Volume 3, Issue 2

BROOKLYN’S DIY VENUES SELLING ANDROGYNY K-POP AND THE KOREAN WAVE CATHODE RAYS AND 8-BIT ROCK AFRICAN DRUMMING THE BEATLES IN THE STUDIO FRANK ZAPPA

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A photo exposĂŠ exploring the most rundown, vibrant, forward-thinking venues of New York City. Gabby Reid & Andrew Fabry.

Photo: Gabby Reid

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The appeal of androgyny in pop music, from The Beatles to Bowie to Bieber. Roya Moussapour.

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The rise of K-Pop, and how it’s leading the Hallyu, or Korean Wave, in the export of contemporary Eastern culture. Ana Siracusano.

Cover design: Natasha Stolovitzky-Brunner

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An interview with 8-bit rock band Cathode Rays.

Gideon Broshy.

PHOTO PIT Gabby Reid covers Chairlift at Bowery Ballroom; Andrew Fabry captures Cults at Terminal 5; Spencer Bistricer covers Taylor Swift at Madison Square Garden; and more.

How Frank Zappa forged a career of both experimentation and pop appeal.

Larry Rahklin.

JOURNAL Did Beethoven use “drops”?

Retro culture?

The dissolution of our culture of words?

The Beatles as innovators of the recording studio.

Asher Baumrin.

RADAR Short profiles of up and coming artists Knife Party, Gauntlet Hair, Twin Sister, and Hop Along.

African drumming’s development as a form of basic communication. Kim Sarnoff.

REVIEWS Albums: of Montreal’s Paralytic Stalks. Concerts: Girls with Real Estate.

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AMPLIFIED Editors

Gideon Broshy

Stephen Cacouris

Gabe Ibagon

Kim Sarnoff

Gabby Reid

Roya Moussapour

Asher Baumrin

Andrew Fabry

Veronica Williamson

Alessandro van den Brink

Rebecca Bahr

Kim Do

EDITOR IN CHIEF

ART EDITOR

ART EDITOR

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MANAGING EDITOR

PRODUCTION MANAGER

ASSISTANT EDITOR

EXECUTIVE EDITOR

JUNIOR EDITOR

FACULTY ADVISOR

SENIOR EDITOR

ASSISTANT EDITOR

ACTING FACULTY ADVISOR

Volume 3, Issue 2 Winter/Spring 2012

T

he cover of this issue depicts a featureless human form, confronted by chaotic abstraction. The shadow, the performer, stares into a dense nothingness. Natasha Stolovitzky Brunner’s cover captures something mysterious and nihilistic, a quality that our main feature article—Gabby Reid and Andrew Fabry’s exposé of Brooklyn’s dirty, run-down DIY music venues—also tries to represent. At least, we’d like that connection to be there.

The other features in this issue explore androgyny in pop music, past and present; the worldwide popularity of K-Pop, and its place in the “Korean Wave”; African drumming as a form of communication; how the Beatles changed the meaning of the recording studio; and the life of musical chameleon Frank Zappa. We also interview Rob Lynch of Boston’s Cathode Rays, an 8-bit rock band that uses sounds culled from video games.

Enjoy!

Gideon Broshy Editor-in Chief

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JOURNAL Wait for it… wait for it… aaaaaaand…drop. the part of the song that’s loud, uninhibited, be real, the part you skip ahead to. I mean, would we listen to the grueling sounds of

This is and let’s why else dubstep?

I don’t know; it’s been said that listening to classical music makes you smarter, but I’ve found that dubstep has had the opposite effect on me personally. Of course, the rise in pitch and volume followed by an intense burst of energy in the bass (wub) mastered by the likes of Benny Benassi and Bassnectar is not a phenomenon limited to electronic music. It’s a technique that goes as far back as Beethoven. His Sonata No. 31 in A Flat, Opus 110, does the same thing: the melody ascends the scale and the piece crescendos when out of nowhere we hear the crash of the left hand in the low register of the piano. After the Baroque classical period composers like Beethoven, Mozart, and Liszt wrote several pieces that explore free-flowing dynamic shifts that were much subtler and more powerful than those of dubstep. The drop has a longer history than I thought…props, Ludwig.

Asher Baumrin

As I f lipped through a copy of this year’s first issue of Amplified on the subway home, I beg an to notice a recur ring patter n that many writ ers, myself included, seem to consistently fall into: linking the past to the present. Almost ever y ar ticle seemed to credit today’s music for the past’s inf luence. Now, that doesn’t seem like such a foreign topic, because we’ve all had English or Histor y papers which ask us to make a connection between our histor y and the present.

But why is this connection so cr ucial in music?

To start off with a key example that we all have been exposed to relatively often in our lives: the tension between vintage or retro and what is new and technologically savvy. Why exactly is it cooler to obtain a rare Beach Boys B-side on mint condition vinyl than it is to download the Fall 2011 iTunes sampler? If you asked Woody Allen, who’s superb movie Midnight in Paris dealt almost exclu-

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sively with this heated subject, he’d probably tell you with a g rin on his face that it’s because we consistently believe that we were born in the wrong time period and that something tailor-made for you lies in the past, never to be obtained. I mean, how awesome would it have been to be born in 1951 and turn 18 during the summer of Woodstock?

This raises the all-impor tant question: what’s so bad with right now? Why should we have to compare contemporar y music to the past?”

Imagine if the general consensus of the world’s population was that The Beatles were the best band ever and most likely will retain that status forever.

Well, by that card, psychologically we would automatically assume that every artist we listen to isn’t as good as The Beatles, without even giving them the proper chance that they deser ve. Every expectation would be based off The Beatles and therefore many artists whom we consider fairly talented would probably be dismissed indiscriminately.

While it’s obvious that we don’t let the past effect our tastes so heavily, it’s evident that we instinctively bring about some recollection of past musicians when we listen to music. Otherwise, how could we come up with comments like, “Ah yes, I can distinctly hear the Pink Floyd influence”?

Why does everything need to be compared to what has been done before? Maybe it’s because referencing our musical past gives us a comfortable point for comparison, gives us a musical base when we try to brave an uncharted musical area. Of course, this doesn’t happen every time, especially when we’re looking at an emerging subgenre that puts takes on previously accepted aspects and turns them completely upside down, but the majority of the time that we write, describe or even think about a song or artist, we, consciously or unconsciously, relate it to something we’ve heard, just because we need our feet on solid ground.

What’s most striking about this theme probably is that as long as time continues, the psychological need to compare contemporary music to the music of the past will remain inside all of us, erupting as soon as you press the play button on your iPod or turn on

the radio in your car on a brisk afternoon in the fall.

Alessandro van den Brink

Just sixty years ag o, movies and TV were considered “low” culture. The publication of Ernest Hemingway’s The Old Man and the Sea in 1951 was one of the most significant cultural events of the postwar period, and the book received widespread acclaim and popularity. The written word was the primar y means by which thinkers communicated ideas and commentar y to the world.

Reading is less a part of our culture than it was two generations ag o. Our Hemingway, our blockbuster, is apparently The Hunger Games.

Movies, and even TV, have been elevated to the status of “high” art and have, both as artistic media and as profit-based enterprises, displaced the printed word as our primar y means of communication.

This is a problem for many reasons. One of the

most distressing consequences of the demise of the word is the cor responding demise of written polemic and of philosophy. For thousands of years, written culture—developing from and past oral culture—has given our species the means to generate and analyze complex ideas about ourselves.

Without the word, we won’t be able to ar ticulate visions for the future of the world. Writ ing has given us the utopia, however misguided, of Plato, the popular sovereignty of John Locke, and Marx’s Communist Manif esto. It has given us all of our most impor tant, most self-aware ideas.

Our species has always been riding on words’ coattails.

Without them, where are we g oing?

Gideon Broshy

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Photo Pit Chairlift/Bowery Ballroom/January 23, 2012

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Photo: Gabby Reid

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Photo: Andrew Fabry

Cults/Terminal 5/September 27, 2011

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Photo: Andrew Fabry

Cults/Terminal 5/September 27, 2011

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Pulsewave/Shea Stadium/January 8, 2012

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Photo: Gabby Reid

Photo: Andrew Fabry

Reptar/Terminal 5/September 27, 2011

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Photo: Kim Sarnoff

Ava Luna/Shea Stadium/January 20, 2012

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Taylor Swift/Madison Square Garden/November 21, 2011

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Photo: Spencer Bistricer

Photo: Spencer Bistricer

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Photo: Gabby Reid

Chairlift/Bowery Ballroom/January 23, 2012

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Photo: Gabby Reid

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NEW YORK

In February and March, the Ecstatic Music Festival, which features forward-thinking collaborations between indie rock and contemporary classical musicians and composers, took over Merkin Hall. Pitchfork’s FORMS festival, for which dates are still unannounced, will showcase music, art, and video games. In June, Camp Bisco, a dance and jam band festival, takes place in Mariaville, New York, outside of Albany.

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RADAR

GAUNTLETHAIRGAUNTLETHAIRGAUNTLETHAIR

One of the greatest questions in modern music is, simply enough, how can one get as much out of a guitar as possible?

What can we do to take the most versatile of instruments and maximize every single smidgen of its musical potential? It’s quite an intriguing topic and, as time has shown, there is no “perfect” answer. However, in the past twelve months, one band has made larger strides towards inventive guitar expression than all its contemporaries: Lafayette, Colorado’s experimental pop group Gauntlet Hair.

Yes, they may don one of the most odd names of any contemporary rock group, but the duo, comprised of guitarist and wunderkind Andy Rauworth and drummer Craig Fleischmann, fabricate a whirl of delirium that’s epitomized by Rauworth’s impeccable use of delay and chorus pedals. Each track on Gauntlet Hair’s self-titled debut record, released in October of 2011, feels like a study in countless different rhythmic experiments and guitar-powered sonic explorations.

