been fresh and original. The real mystery lies in why the group would feel the need to adapt the only single, the aforementioned“Sun Blows Up Today,”into a more poppy, upbeat mood so drastically different from the rest of “The Terror.” Maybe it’s not that the Flaming Lips aren’t ready for us, but that The Flaming Lips will we’re not ready for the be performing live in Flaming Lips. on April 29 at the

Hear It Live

—PABLO PALIZA-CARRE

Egyptian Room at the National Center.

ACUMEN

Above & Beyond

“Anjunabeats Vol. 10” Anjunabeats

Ten years after the release of “Volume One,” British electronic and dance label Anjunabeats continues to deliver with “Anjunabeats Volume 10,” which was released March 4. Above & Beyond (A&B), mix artists, owners and hosts of the international radio show “Trance Around the World,” deliver a surprising combination of label-defining trance and more modern electronic and dance with their most recent two-disk compilation.

The second disc starts with one of the standouts of the album, Andrew Bayer’s lone contribution, “England.” This song defies labels with a mix of progressive, house and electronic while setting the tone for the second disc with an edgier use of bass and ramping synths. The collection continues with each song seamlessly cross-mixed into the next. The album also features releases by several major artists and DJs, including upbeat keyboard and synth play by Genix in “Stateside” and ramping, ethereal melodies over club bass in Nitrous Oxide’s “K.O.” Halfway through the disk, A&B’s own release “Black Room Boy (Club Mix)” shows us just how talented they are with their seamless use of vocals over their trademark trance beat and chord progressions. The song definitely marks a more serious, electronic feel compared to the upbeat, distinctly trance melodies and bass lines of the second half.

The happier second half is shown with collaboration of Lange and Genix on “Immersion,”which offers a bubbly, bouncy and predictably trance progression as it fades into Mike Koglin and 7 Skies’ “Vision.” Perhaps the only flaw in the album was Eximind’s “Revolved,” which was dangerously close to dubstep in its heavy bass and glitch usage. Regardless, one heavy, experimental song with the collection of gossamer and imminently danceable, workable electronic pieces on the rest of the CD is easily forgivable.

Overall this collection was a surprising evolution of A&B’s productions, with more mainstream electronic and pop influences.

However, “Anjunabeats Volume 10” stands as an excellent addition to any electronic collection or as a fantastic entry point for those new to the genre. It’s easily the best electronic collection of 2013 thus far.

-SAM PATTERSON April 19, 2013

The Strokes’ Comeback Machine?

The critically-acclaimed band’s latest venture into pop-rock is risky but pays off for listeners

“Comedown Machine” RCA Records

T

he release of the Strokes’ fifth album “Comedown Machine” may come as a shock to many.

After all, the band seemed on the verge of breakup in 2009 during the release of its last album “Angles,” with lead singer Julian Casablancas recording his vocals separate from the rest of the band. However, “Comedown Machine” is proof that the quintet composed of Casablancas, Albert Hammond Jr., Nick Valensi, Fab Moretti, and Nikolai Fraiture is having more fun than ever, as shown by the members laughing together at the end of the track “Slow Animals.”

“Comedown Machine” marks a transition towards maturity in the band’s career. In 1998, the Strokes were a group of five baby-faced teenagers from New York City that embodied downtown cool, donning leather jackets and skinny jeans. They were thrust into the limelight in 2001 after the release of their debut album “Is This It” and critics worldwide hailed them as the “saviors of rock and roll.” But 12 years later, the Strokes are now wellestablished in the music industry and have grown up.

Fans who are looking for the garage rock sound from “Is This It” and “Room on Fire” will be sorely disappointed, as the album plunges further into the experimental sound hinted at in its fourth album “Angles.” The album still utilizes the Strokes’ signature sound, but also takes inspiration from the 1980s with elements of synth pop, new wave and surf rock. The decade’s significance to the album is even referenced in the title of the track “80’s Comedown Machine.”

Similar to Casablancas’s solo album “Phrazes for the Young,” the instrumentation on “Comedown Machine” is

Ólafur Arnald

“Variations of Static” Erased Tapes Records

Ólafur Arnalds is a classical music composer from Iceland who went on to create a new style of classical music in 2008, after releasing his first full-length album “Eulogy for Evolution” with electro-infused

heavy on keyboards and also uses guitars manipulated to sound like keyboards. Guitarists Hammond and Valensi show off their dexterity and skill with their powerful riffs throughout the album, especially in “Tap Out” and “Partners in Crime.”

The release of the single “One Way Trigger” in February was the debut of Casablancas’ falsetto vocals and came as a shock to many fans. While they initially sounded strained and unapproachable, Casablancas’ crooning vocals fit appropriately in the rest of the album, particularly in “Slow Animals.” Although many of the tracks, like “Chances,” have profound lyrics, some reveal the band’s humorous and sarcastic side, with light-hearted lines such as “scuba dancing touchdown” in the disco-inspired “Welcome to Japan.”

While the album is a departure from previous works, it does briefly flirt with nostalgic ideas. For fans longing for the classic Strokes sound, they can turn to “All the Time” and “50/50,” both matching the intensity of earlier albums.

However, “Comedown Machine” falls short in creating a cohesive album. While the variety of inspirations for the songs make the album dynamic, it also makes it a disjointed listening experience. The album ends on a strange, unfinished note with the last track “Call it Fate, Call it Karma,” a vintage-inspired, dreamy ballad that seems out of place with the rest of the songs on the album.

As “Comedown Machine” is the Strokes’ final album on its famed contract with RCA, it’s hard to say whether it is a final farewell or a glimpse into the future for the band.

However, while the Strokes may never be able to capture the raw, youthful energy of its first two albums , “Comedown For a montage of past Machine” is an album Strokes moments created by with great potential guitarist Albert Hammond Jr., to still be a hit. check out the music video for —CLAUDIA HUANG

pieces that make up the EP, “Variations of Static.”

The album is five songs long, with each title in Icelandic. The album is a complete breakaway from “Eulogy for Evolution.” The beautiful, classical song “Fok,” the first track, transforms into an extravagantly elaborate electro-classical piece of art. The second track, “Vio Vorum Sma” (“You Were Little”) begins with some very haunting but beautiful words from a robotic child’s voice (think the child version of Microsoft Sam). The third track, “Haust” (in English, “Autumn”) is a sad,

“All the Time.”

dark and slow piece that almost depresses the entire mood of the album. However, “Lokaou Augunum” (“August Semester”), lifts the mood slightly. Then, “Himininn Er Ao Hrynja, en Stjornurnar Fara Per Vel” (“The Sky May be Falling, but the Stars Look Good on You”) brings the album to a haunting, extraordinary close.

“Variations of Static” was Ólafur Arnalds’ way of breaking away from the general classical music genre, and he does it well.

Overall, listening to this album is relaxing and pulls great emotion.

—GAVIN COLAVITO Page 7

Music festivals increase in popularity

By Lindsey Walker lwalker@hilite.org

The year is 582 B.C.E and the first Pythian Games are sweeping through Ancient Greece. The sounds of auloi and citharas ring out as Greek musicians compete for the symbolic laurel wreath in the earliest recorded music festival. Fast forward over 2,000 years to 1969 in New York, when half a million concertgoers gather to listen to the sounds of rock ‘n’ roll for three days straight at the Woodstock Music & Art Fair, reviving music festivals once more. Now, in 2013, attending music festivals is still a popular summer activity. According to Equipsupply, a retail distribution company, there was a 27.3 percent increase in average attendance at music festivals from 2010 to 2012. In addition, music festivals around America, including Coachella Valley Music and Arts Festival and the Country Music Association Music Festival, reported record-high numbers of audience members in 2012.

Senior Rachel Peterson is a veteran music festival attendee, having attended Lollapalooza in Chicago twice and Bonnaroo in Manchester, TN once. She plans on returning to both this summer. “(The first music festival for me) was pretty mindblowing. I just remember thinking, ‘This is heaven,’ like there’s no way it could get better than this,” Peterson said via email. “When you experience something amazing alongside the same people for four days, it’s such a bonding experience, even with Lollapalooza random people.”