Like many of their counterpart indie rock duos, such as Japandroids and No Age, Rauworth and Fleischmann share singing duties on their songs. However, lyrics are not a major element of their music, since most of the band’s eccentric vocals are too unintelligible or washed out in reverb to be taken

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seriously. However, they are used in an intriguingly abstract way that complements the rhythmic and sonic experimentation in each piece.

Yet, all in all, each Gauntlet Hair song is best explicated through the vigorous chemistry between Rauworth and Fleischmann. The former contributes quirky guitar licks which evoke Animal Collective and are drenched in effects, and the latter drops hip hop-inspired rhythms, exemplified brilliantly in the album opener “Keep Time,” and adds ornamental cymbal crashes to the mix. It’s utterly ridiculous that so much can be attained solely through the efforts of two musicians. Then again, it’s not often that you encounter such natural talents as Rauworth and Fleischmann.

Alessandro van den Brink

TWINSISTERTWINSISTERTWINSISTER Twin Sister makes dreamy, synth-pop music that doesn’t put you to sleep. The band’s sound has a light and ethereal quality to it yet manages to establish a sturdy core somewhere in the midst of the poppy melodies. Without the constant, pulsing drumbeat and the steady, reverbfilled looped guitar riffs, the delicate, fluctuating yet smooth vocals of Andrea Estella might just drift away. Twin Sister manages to simulate the perfect balance between dreams and reality that produces a slow groove that makes you want to sway.

The correlation between Twin Sister’s sound and dreams is no coincidence. Dreams are lead singer Andrea Estella’s muse. She also writes Anime-inspired stories that have a strong influence on her musical creations. Overall, she is generally guided by the make-believe, by the fantastic and by the unreal. Her fascination with the illusory is prominently displayed and reflected in the spacious yet powerful resulting products. Twin Sister creates music that provides a momentary escape from reality.

The band’s members have contrasting musical interests, yet somehow they all come together to form the chillwave, indie dream pop band that is Twin Sister. Andrea Estella (vocals), Dev Gupta (keyboard), Gabe D’Amico (bass), Eric Cardona (guitar and vocals), and Bryan Ujueta

(drums) all grew up in Long Island and played with different bands throughout their teens. They met at various shows and soon became friends.

The eclectic combination that resulted in 2008 when they decided to create their own group formed the intimate, melodic sound that Twin Sister still possesses and has made its identity. The band quickly relocated to Brooklyn, and began to write, record, and perform. Twin Sister has so far released two EPs, Vampires with Dreaming Kids and Color Your Life as well as one full-length album called In Heaven. Each release title reflects the soft, dreamy quality that the songs all possess.

While Twin Sister’s music is a little drone and has some characteristics of background music, it is so much more than that. The slow tempo, repetitive melodies, and smooth vocals, are not boring, but necessary to create the mood that is the essence of the band’s sound and vision. The other aspects that accompany the music’s fundamental core, such as the catchy guitar riffs and dreamy pop sounds, give the music an interesting quality that attracts listeners and holds them in their soft, delicate grasp.

Gabby Reid

RADAR

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HOPALONGHOPALONGHOPALONG When people think of folk music, they often associate it with melodic acoustic guitars and soft, smooth vocals. Hop Along is by no means the typical singer-songwriter folk band that many equate with the genre. The band makes folk music with an edge. All of Hop Along’s songs incorporate an eclectic variety of instruments that come together and produce slightly off beat, off key music that works. Front woman Frances Quinlan’s soulful voice expresses true emotion as she belts her tunes, howls her lyrics, and somehow pulls it all together to create a unique composition that just escapes discordancy in a charming way.

The Philadelphia based group began as a solo project by leading member Frances Quinlan under the name of Hop Along, Queen Ansleis. Frances recorded music and toured solo under that name for almost five years before adding other members to her project. Her brother Mark Quinlan (drums), Tyler Long (bass), and occasional member Dominic Angellela (guitar) joined Frances and together they dropped the end of the project’s previous name and began to record and tour as Hop Along. While primarily composed of the usual, basic instruments that one would find in a typical band setup, Hop Along also incorporates noisemakers, toy sounds, and other instruments that make its music so distinctly unconventional.

Frances has put out a total of three releases, albums and EP’s under her solo project and band. These releases are titled Freshman Year, Wretches, and Is Something Wrong? Hop Along’s music has become a little more polished as the band has

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progressed, but it still holds true to its distinguished sound that makes it such a unique discovery. While Hop Along’s later albums have lost some of the whistles and spoken messages that earlier releases have, the more recent material still encompasses the band’s core sound, just without the extra fringe of sporadic taps and shouts. While most of what Hop Along has available today was independently written and released by Frances, her band members have had the chance to tour with her, getting to know the music and making it their own. Hop Along is soon releasing its first fulllength album as a band. The album is called Get Disowned and features a song that they have already released called “Tibetan Pop Stars”. The song promises high hopes for the rest of the album.

Hop Along’s music is a little zany and quirky, characteristics that make the band so wonderfully eccentric. Hop Along is no average folk band, but is rather a promising one that is defiant of the genre and just focuses on doing its own thing. Frances Quinlan stated in an interview that people tend to compare Hop Along to other bands with female singers just because of her gender; however, people are probably forced to make that generalization because no other band truly has a sound at all similar to Hop Along’s.

-Gabby Reid

KNIFEPARTYKNIFEPARTYKNIFEPARTY It’s fitting that Knife Party’s collaboration with Skrillex, when posted on YouTube, led to a debate amongst commenters as to what subgenre the song should be categorized as. Knife Party has gained popularity in the past few months due to their genre-bending style of music, reminiscent of Skrillex’s crossover appeal-based rise to prominence in late 2010. But unlike Skrillex, Knife Party had a head start in the dance music scene. Gareth McGrillen and Rob Swire, together, make up 2/3 of Pendulum, perhaps the most successful Drum ‘n’ Bass group of all time—its Facebook page boasts over a million and a half “likes.”

Despite this success with Pendulum, McGrillen and Swire decided to strike out on their own in early 2011 in order to form a new group called Knife Party. In May, they had their first official release, a remix of Swedish House Mafia’s mainstream-crossover hit, “Save the World”. While their music with Pendulum had been a blend of different sounds, it was generally based around the ultrafast drum patterns and frenetic energy of the aptly titled Drum ‘n’ Bass subgenre. That said, this song saw the two unleash a radically new sound- a massive 90-second buildup culminating in a heavy “drop”, followed by a slow, heavy, pulsating drum beat, the high-pitch “wops” synonymous with electro music, and fractured pieces of a synth line.

Over the summer, more Knife Party tracks were available to the public, most of which were released (in an incomplete state) as unofficial releases, or alternatively, as leaks.

These songs made subcategorizing Knife Party difficult for fans and critics alike . The aforementioned Skrillex collaboration, entitled “Zoology”, is a grinding, pulsating track, with a Moombahton rhythm but with a melody that would more likely be found in a hardcore electro song, while another song called “Suffer” features a bass-heavy slow beat accompanied by enough electro sounds to warrant its being

pigeonholed as “brostep”, an adaptation of dubstep that has been prevalent as of late. The drastic difference between these two songs itself is where Knife Party’s appeal lies: they fuse their high-energy drum ‘n’ bass sensibilities with the sounds of other areas of the dance music universe in order to create a type of music that not only retains all of its individual components sonically, but also combines their individual power. The dubstep element holds on to its essential “filthiness”, and the electro element stays hyperactive as ever. This is where their appeal lies, and Knife Party has seen its advent progress rapidly since these songs appeared. Porter Robinson, a Skrillex protégé, included Knife Party’s remix of his track “Unison” on his successful album, Spitfire, giving the latter artist yet another push into the spotlight. This month, Knife Party had their first proper release: an EP called 100% No Modern Talking, made available for free download on their website. The EP excellently and excitingly displays Knife Party’s knack for blending styles of dance music as much as it shows their originality, what with its inclusion of a (creepy) comical story of sorts on the final track, “Internet Friends”.

The group also teamed up with the Swedish House Mafia again recently, this time for a full-fledged collaboration, releasing a single called “Antidote” in December. This new track was heavily advertised online in anticipation of and during the live YouTube stream of SHM’s massive show at Madison Square Garden on December 16th. It’s obvious that Knife Party’s future is bright, though it’s anyone’s guess as to what exactly will happen next on their socalled road to success. So perhaps Knife Party themselves summed up exactly what’s in store for them on December 22nd, tweeting, “SOMETHING’S GOING DOWN”.

-Danny Ehrlich

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CATHODE RAYS:

WHERE ROCK MUSIC and VIDEOGAMES INTERSECT [ an interview ] conducted by Gideon Broshy How were you exposed to 8 bit music? What attracted you to it?

I’ve been obsessed with 8-bit music since I was a kid playing Nintendo. All through high school I would try to write music for imaginary NES games, but it wasn’t until college that I realized there was already a whole scene of people making music with all sorts of 8-bit hardware. I mostly heard about this through the internet, which is still where a lot of stuff in the 8-bit scene happens.

Do video games themselves inform your music and what you’re trying to say in your music?

Yes, they definitely do. Video games are what introduced me to 8-bit music, so they still exist as a source of inspiration for me. I wouldn’t say that I try to make direct references to any particular games in my music, but I’m always aware of which sounds and melodies represent something from games as a whole.

Where do your 8 bit sounds actually come from? What are you doing with the Xbox controller on stage?

I use an array of sources for my sounds, but it’s usually from one of three places: MCK/MML, Famitracker, or Plogue Chipsounds. MCK/MML converts text files to NES music files that can be played in an emulator, Famitracker is a tracker for NES music, and Chipsounds is a VST that emulates the sound chips of several different 8-bit systems. They all have their strengths and weaknesses, so I use them for different types of sounds.

Without getting too technical, I am essentially playing the melody on the SNES controller. I’ve mapped out the buttons so they correspond to different notes in the song. Because the controller only has 12 buttons, the mappings will change from section to section within a song.

Do you see the relatively limited sound palette offered by a Nintendo (and the like) as a challenge?

I really enjoy the simplicity of the NES sound chip, so in some ways using it is easier for me to use it, but it can still be a struggle when i want to create a truly unique sound. When I was doing strictly 8-bit music (no guitars or drums) a few years ago this was more of a challenge, because it could be difficult to create the exact sound I wanted, but that was also part of the fun.

What did your live act consist of before Kedaar and Avi joined the band? Has having a live drummer and guitarist influenced the way you write?

Back in college, I used to perform with a QWERTY keyboard and

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a few different game controllers and I would switch between them. This is back when I went by the name Two Sheds and only used MCK/MML to write music for the NES. Pretty much for as long as Cathode Rays has existed, there has been live guitar. Avi and I played a few shows as a duo and then Kedaar joined.

I definitely feel like I take a slightly different approach with the addition of live guitar and drums. I’m always imagining how things will sound live, especially with the songs I’m writing now.

How did you get involved with 8bitpeoples / Boston 8bit / Pulsewave?

8bitpeoples is a label based in New York.

I have no affiliation with them outside of playing shows with some of the members. Boston8bit isn’t really a label, it’s more of a group of 8-bit performers from the Boston area that organize most of the 8-bit shows here. Most of the people involved do release music, but I don’t think there’s an official Boston8bit label. I got involved with them over the internet. Around the time Cathode Rays was forming I remember thinking, maybe the reason there aren’t more 8-bit artists performing in Boston is because there’s no one organizing them.

So, I searched online and pretty quickly discovered that Boston8bit was already starting to do this. Since then I’ve been playing with them pretty consistently. Pulsewave is a monthly night of 8-bit music that happens in NYC. My only affiliation is that we played at it in January.

Has your time working at Harmonix Music Systems [a videogame company in Cambridge, Massachusetts] influenced your music?

Yeah, definitely. Both the work I do and the people I work with have influenced me. A few years ago, a co-worker of mine who goes by the name M-cue decided he wanted to do some shows and release a mixtape with a handful of electronic artists that work at Harmonix. I ended up writing a song for the compi-

lation and this got me performing again. It’s very likely that if that didn’t happen I might not have started Cathode Rays.

and Active Knowledge for getting the Boston scene going. They are the ones that got people together and planned most of the shows.

How did 8bit music and 8bit scenes in Boston and New York emerge?

This is a pretty huge question. You might do better by searching the

What are your major musical/artistic influences?

I’m still influenced by the early video game composers. Koji Kondo, the composer for most of the Mario and Zelda games, has always

internet for info on how the New York scene emerged since I wasn’t really involved with that and wasn’t really following the scene much at the time. There really wasn’t a scene in Boston until around 2009.

I tried to play shows back in 2006 when I was making music as Two Sheds, but there wasn’t really any other artists to play with. 2009 was the beginning of Cathode Rays and around the same time more 8-bit artists from the Boston area began playing shows. I think the main group of Boston people first met on the internet in 8-bit forums. I stumbled upon the original Boston8bit web site and emailed them. From there we just starting playing shows together. I think the first few shows we were tyring to see how much interest Boston concert-goers had for chiptune, but it seemed like the scene picked up steam pretty early. I definitely have to hand it to Br1ght Pr1mate

been one of my heroes. I’m also very influenced by indie rock from the 80/90’s like The Pixies, The Flaming Lips, Guided By Voices, They Might Be Giants and rock n’ roll from the 60’s like The Zombies, The Kinks, and The Beatles. I used to be really into punk rock when I was younger, so I think that still comes through sometimes too.

What are your favorite bands to play with?

I like playing with any bands really. Playing with other 8-bit artists is fun because sometimes there’s some familiar faces and the crowd usually already kinda understands what you’re doing, but I also like playing with bands that are outside of our exact genre because it’s nice to see if new audiences will like our stuff.

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DIY

NAVIGATING BROOKLYN’S ALL-AGES MUSIC SCENE Written and photographed by Gabby Reid and Andrew Fabry

Do-it-yourself is a term associated with independence. It encourages everyone to reach his or her full potential. Whether DIY gives you freedom and opportunity as an artist or an observer, the concept produces a community. The DIY music scene is a congregation of people who all love music and art. It offers offers more than an outlet for artistic expression. The DIY scene creates a community.

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Come on in In general, many venues are closed off to minors under 18 or 21, making the music scene inaccesible to the youth. The DIY music scene is welcoming to all. Venues are always all ages, making them some of the only opportunities for young people to experiacne live music in New York City.

Location

The majority of these DIY venues are present in major cities all over the world. In New York they are can be found in Brooklyn and Queens all over the streets. Sometimes they are located a little out of the way because of the lower rent in those sections of towns, but the subway system (especially the unreliable L) is the concert goers best friend.

There for you The shows run on the cheap side, usually between $6 and $15. The venues can afford to do this because they maintain a not-for-profit standard. The venues are there for the people’s enjoyment and not for milking by the music industry. DIY venues celebrate accessible music and make an effort to make shows available to all, if you’re willing to travel a little.

INCONSPICUOUS Most of the venues are built in warehouses and run down shops. The owners are not large commercial show promoters, so those spaces are all they can afford. They provide very real, intimate musical settings. The entrances to these places are usually unmarked doors on empty streets.

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quasi-legal Concerts are loud and cause a ruckus, and it wouldn’t take much to disturb the neighbors. The noise level is one reason for the venues’ discreet locations; the other is an economic issue. Since owners can’t afford to get licenses and to rezone neighborhoods, the venues may not meet all of the relevant the legal codes and sound curfews. The venues are sometimes shutdown by the police, but they usually reopen their doors the next night.

Lifespan Some venues remain open for ages, but those are usually exceptions to the norm. Most thrive for 2-4 years and then can’t be sustained anymore. Recently closed Monster Island basement had a seven year long life but had to shut down because its home was set to be demolished. While saying goodbye to your favorite memory-filled venue can be sad, the short lifespan allows for a quick turnover rate.

Big Snow Buffalo Lodge recently opened and is gaining popularity among concertgoers and bands.

More than a venue: a home Some venues serve two roles. Death by Audio is also a guitar pedal company that supports many big name bands, such as U2 and Wilco. Monster Island Basement (RIP) also served as an art gallery, recording space, and practice place. Similiary, Shea Stadium (no corralation to the baseball stadium) also records all of its shows and concert banter and releases it for you. The venue also served as a home for the Slo Slo Gos, providing the band with a place to live, perform, and practice. The Silent Barn also doubled as a home, giving the venue a welcoming, house party feel.

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Did it himself The all ages DIY scene would not be possible without Todd Patrick. Father of many of the venues, including 285 Kent, Todd P. maintains the show spaces and makes sure everything runs smoothly.

Rising stars Many new bands cannot immediately book shows at major venues, so they turn to the DIY music scene as a place for them to gain publicity and fans. As community spaces, the venues attract a dedicated crowd that forms a sturdy fan base. Most bands play shows frequently, and therefore rise to fame in the Indie music scene quickly. Popular Indie stars such as Future Islands and Yeah Yeah Yeahs started out performing for their friends and the regulars at these warehouse spaces.

Heard it through the grapevine The easiest way to hear about DIY, all ages, affordable shows is through the not-for-profit publication, Showpaper. Showpaper is published once every other week. It can be picked up at record stores and venues around the city. Showpaper does more than list upcoming concerts; it features one rising artist per issue. The artist designs the cover and through that exposure gains publicity. Overall, the DIY music scene is, at its core, a familiar, supportive community in the midst of a big city.

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K-POP INVADES AMERICA

By Ana Siracusano

Eastern culture is often misunderstood in the United States. The extent of the average American’s knowledge of Asian culture consists solely of conventional media icons such as samurai or ninjas, some dishes from a Chinese restaurant take-out menu and the occasional anime or manga. Asian history is seldom taught in American schools. Today, however, a new awareness for East Asia is surfacing through music. K-Pop, or Korean pop, has become a new medium by which people can access Asian—and specifically Korean—culture.

The driving force in K-Pop’s infiltration of the American music scene is a group of “boy bands” and “girl groups” with their roots in late-90’s American pop.

Their style consists of a combination of pop music and dance. What makes them different from American groups is the group aspect. Their choreography invites a very ensemble-oriented perfor mance, and their synchronization gives off the feeling that instead of watching individual perfor mers one is watching a machine of people.

Each person is a cog perfor ming its job for the whole.

2011 was a big year for K-Pop. In early October, a free concert was held in New Jersey’s Overpeck Park, hosted by the Korea Broadcasting System and featuring some of the most popular K-Pop groups. Although the organizers originally predicted a crowd of 10,000 people, nearly 15,000 came to the concert. K-Pop came to Madison Square Garden for the SMTown Live World Tour later that month, marking the first ever performance of an Asian pop group on the main stage at the Garden. SM Entertainment is one of the largest K-Pop entertainment companies, and SMTown, the pop collective that stacks SM’s roster, includes the groups Super Junior, SHINee, Boa, Kangta, SNSD and DBSK. The SMTown concert tour was the largest K-Pop concert tour yet, travelling throughout not only South Korea, but also

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major cities around the world, including Tokyo, Shanghai, Los Angeles, Paris, and New York. As exposure to K-Pop has spread across Europe and around the world, its fans have become almost hysterical. Last spring, tickets to the Paris SMTown concert were sold out within fifteen minutes, ag gravating fans and spurring them to protest: on May 8th, 2011, a group of more than one thousand K-Pop fans organized in front of the Louvre Museum, demanding another SMTown concert. Enthusiasm in Paris inspired K-Pop mobs in Australia several months later. K-Pop has established itself as a powerful musical force worldwide—emblematic of this rise, the group Big Bang won the award for the Best Worldwide Act in the 2011 MTV Europe Music Awards.