Where: Chicago English teacher When: Aug. 2-4 Michele Satchwell, who Headliners: The Cure, grew up during the late Mumford & Sons, The ‘60s and early ‘70s when Killers, Nine Inch Nails, festivals were becoming The Postal Service popular, said she knows Bonnaroo that feeling well.

Where: Manchester, TN “It was the summer When: June 13-16 between my sophomore Headliners: Paul and junior year (of high McCartney, Mumford & school) when Woodstock Sons , Tom Petty & The happened,” Satchwell Heartbreakers, Bjork, said.

“My parents thought Passion Pit I was too young to go, Sasquatch! but the local radio station Where: Quincy, WA broadcast everything When: May 24-27 live and I remember just Headliners: sitting there, mesmerized, Mackelmore & Ryan wishing with my whole Lewis, Imagine heart that I could’ve gone.

Dragons, Arctic This was the summer of Monkeys, Empire of peace and love, and rock the Sun, Sigur Rós ‘n’ roll was the expression of our generation.”

AMERICAN LIVE WIRE, LOLLAPALOOZA.COM / However, as the SOURCES

FYI

April 19, 2013

popularity of music festivals increases, the popularity of concerts is decreasing.

According to Pollstar concert ticket sales dropped 12 percent in 2010, and promoters have been struggling to increase their sales since then. While the average concert ticket is about $47 and the average music festival ticket is $225, festivals last for three or four days and feature hundreds of different artists, whereas a concert may last two or three hours and only feature one or two artists.

“The vibe (of a music festival) is so different from a concert, much more intimate and family-like,” Peterson said. “Festivals give me the chance to see a ton of bands I love who probably aren’t touring near here. It’s such an experience to see a bunch in the same day.”

While the atmosphere of festivals has stayed fairly constant over the past few decades, still attracting more “free-spirited” people, Satchwell believes that festivals have become more commercial since the days of Woodstock.

“Back then it was the early days and people just went to experience the music and the culture,” Satchwell said.

“Nobody used to sell T-shirts or all of that stuff. Now I think festivals have commercialized to appeal to everyone.”

With the uptick in attendance and a broader range of people drawn to these events, it is important to take some precautions when attending festivals. Social studies teacher Dan Bates, who has attended four music festivals and approximately 50 concerts, advises potential concertgoers to be cautious.

“Make sure you just have fun and enjoy it, but you never know who a police officer is, so be wary of what you’re doing,” Bates said. “Actually, just don’t do anything bad.”

Bates’ warnings hint at a well-known danger of music festivals. In 2011, police seized $70,000 worth of illicit drugs from the Glastonbury Festival near Pilton, Somerset, England. In addition, according to the Equipsupply infographic, the average festival attendee consumes 30 to

JESSICA MEYER / SUBMITTED PHOTOS

FESTIVAL FEVER: Senior Rachel Peterson waits in line to enter Lollapalooza, a popular music festival in Chicago, (left) in 2012 and crowds pack Chicago’s Grant Park during the event (above). Recently, music festivals have experienced an increase in attendance due to people like Peterson, who attend multiple festivals each year.

50 servings of alcohol. Reports of rampant drug overdose emerge year after year, and several deaths occurred at festivals across the United States last year.

In addition to these dangers, Peterson said she advises attendees to be prepared to face the elements. Music festivals are almost always outdoors and typically take place in the summer months, so high temperatures can often be a concern.

“It’s usually extremely hot, so make sure you drink lots of water and wear minimal clothing. If you’re expecting the heat, then you’ll be fine,” Peterson said.

Students interested in attending a music festival this summer will need to buy tickets soon, and start saving their money. According to Orbology Travel Blog, tickets to the average popular music festival will sell out in three to 24 hours. Resold tickets may be greatly marked up, but Peterson said she believes that the cost is well worth the benefits.

“Seeing Radiohead at Bonnaroo last summer changed my life,” Peterson said. “That was definitely the show of a lifetime, pretty magical. There are so many great memories (from festivals) that I could go on forever.”

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