Surprisingly, the majority of the fans at the New York and New Jersey concerts were not Korean. Sporting homemade shirts with the names of their favorite bands written all over them, young women (and some men) sang along to each and every word as if the language was their own. One pair of college students, who said they discovered K-Pop on the Internet, claimed they had come all the way from Philadelphia to see the Overpeck Park concert. These days, almost everything is connected by some sort of networking device; the average “netizen” will log onto their multiple social, fan-based and media networking sites several times throughout the day. This is especially tr ue in the United States and in South Korea, a leader in the IT (Infor mation Technolog y) industry. With this cyberspace-centered world at one’s fingertips, every piece of K-Pop infor mation is online and easily accessible. English-language websites like allkpop.com focus on fans abroad and make it easy to find out about K-Pop without knowing Korean. And of course, there is always YouTube.

The most dedicated of K-Pop fans have a deep

appreciation, past the tears and screams, for the effort that their idols put into their work. It’s hard to become a part of the select group of well-known K-Pop bands.

Most K-Pop stars belong to the top three Korean management companies: SM Entertainment, JYP, and YG, and they audition for these companies directly. Auditioning processes are long and difficult to get through, and even when you are picked you have to train for at least three years before your debut with a group. Not only does your singing matter, but you must also be able to dance well and learn multiple languages; besides Korean, every K-Pop star must be able to speak English, and sometimes Japanese or Chinese. Appearance is also very important. All of Asia looks up to K-Pop stars, and these idols go to great lengths to look the image. Female stars—some of whom are as young as 15 years old—are put under very strict diets to make them lose an unnecessarily large amount of weight. Plastic surgery is also very prevalent in the industry; some female pop idols have small procedures done every few weeks. In Korea the plastic surgery industry is very profitable, and surgeries take a very small amount of time. In addition, the procedures are subtler than those in the United States and are more focused on small details of the face. The pressure to confor m to an aesthetic ideal is perhaps greater in the K-Pop industry than in the American pop industry.

The K-Pop industry gives a lot of attention to the visual aspect of the perfor mance, and this has caused significant controversy. Dance is extremely important, and is often used to convey seductiveness, especially in female groups.

Though the American public is used to sex appeal, its prevalence in Korean pop culture is newer, and therefore more controversial. Buddhism and Christianity are South Korea’s main religions, but Confucianism has deep roots in Korean culture. To South Korea’s older generations, K-Pop’s emphasis on seductiveness is unner ving, and disagrees with Confucian thought.

Another thing that makes K-Pop controversial is its tendency to be shallow and uninspired. The emphasis on sex and costume often corr upts the songs themselves.

K-Pop songs are becoming less and less meaningful, consisting solely of a chor us and

an English catch-phrase. Without meaningful lyrics, the songs have no heart. Most K-Pop songs are about wooing a romantic interest, or acting “cool.”

In its aesthetic and in the content of its songs, the K-Pop industry panders to a standard definition of what is hip or socially acceptable in pop culture—one that is increasingly defined by American pop culture.

The best K-Pop bands have more substance. 동 방신기 (Dong Bang Shin Ki), also known as DBSK or TVXQ, is one of the most successful boy groups in KPop history. They hold the Guinness World Record for the largest online fan group, which is named Cassiopeia, and have released five Korean and five Japanese albums since their debut in 2003. For ming as 19 year olds, they released songs that showed they could dance well and be tough, along with ballads that were softer and gave more attention to lyrics. Girl group 소녀시대 (also known as SNSD or Girls’Generation) is well known for their good dancers and singers. Though they look pretty, they don’t play into the sexy image as much as other groups. One of their most famous singles, “Genie/Tell Me Your Wish” has a fast beat and a dance with Rockette-style kicks, but sincerity as well: the lyrics, are cute and motivational, saying “I’ll always believe in you/I want to make all your dreams come tr ue/ tell me your wish and I’ll be your genie.” Compared to the types of lyrics that dominate other K-Pop groups and pop music in general, “Genie” has a sweeter, more genuine feel to it.

Even though there is some controversy in what the K-Pop industry releases to the public, it is still an extremely influential part of South Korean society. Music is only one branch of the Hallyu, or the Korean Wave, the name of the influential movement of Korean culture spreading throughout Asia and infiltrating the West. Along with Korean films and TV shows, K-Pop is a way of bringing Korean culture to other places and other people around the world.

The popularity of K-Pop in the United States is encouraging. Perhaps it is a sign that Americans are broadening their horizons, looking towards other people around the world for inspiration in the arts, in culture and in society.

K-POP HAS BECOME A NEW MEDIUM BY WHICH PEOPLE

CAN ACCESS ASIAN CULTURE

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THE APPEAL OF

B

oy George. Grace Jones. David Bowie. Annie Lennox.

Lady Gaga. The everlasting appeal of these artists lies within their abilities to push artistic limits, often in their physical appearance and behavior. Though many of these artists have become icons because of their musical talents, they all share one trait; each one is androg ynous.

Androg yny is the characteristic of having both masculine and feminine traits, or appearing neither male nor female. It has been prevalent in society since Greek mytholog y and Greek theater. Androg yny is often linked with art, whether with visual or the perfor ming arts. This is because of its ties with creativity.

More androg ynous people tend to be more creative, as they have both masculine and feminine traits and can use their heightened sensitivity to their advantage. The combination allows them to tap into the resources of both men and women. Androg ynes can appeal to both men and women, as they

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bend more traditional gender lines.

Within music specifically, androg ynous artists have always had lots of success. The combination of androg yny and music gives many musicians an added edge in the industry, a greater sex appeal. Androg ynous musicians break the r ules as much as possible; they “challenge traditional social boundaries and protocols,” as historian Gil Troy once said.

Androg yny also leads to a strong sense of identity, something that all successful artists have had to create at some point in their careers.

Many earlier musicians who created incredibly strong self-images found androg yny as a way to market their talents. David Bowie, for example, used an alter-ego, Zig g y Stardust, to help promote his work. Zig g y Stardust became the name of Bowie’s 1972 tour and album. New York punk began to take a similar approach. Bands such as the New York Dolls and the Velvet Underground presented themselves in androg ynous styles and sang about

their personal approaches to sexuality. These approaches were epitomized and brought to mainstream recognition on Lou Reed’s hit single, “Walk on the Wild Side”, in which he describes the sexuality of a series of characters who lived with Andy Warhol in the late 60s. Another artist, Grace Jones, one of the earlier muses of Andy Warhol, transfor med herself from model to musician with the addition of her eclectic style and chiseled physical appearance. Previous to the 1970s, most musicians were following a for mula to achieve success, but artists like Grace Jones and David Bowie used their creativity to break out of that for mula.

In the 1980s, two more very androg ynous characters emerged from the entertainment world. Boy George and Annie Lenox further expanded the androg ynous world of music with their own additions. Boy George, a British singer well known for his gender-bending looks, went farther towards the feminine image than most other artists.

Though he kept his fashion sense sim-

ANDROGYNY

By Roya Moussapour

pler than most androg ynous artists, he was more experimental with makeup, pushing his look towards drag. Annie Lennox, on the other hand, expressed her androg yny in a much more subtle way. Lennox is a Scottish singer who found her international fame through the synthpop duo Eurythmics (with Dave Stewart). Throughout the 1980s, Lennox’s androg yny was echoed in her tailored leather suits and cropped hair.

What is it about these artists that is so appealing in pop culture? In the 1970s and 1980s, young adults all over America were incredibly interested in the counterculture and in releasing their more difficult memories of the 1960s. Androg ynous artists were appealing to these young adults because they felt non-threatening to both men and women, but at the same time they were rebelling against the confor mity of the previous eras. Though this all began in the early 1970s, androg yny is prevalent today as well. Artists like Lady Gaga, Hahn-Bin, and even Justin Bieber in-

corporate androg yny into their style.

At the 2011 MTV Video Music Awards, Lady Gaga introduced her androg ynous alter-ego, Jo Calderone, to a very surprised audience. Lady Gaga, in her usual style, chose to go above and beyond the nor mal limits of androg yny by dressing completely in drag in a plain white tee and black blazer done up by makeup artists completely as a man. Her perfor mance at the VMAs was not without much criticism, as many viewers thought she went too far with her choices. Lady Gaga, like her predecessors, always finds a way to think out of the box and push the stylistic choices of a musician.

Though all of the aforementioned musicians have been predominantly pop artists, androg yny within music is not only limited to popular music. Hahn-Bin, a classical violinist, has fans not only because of his talent, but also because of his style.

His perfor mances are known for being musically prodigious, but also quite visual. His gravity defying

hair and sharp accessories add cr ucial visual appeal to him as an artist.

Androg yny has been around for so long that it surely does not plan on stylistically leaving our world any time soon. Whether in pop, classical, or rock music, androg yny has become ver y common and no long er shocking. T he g reater sex appeal, the g reater f lexibility with style, and the g reater ar tistic talent allow androg ynous ar tists to be successful while still pleasing the public both aurally and visually.

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OP-ED: Growing Pains.

By Molly Levine

To the people who claim to have discovered it first, the electronic dance music genre is “underg round.” This ter m is inappropriate, because it gives the connotation of being unseen or unheard, which is clearly not the case. I use it loosely, merely meaning not as popular—not what’s being played on Z100. In general, whatever music is considered “underg round” or indie at a given point is integ rated over time into mainstream music. Some may say this is caused by the symbiotic relationship between the listener and the artist. Even though the popular artist might make music popular or give a type of music publicity, they constantly need to know what their listeners are discovering, so that they can stay on top of the music game and stay largely popular. Like with anything else that is new and different, these advances or changes in pop music always have mixed reactions. Some people love the fact that the new types of music they like and

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their old favorite ar tists are coming together, but at the same time a percentage of people are completely against the meshing of old and new. From time to time when mainstream artists integ rate aspects of new and upcoming music into their albums, people reject them by saying they’re changing to increase their popularity and are not in it for purely the music.

Many of the reviews of Rihanna’s Talk That Talk had a string of common themes, mostly pertaining to the fact that many of her fans from the beginning believed this album didn’t showcase her in the same way that her past albums have. One par ticular quote, from a review on iTunes, stuck out for me: “Lyrics needs A LOT of work, the beats are really g ood though.” The reason I found this quote so interesting was because Rihanna’s new album, as well as having her usual influences of R&B and hip-hop, is said to have been largely influenced by electronic music genres such as

dancehall and dubstep. These types of music are extremely popular for the beats and bass, but not so much for their lyrics. In that way, I think this reviewer was completely right. While the songs on Talk That Talk have verses, chor uses and bridges, each song focuses on the music a lot more. In her single, “We Found Love,” which features music by Calvin Har ris, an increasingly popular electro music producer, this is especially evident. This single was given praise for the music, but just like the rest of her album, reviewers thought it lacked lyrical substance. Some fans may call this a simple evolution of an artist—after all, she has come a long way from Music of the Sun—but others might say that the significant change in her style is because of the publicity of electronic music in the past couple of years.

Rihanna isn’t the only star to take advantage of the g rowing popularity of electronic music. Britney Spears’ album Femme Fatale, produced mostly by Dr. Luke, has traces of dubstep, especially in her hit single “Hold it Against Me.” This album, just like Rihanna’s, was a significant change from its predecessor, Circus, which was released in 2008. Beyoncé also took part in this trend towards electronic music with her song “Run the World,” which was produced by Diplo, a DJ, producer, and member of Major Lazer.

The reason I mention these different artists is because this just g oes to show the significant change in what music has been popular recently. In just about four years the music that’s become increasingly admired has changed a lot. The fact that pop icons like Britney and Beyoncé are so visibly taking part in a new musical trend shows that pop music itself is being changed by the electronic music scene. It also shows how imperative it is to them, just like us, that they make music that interests the listeners. This seems like an obvious statement, but it is

the basis of a pop music career. Obviously, it’s just as important to them that we enjoy the music as it is to us, because more than anything they need to make a living.

These singers are tr ying to market themselves to a big ger audience, and to keep up with what is cur rent and “hip.” While electro might be the way they’re doing it now, who knows what artists will be doing in the future to keep their following. The changes in style underg one by stars like Britney and Beyoncé, however, can cause backlash.

Many fans complain that they’re changing their sound just to stay relevant. Some fans of electronic music feel as if the integ rity of the music is being compromised, and that the pop world is unfairly appropriating the sound of electronic music. There is a wealth of innovative, interesting electronic music present in the music world, but the pop music in this style simply takes the aesthetic and integ rates it into a pop song. The innovations of underg round electronic music have become the clichés of pop music.

Realizing now that this ar ticle seems relatively negative, I think it’s time to mention the positive aspects of this shift in pop music. Lots of people enjoy the change in music for an artist because it helps keep pop music evolving. Ever y artist has g rowing pains, so to speak—the times of change that mold and shape them throughout their career. Just like any other person, it’s ridiculous to envision a music artist not changing their style over the years. Regardless of what some of their original fans may think, it’s probably ner ve-racking knowing that you’re introducing your audience to something that might turn them off. However, without these changes, music wouldn’t evolve the way it has in the past. Whether we like it or not, music is always changing, and whatever is thought of as underg round today might find its way into the mainstream tomor row.

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Modern recording technology has had an extensive history since Édouard-Léon Scott de Martinville’s 1857 invention of the phonoautograph led to electrical, magnetic, and digital recording. Until recording techniques and innovations like overdubbing, multi-tracking, non-linear editing, and feedback were developed, recording artists produced their sound without the aid of recording tricks, seriously exposing the artist’s talent.

As those recording innovations grew more prevalent, the defining characteristics of a top-notch recording artist stopped being measured only by their raw performing abilities, and started being measured by their ability to make use of the technology available to them, and if possible advance it.

Do you find it easy to believe that “Strawberry Fields Forever” began as a rather simple acoustic guitar ballad? Before The Beatles took advantage of all the experimental recording tricks available to them from engineer Geoff Emerick and producer George Martin, “Strawberry Fields”—like many other post ’65 Beatles songs—was somewhat unrecognizable compared to its final version. 45 hours of studio-time later, The Beatles had a finished track so innovative that it left the group’s main artistic rival, Brian Wilson of Beach Boys fame, with a feeling of “now what?” (the track, along with “A Day in the Life,” and others from Sgt. Peppers were a key factor in the cancellation of the Beach Boys album Smile.) But what was the process that bridged an acoustic guitar-ballad to a free-spirited experimental track?

“Strawberry Fields Forever” obviously went through several transformations before released. After hearing John play the song for them for the very

the beatles and their toys

by Asher Baumrin

first time, the band got to work on a recording with two guitars played, a drum set, and a mellotron. This didn’t quite fly for The Beatles, so they recorded the track, four days later, with the same instrumental setup but with Lennon’s vocals recorded with the tape running faster than normal. This was done so that when the tape was played back, it would alter his voice so it could sound the way he had initially intended: “as a gentle dreaming song.” According to Martin, Lennon thought this take was too harsh, and asked if the track could be done with a new line-up of strings and trumpets. After this version was completed, they tried another take with a mellotron, swarmandel, electric guitar, piano, bass guitar, and backwards cymbals. Martin then took the two tracks, which were in two different keys and tempos, and sped one up and slowed the other down in order to change overall pitch. Using a trick he’d used many times before, he tampered with the one track in A major, and the other in B major, and wound up with a track that resulted in the key of Bb major. Think they could’ve recorded that live?

Despite the complexity of post-‘65 songs like “Strawberry Fields Forever,” “Tomorrow Never Knows,” and “I Am the Walrus,” The Beatles had been doing some pretty interesting things in the recording studio under Martin’s expertise since some of their first tracks. Most notable is Lennon’s love of double tracking his vocals, a technique that is one of the few constants throughout the entire Beatles repertoire.

Double tracking is a type of overdubbing in which an instrument is played,

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or in this case lyrics sung, over a pre-recorded take of the same sound. This results in a larger sound with a bit more echo. The energy The Beatles provoked in their fans during Beatlemania was mirrored by the energy of their lucid vocal recordings, which would have been difficult to obtain without double-tracking. As simple as this may seem, it was a technique that thrust The Beatles sound into youth culture.

Of course, taking the time to record every vocal track twice was tedious, and Lennon grew weary of doing so for the majority of his songs. Another more obvious problem with double tracking is that no one can repeat the same sound exactly the same way twice. But the answer was found in 1966 when Ken Townsend invented ADT (Automatic Double-Tracking) specifically for Lennon, who fostered insecurities regarding his voice throughout his career.

Electrifying the voices was easy with the rather simple doubletracking trick; but it wouldn’t be long until The Beatles figured out how to get good feedback. The track “I Feel Fine” was a revolution; this was the first piece of music to ever use feedback. With a pluck of the A string on McCartney’s bass guitar there it was… Lennon’s semi-acoustic (a guitar notorious for susceptibility to feedback) growled through his amp.

Lennon’s love for an aggressive sounding guitar was not short-lived; remember “Revolution”? According to engineer Phil McDonald, “the guitars were put through the recording console, which was technically not the thing to do. It completely overloaded the channel. Fortunately the technical people didn’t find out. They didn’t approve of ‘abuse of equipment.’”

When it comes to feedback, The Beatles may have done the inventing,

but they didn’t get around to the mastering. They did however invent and master a different trick of the trade, what is now referred to as “backmasking.” The four lads from Liverpool were getting older and experimenting in the realm of psychedelia.

One stoned Lennon, and a tape of their ’66 song “Rain” later, and you have Lennon accidentally discovering that he was delighted by the eerie backwards sound of a tape being played through the machine the wrong way. Backmasking continued to be a major theme in their psychedelic songs on vocals, drums, guitar, and other background instruments like the cymbals on “Strawberry Fields Forever.”

As The Beatles shifted gears from the globally revered pop sensation to a more sophisticated epicenter of the new musical literati, they also grew more adept at using the recording studio as their most important instrument. This stylistic transition was catalyzed by the death of their manager Brian Epstein in 1967, after which the group made the decision to stop touring. With all that time they would have been on the road being spent in Abbey Road Studios, the band made increasingly inventive music under the influence of George Martin, drugs, and the luxury of not having to pay for studio time. This led to masterpieces like “Penny Lane,” “I Am the Walrus,” “A Day in the Life,” and “Within You Without You.”

The techniques The Beatles invented, developed, and mastered created the greatest act of the modern era, and ironically opened the door for thousands of future recording artists to try to match them.

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In Africa, Drums Talk.

By Kim Sarnoff

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Music does not talk. Then again, that dep e n d s o n h o w o n e d e f i n e s t a l k i n g. D o e s t a l k i n g require speech? Does the presence of words matter more than the fact that something is communic a t e d . Wo r d s a f t e r a l l o n l y e x i s t t o c o n v e y a n i d e a less tangible. T hey are the method humans have developed to share feelings and ideas in an “exp l i c i t � w a y. A n d s o, m u s i c a s a f o r m o f c o m m u n i cation seems strang e. In our word-centric world, how can music say something? Music is just sound.

Sound can say a lot more than you might notice.

T he city sounds ver y different from the woods or a museum.

Yo u c e r tainly do not need sound to locate yourself b e c a u s e y o u h a v e e y e s, b u t y o u r p e r c e p t i o n of the world is larg ely dictated by the sounds

y o u h e a r. I f y o u h e a r d a c a r h o r n i n a m u s e u m , y o u wo u l d h a v e t o q u e s t i o n w h a t i s h a p p e n i n g – i t wo u l d m o s t c e r t a i n l y a l e r t y o u t h a t s o m e t h i n g i s a w r y.

Yo u u s e s o u n d t o a s s e s s y o u r s u r r o u n d i n g s.

T he context sound provides conveys a type of mess a g e. B u t w e i m p o s e e v e n m o r e m e a n i n g o n s o u n d t h a n t h i s, e q u a t i n g c e r t a i n s o u n d s w i t h s p e c i f i c, a b s t r a c t m e a n i n g s, m u c h i n t h e s a m e w a y w e d o w i t h wo r d s. A s i r e n i n d i c a t e s e m e r g e n c y. C l a p s a r e u s e d f o r p r a i s e. I s t h e r e s o m e t h i n g i n t r i n s i c a l l y wo r r y s o m e a b o u t a s i r e n . N o t n e c e s s a r i l y. I t ’s a n a r b i t r a r y c o n n e c t i o n , j u s t l i k e t h e wo r d f o r t a b l e o r c h a i r i s. B u t m u s i c, i n a t r a d i t i o n a l s e n s e , i s n o t j u s t i s o l a t e d a m b i e n t s o u n d s. M u s i c i s a n i n t e n t i o n a l c o l l e c t i o n o f s o u n d s. I t d o e s n o t h a v e t h e s p o n taneity of the street or the forest. With this sense o f i n t e n t i o n a l i t y, w e might expect that the composer has a meaning in mind, that he creates his music in a such a way to convey this meani n g. C o m p o s e d m u sic can make long s e n t e n c e s, s t r i n g i n g notes and instruments together in the w a y w e s t r i n g wo r d s.

But can music really be a stand in for language? Could a violinist remind you of your math test with a concerto? Probably not unless you had some pre arranged agreement with said violinist. But let us say you did. What if language was directly g rafted onto musical expression, and rather than a few arbitrary c o n n e c t i o n s, a l o g i c a l system existed. That system does exist.

The wester n wo r l d i s f u l l o f s t e reotypes about Africa – s o m a n y, i n f a c t , that it is culturally acceptable to refer to Africa as a whole continent rather than recognize any of the differences between

the cultures that inhabit it. And of all these ima g e s, p e r h a p s t h e m o s t c o m m o n i s t h e b e a t i n g dr um, the rituals that revolve around it, its primitive tribal rhythm. T he dr um in Africa has many u s e s, s o m e o f w h i c h f i t w i t h i n t h e w e s t e r n s t e r e o type, but one is perhaps unexpected. Throughout Africa the drum is used as an inter mediary for speech, an inter mediar y far more deliberate than we might ever predict from an instr ument. African drums capitalize on the tonal nature of Afric a n l a n g u a g e t o r e l a y m e s s a g e s o v e r l a r g e d i s t a n c e s.

A large portion of African languages are tona l , l i k e C h i n e s e. T h e p i t c h o f a s y l l a b l e m a t t e r s j u s t a s m u c h a s i t s c o n s o n a n t o r v o w e l s o u n d . Wo r d s that read the same on paper mean different things due to the tone with which they are pronounced.

T h u s, wo r d s t a k e o n t o n a l p a t t e r n s. K e l e , a B a n t u l a n g u a g e s p o k e n i n t h e C o n g o, e m p l o y s b o t h h i g h a n d l o w s y l l a b l e s. T h e d r u m s t h a t t h e K e l e p e o p l e u s e c a n p r o d u c e t wo s o u n d s i n o r d e r t o i m i t a t e t h e s e t o n e s. T h i s d r u m , a s l i t g o n g , i s a h o l l o w e d p i e c e o f wo o d w i t h a s l i t c u t a l o n g i t s l e n g t h t o m a k e a h i g h p i t c h e n d a n d a l o w p i t c h e n d . T h u s, t h e d r u m m e r can express tone patterns simply through their ins t r u m e n t . O b v i o u s l y, a s y s t e m l i k e t h i s c o u l d l e a d t o s e r i o u s a m b i g u i t y. T h e r e a r e m a n y t wo s y l l a b l e wo r d s i n K e l e t h a t h a v e t h e p a t t e r n h i g h s y l l a b l e - l o w s y l l a b l e o r t h r e e s y l l a b l e wo r d s w i t h p a t t e r n l o w l o w - h i g h . T h u s, t o d i s t i n g u i s h wo r d s, t h e d r u m m e r s provide more context, adding descriptive phrases a f t e r a wo r d . Fo r e x a m p l e , i n s t e a d o f d r u m m i n g t h e wo r d f o r “ m o o n ,” t h e y d r u m “ t h e m o o n l o o k s d o w n a t t h e e a r t h .” B e c a u s e t h e y h a v e f e w e r s o u n d s t o wo r k w i t h , t h i s s e e m i n g l y “ e x t r a n e o u s ” a d d o n b e comes necessary for clarification. This adaptation of spoken languag e into dr umming languag e solved a problem that Europeans had endlessly toiled over – h o w t o c o m m u n i c a t e i n f o r m a t i o n e f f i c i e n t l y.

C o m m u n i c a t i o n i s a n i s s u e o f p r a c t i c a l i t y.

M u s i c i s n o t n e c e s s a r i l y. A r t i s, i n a s e n s e , e x p e n d a b l e. We m a y v a l u e c u l t u r e , b u t p a i n t i n g s, m u s i c a n d theater are all products of free time, free time from having found efficient ways to address the things we n e e d . W h e n w e w r i t e o f f m u s i c ’s p o w e r s t o c o m m u n i c a t e , w e d r a w a l i n e b e t w e e n t h e n e c e s s a r y, communication, and the expendable, ar t. African d r u m s h a v e f o u n d a w a y t o m i x t h e s e t wo t h i n g s, m o s t l i k e l y, u n i n t e n t i o n a l l y. I t w a s s i m p l y a p r a g matic solution to a salient problem. But it ought to make us think about how music and communication c a n i n t e r t w i n e. C a n i n s t r u m e n t s d o m o r e i n t h e r e a l wo r l d ? We d o n o t n e c e s s a r i l y n e e d m u s i c t o s p e a k t o u s i n t h e s a m e w a y l a n g u a g e d o e s, b u t w e s h o u l d be open to the idea that music can speak things to u s, t h i n g s t h a t l a n g u a g e c a n n o t . L i k e l a n g u a g e , m u sic is a medium of communication and it may be m o r e s u i t e d t o s a y i n g c e r t a i n t h i n g s t h a n E n g l i s h i s.

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Frank Zappa: Mother of Invention By Larry Rakhlin

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There are many words that may be used to describe Frank Zappa; “ordinary” is certainly not one of them. This iconoclastic genius made himself known by generations of devoted fans, curious critics, and unhappy parents through his outlandish sounds and satirical lyrics.

Born in Baltimore, Maryland in 1940, Frank Vincent Zappa was raised by an educated family of European descent.

He was forced to frequently move across the country due to health complications and his father’s job. The talented young performer made his rock debut after joining a band in high school as a drummer, and continued to develop his love for avant-garde music by listening to early doo-wop and progressive composers. While playing for his high school band, The Blackouts, Zappa became interested in playing the guitar, inspired by blues and funk players such as Johnny Watson. His musical interests then progressed into the classical realm. During this period around his senior year, Zappa composed avant-garde classical musical, some of which was played by his school’s Orchestra.

Frank Zappa attended college for a few months before dropping out. During this time, Zappa dabbled in a few low paying jobs, and at one point ran into trouble with the law, but he was soon after offered a guitar part in the band called The Soul Giants. This low-key bar band eventually became known as The Mothers and mostly performed in Los Angeles. It played music written by Zappa, and released a top selling album in 1966 entitled “Freak Out!” This album combined Zappa’s impressive versatility in his song writing with his satirical view on American pop-culture at the time. Soon after releasing the album, Frank Zappa and the Mothers moved to New York, where they had acquired a residency at the Garrick Theatre. Their shows were notorious for their wacky context and impressive amount of audience participation. In New York, Zappa focused heavily on his recording techniques, using tape manipulation to better understand and develop his production career.

The Mothers embarked on their first European tour in 1968, which sparked a large following from European people.

Zappa also enjoyed playing for and in Europe because of less strict censorship laws, to which he was notably opposed. The band played a famously progressive concert at the Royal Albert Hall in London, in which they used the London Philharmonic to accompany them. Although the band was growing more successful and popular, Zappa started to work more diligently on his new record label, called “Bizarre Records.” The label produced the records of many influential musicians and groups, including Alice Cooper and Lenny Bruce. He then used his growing influence in the producing world, as well as his former connections with the Mothera s band members, to pursue his more jazz related interests by starting the “Hot Rats.” All the while, Zappa also produced and wrote music for his own films, in which he usually portrayed his own experiences from his life on the road. All in all, Frank Zappa was an ardent multitasker; some may even go far as to say he was a workaholic.

Throughout the 1970s and 80s, Zappa continued his experimental composing and band leading. There were some periods in which he preferred more commercialized music, which appealed to a wider range of American audiences, and other times where he played exclusively with the Mothers and released his more intricate and esoteric styled music.

Zappa used money he made from popular songs such as “Valley Girl” and “Bobby Brown” to finance his more outlandish projects, such as orchestral performances played by the London Symphony Orchestra. There were also two incidents that dramatically shaped his life at the time. The first was a fire during one of his concerts in Montreux, Switzerland, which had destroyed all of the band’s equipment. Only days after this first accident, when playing the Rainbow Theatre in London, Zappa was attacked and pushed into an orchestra pit by an audience member. He had to spend weeks in a hospital, received extensive surgery, and was wheelchair-bound for numerous months.

Today, we see more attention directed to the topic of censorship, whether it be in movies, music, books, or any other form of art. Recently, America recently witnessed a mass protest of numerous mega-websites, including Google and Wikipedia, against government legislations limiting and censoring data that is circulating the internet. Frank Zappa, coincidentally, spent a considerably large portion of his life going against the government, and trying to allow his music to be played in its true form. Many of his compositions, some of which were considered his best works, were banned from being played on the radio in the United States, due to their vulgarity and what some classified as racial slurs. In the 1980s, a collection of wives of powerful politicians organized to exploit inappropriate or “satanic” messages in some music. When Zappa discovered this committee, called the Parents Music Resource Center, he testified before the Senate, explaining that censoring music would solve the problem at the expense of creative art in the United States. Zappa also, interestingly enough, served as a commercial trade representative for Czechoslovakia for a very brief time, before his position was disbanded by the Bush administration.

Frank Zappa spent a large part of his later life working with an instrument he pioneered himself. The Synclavier, which Zappa had sometimes used in his earlier music, became his instrument of choice in the late 80s and years before his death.

This keyboard-like instrument uses a computer to store thousands of recorded sounds in different keys. In a demonstration, Zappa enthusiastically showed how he was able to use a sound clip of his nephew burping into a microphone, and explained how he could incorporate it into a song. Unfortunately, Zappa was diagnosed with prostate cancer in 1990. While fighting the disease, Frank Zappa combined orchestral rock with classical music to create modern masterpieces entitled “The Yellow Shark.” He continued to compose modernist pieces while dealing with his debilitating condition until he finally passed in 1993.

Frank Zappa was only 53 years old when he died.

When the legend passed away, he was one of the most respected rock musicians of his time. Although he did have a wise side to him, which was full of years of experience, Zappa was also extremely playful. The combination of these two traits propelled him through the musical world, and allowed him to inspire some extremely talented artists, such as John Frusciante, Steve Vai, Alice Cooper, and a long list of others.

Posthumous albums of tapes he recorded in the studio continue to be released by widow Gail Sloatman and his loving family, who supported him throughout his career. Although the average person may not be familiar with his work, Frank Zappa’s work was a monumental contribution to Rock n’ Roll history.

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THE RESURGENCE RECORD PLAYERS

By Savannah Smith

Only a few years ago, people didn’t see record players much outside of 50’s-styled diners. Now, if you walk into an Urban Outfitters, you’re greeted with an array of record players and LPs (long play records, another term for vinyl records) of varying size, shape, color, and quality. What suddenly changed? Since when did records go from old-fashioned and outdated to retro and cool?

Record players have been around for over one hundred and thirty years. Thomas Edison invented the record player or “phonograph” in 1877. Throughout most of the 20th century, record players were the dominant device used for listening to music, up until the release of the compact disc (CD) in 1982. Until then, records and record players were typical household items.

After 1982, record players were practically forgotten. They did not reemerge until around 2008, when 1.9 million LPs were sold - a 90% increase from 2007. Since then, although sold in comparative-

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ly small numbers, vinyl records have been on the rise.

There are a few reasons as to why records have had such a sudden surge in popularity over the past few years. With CDs rapidly on their way out, audiophiles have been turning to vinyl records for the authentic and natural sound they deliver. Also, some people buy vinyl records because they enjoy the physicality of the packaging. Since music is something you can’t touch, owning an LP allows the listener to feel as if you can hold the music in your hands. With the age of digital music upon us, the ability to make music feel even remotely tangible is becoming increasingly difficult when the thousands of songs you own can only be viewed or listened to through a screen.

One of the new features of record players is the ability to convert LPs to digital files. That way, if you have any old records sitting in your basement gathering dust, you’ll be able those to add them to your iTunes collection. The capability to listen to your music both on your record player and

Art: Natasha Stolovitzky-Brunner

also on your iPod may add to the popularity of the LP.

Another interesting point is that the people buying records these days are relatively young. When I mention that I own a record player to most adults, they often reply with something along the lines of: “You do? Wow, those are old. They really still make those? I can’t believe it.” Whenever I go into record stores, I can’t help but notice that the majority of people in the LP section look under the age of thirty.

Things often get recycled in popularity. For example, let’s take a look at the single. Back during the first peak of vinyl record sales, singles were extremely popular. One would buy a 7-inch vinyl record that included one - maybe two - songs, and this was perfectly common. Yet, when CDs became popular, singles experienced a huge drop in importance. No one wanted to buy a CD with just one song. However, iTunes now gives us the ability to easily purchase an

individual song digitally, helping singles regain popularity. Something similar is happening with the LP. It went through the same cycle of becoming popular, losing appeal, and then reemerging for a younger generation. This is also beginning to happen with cassette tapes, which are being sold in an increasing number of stores. At this rate, it’s probably only a matter of time until cassettes are sold regularly as well.

Additionally, the renewal of alternative and indie rock over the last 15 years has aided the LP in its climb to popularity. In general, it’s fans of indie rock that are buying records. The hard-core, music-loving alternative fans are willing to spend the extra money on records.

As music fads come and go, it is sometimes impossible to be able to predict what the public will like in the next couple of years. It’ll be interesting to see whether vinyl records will continue to increase in popularity or whether it will fade away into obscurity.

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The Middle Path:

Spotify

By Allison Chang Let’s face it—nobody likes paying for music. Sure, the iTunes Store offers the newest albums and millions of songs, but users have to dish out at least 99¢ per song. Enter Spotify: it grants users access to hours of streaming from its database of over fifteen million songs. It’s got albums from every artist under the sun. It’s free. Since it (finally) came stateside in August 2011, it’s had nothing short of explosive success. Spotify’s introduction to America is even on the list of “10 Things TIME is Thankful for This Year.”

Based in Stockholm, Sweden, it’s has been heralded as “the holy grail of online music” and a “celestial jukebox.”

Since its October 2008 release, the service has grown from a small paid-subscription program to an international music-streaming titan. Despite its comparatively late arrival, Spotify’s already posing a threat to veteran competitors like Pandora and Rhapsody. This could be because Spotify hardly has any ads, and the ones that do come up are very short. Available in eleven European countries and the United States, it’s got over ten million members, including Snoop Dogg and Facebook founder Sean Parker.

Why is Spotify so popular? To start, its layout is pleasantly simple: Just “star” a song, album, or artist and it’ll appear in your personal library. You can make and share playlists, or shuffle your songs. You can also import your iTunes library and mix your old songs with your Spotify tracks. It also linked up with Facebook in September, and now a Facebook account is mandatory for new us-

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ers. With this, you can see which of your friends are using Spotify and what tunes they’ve got on their playlists.

In some ways, Spotify seems too good (and too free) to be true. In many ways, it is. Although Spotify has just about every Buddy Holly and Arctic Monkeys song ever, the lack of Beatles, Bob Dylan, Pink Floyd, and Led Zeppelin music is bothersome. To make matters worse, Coldplay, Adele, and The Black Keys are no longer putting new albums on Spotify, citing unfair contracts. In addition, to get endless streaming and to eliminate ads, you’ll need an “unlimited” account, which costs $4.99 per month. Additionally, to be able to listen offline, and to have access from your mobile device, you’ll have to get Premium, which costs $9.99 per month. This, of course, defeats the whole purpose of Spotify’s being free. Perhaps most upsetting is the new limit on free streaming: users can only listen for ten hours per month, and play each song no more than five times.

Sure, Spotify definitely has its drawbacks, but it’s also got some useful components you won’t find on other streaming programs or even on iTunes, including a killer radio feature and the play queue. The radio allows you to select the genres you want to hear from (alternative, classical, reggae, etc.) and will choose tracks accordingly. The play queue lists the upcoming songs when you’re on shuffle mode, a really useful feature.

If you’re not already on Spotify, be sure to check it out—it claims to be, and really is, a new way to listen to music.

Horace Mann’s

Teenage DJ’s

By Kelvin Rhee

In 2011, EDM (electronic dance music) experienced an explosion in popularity. Subgenres of EDM such as house and dubstep went from being unknown by the mainstream to topping the charts. Electronic music appealed to teenagers and young adults, who were attracted to the carefree nature and high energy of electronic music.

Teenagers soon found that the tools they needed to create EDM were accessible and right at their fingertips. On the most basic level, the only thing needed to create EDM is a computer. The top-of-the-line electronic music producing software can cost around $800, while the more moderate ones can be only $200. However, some programs that only include the bare essentials can be downloaded for free.

Electronic music can be made by anyone with an ear for sound and takes no specialized instrument training, since audio samples can be taken from the Internet with ease.

With the massive influx of music production programs, people began to discover how easily they could create their own electronic music, and a revolution began. Teenagers aspired to be the next David Guetta or Benny Benassi and were frantically attempting to create the next electronic hit.

At Horace Mann, we have an abundant population of teenage DJs. This is a direct result of the rapidly spreading popularity of electronic music throughout high schools and the recent success of Horace Mann graduate Ian Spurrier ‘11, a.k.a. FareOh. Spurrier graduated from Horace Mann last year and has had success in the house music scene. He has opened for DJ superstars such as Calvin Harris and Dirty South, and he has even performed at the popular Electric Zoo music festival in NYC. FareOh has been featured on various popular electronic blogs such as Fresh New Tracks and Chubby Beavers, the latter of which was created by Horace Mann graduate Justin Lubliner ’08.

In the wake of his success, there have been many aspir-

ing teenage DJs at Horace Mann. Two hopeful freshmen, Josh Federer ’15 and Faris Nathoo ’15, founded a DJ club at Horace Mann called Mixx HM. They started the club with the intention of listening, creating, and sharing music with other enthusiasts. When I asked Federer why he liked creating electronic music, he responded, “It’s an art, and it’s a way for people to express themselves through music.”

Federer says when he creates music he gives “complete and total attention and energy” while producing and strives to push himself to express his artistic side through music.

Federer uses the programs Ableton Live, Virtual DJ, and Traktor to produce and mix his music. Federer commented on his choice of applications, stating, “I started out with free software such as Virtual DJ, which is what most of my friends use. As I became more committed, I invested in more expensive programs like Ableton and Traktor.”

When I asked Federer about his experience in learning the craft and how he developes his skills, he commented, “I attended Scratch DJ academy. I would participate in private and group sessions where the instructor would teach us a new lesson every class. The lessons consisted of the basic fundamentals of mixing and learning how to be able to adjust songs to each other.” He also mentioned that he attended Dubspot, a DJ school in downtown Manhattan that teaches essentially the same thing as Scratch. One day Federer aspires to push his music to the masses and to follow Spurrier to fame in the electronic music world.

The emergence of electronic music in the pop industry is making a big impact on the even the most popular artists. Pop artists, such as Britney Spears, have used dubstep in their songs, and many popular singers, such as Usher and Rihanna, feature electronic producers. With this mainstream presence, electronic music will grow even more and the number of ambitious teenage DJs will only increase.

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WHERE DID THEY GO?

THE ONE HIT WONDER

by ALESSIA MASOLO

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We all get excited when we hear one of our favorite songs of the 70’s, 80’s or 90’s. The classic “Play That Funky Music” and “Baby Got Back” are still often played and widely known in our society. However, what we don’t often think about is who sang these songs and what happened to them? Granted, majority of artists who have one hit usually end up with another. Aside from those artists, there are the ones who have one huge song and the rest of them are complete flops. It could be that the one hit was a sudden stroke of genius on their part, or the artists believed that having one hit gives them easy access to many others. These artists were very mistaken.

The 70’s may have been a long time ago, but its music is still being played all over today. ‘Play That Funky Music’ is by the band Wild Cherry and was released in 1976. When ‘Play That Funky Music’ came out, it was #1 on billboard for three weeks, and the band then had two Grammy nominations. Afterwards they came out with two new albums however no songs from these albums were successful. Listed by Billboard as one of the top 100 songs of all time, this song has been playing for years and will never cease to create a fun and feel-good atmosphere. In 1974, Carl Douglas released a song that has made a large impact on the movie and karate industries. ‘Kung Fu Fighting’ is featured in many martial arts movies and other movies involving karate, such as The Karate Kid. It is also has inspired many children to pursue karate or even just take interest in it. Carl Douglas did release two other songs after this one, however they were never really recognized. Understandably, Douglas now works in filming and advertising. ‘Kung Fu Fighting’ left a legacy on the movie industry and will continue to be played throughout the years. Although these artists only succeeded with one song, these songs will never be forgotten.

When thinking of the 80’s popular music, disco music and the accompanying scene led to similar one hit wonders. Some of the best disco and dance music of all time was released then, including Michael Jackson’s album Bad and Madonna’s Like a Prayer. Michael and Madonna however had many

other hits, unlike these other artists.

Flo Rida’s ‘Right Round,’ a hit single in 2009, is based around one of these one hit wonders. The chorus of this song is the same as that of ‘You Spin Me Round (Like a Record)’ by Dead or Alive, which was released in 1985. Dead or Alive is often considered a one hit wonder as this is their only well known song. ‘You Spin Me Round’ topped the US singles charts in 1985. After this, the band fell off of the radar, never releasing another charting album or single. Frontman Pete Burns managed to maintain some cultural relevance, with multiple appearances on reality TV shows. Another example of a song often used in the media today (different transition?) is ‘Funkytown’ by the band Lipps Inc released in 1980. ‘Funkytown’ has appeared in movies (such as Shrek 2), store and restaurant names, clubs, etc. Due to this songs large impact on our culture, a common misconception would be made that the band was very successful. ‘Funkytown’ went platinum and was a huge frontrunner in the club/disco music scene. Every other song the band released afterward didn’t even nearly match their previous success. One song, ‘Designer Music,’ was the closest the band came to another hit, even though Lipps Inc. released their last albumjust three years after ‘Funkytown,’ showing the band’s quick decline.

A band that will always be remembered despite the fact that they’ve only had one hit is the Weather Girls. It’s ‘Raining Men,’ and has been an anthem for women since its release in 1982. One of the two members, Izora Armstead, remade the band with her daughter and another singer and they still exist now. Armstead died in 2004 and the other half of her duo, Martha Wash, is still living and is known as one of the most powerful voices in American music. Wash worked with other artists comprising hits such as ‘Gonna Make You Sweat (Everybody Dance Now)’ and ‘I (Who Have Nothing)’. Because of this, we cannot exactly consider her a “one-hit wonder”, however the group the Weather Girls altogether will always be known solely for this legendary song. The 80’s were a decade of huge dance hits and one-hit wonders.

The one hit wonders of the 90’s are some that we can all remember as we

have lived through the decade of ‘Baby Got Back’ and ‘Cotton Eye Joe’. ‘Baby Got Back’ is an all time favorite for many of us born in the 90’s and is often referred to. Almost surely one out of every two people you go up to and say, “Oh my god Becky”, will know exactly what you are talking about. Sir Mix-ALot is not a household name for sure, but he created one of the first big rap hits of our generation. ‘Baby Got Back’ was released in 1993, which was when rap was beginning gain commercial success. Sir Mix-A-Lot did have some minor previous success in 1987 but nothing comparable to this song. ‘Baby Got Back’ won the Grammy for Best Solo Rap Performance. After this Sir Mix-ALot took a few years off and now does mix and DJ occasionally but has not released any successful music since his 1993 breakthrough. This song has captivated a large audience and will be remembered as a first look into the world of rap. Another song that is talked about often is ‘Love Me’ by Justin Bieber. No, of course Justin Bieber did not have one hit in the 90’s (he was only just born then!). This song’s chorus actually came from ‘Lovefool’ by The Cardigans, released in 1996. ‘Lovefool’ is easily one of the catchiest songs out there, and generated a lot of commercial success.

It was featured in many movies such as Romeo and Juliet and Cruel Intentions, and is often remixed and played on the radio or in dance/club environments. The Cardigans had two albums shortly after that that were unsuccessful. In 1998 they seemed to have broken up; however, in 2003, they released another album. Now, the members of the band are doing their own solo projects in other countries such as the UK and Europe. Their American success is only based on ‘Lovefool’. Pieces of ‘Lovefool’ have been used in many songs and will surely continue its sampling over the next few generations. The one-hit wonders of the 90’s have left the biggest impact on our generation, as we will remember the wild success of their songs.

One-hit wonders may not be very famous or well-known, however their songs have left a legacy on our music. These artists have changed the music world forever, one song at a time.

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REVIEWS GIRLS

JANUARY 14, 2012 TERMINAL 5 NEW YORK, NY BY ANDREW FABRY

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Once in a while there comes a concert at which the lineup builds perfectly and there exists no weak point in the night. Such a show was Girls’ debut at midtown venue Terminal 5.

The teenage King Krule sang with a strikingly deep voice and a very strong a British accent. His set was filled with chilly, quiet songs that recalled Morrissey and other dark gods of British music.

With their mild-mannered, melodic rock songs, Real Estate reinforced the positive vibe of the night. They seemed to drift effortlessly ontop of their guitars, propelled by the relentlessness of their drum beats. Every member wore smiles; the band was gearing up for their own headlining tour.

Bouquets of flowers started to adorn every microphone stand on stage; Girls’s entrance was near.

Sure enough, out came the band, followed by three backup singers.

Christopher Owens decided to fully realize his band’s name by wearing a denim skirt – and the night was in full swing.

The group played through most of their catalog – two full albums and an EP – finishing off the last night of their tour and drummer Darren Weiss’ last night with a bang. The crowd was in love. When a slow song was played, the audience was able to sit tight and listen, and if possible everyone sang along. And when the band shifted to more energetic songs like “Die,” the crowd imstanteously unleashed a ferocity that had laid latent the whole time. Like Owens, their disguised rage had finally emerged.

REVIEWS

PARALYTIC STALKS

Of Montreal has been in a musical slump. Ever since the colossal tour de force of 2007’s Hissing Fauna, Are You the Destroyer, Kevin Barnes, the mastermind of the band, has struggled to find the perfect touch of melodramatic pop. Last year’s False Priest came out as a hysterical mess, the thoughtless stammering of a teenager bursting at the seams trying to deal with heartbreak. We all know that Barnes is a genius; his earlier work shows us what he is capable of crafting. So upon listening to Paralytic Stalks, I found myself truly hoping that they can return to their former glory and break the downward spiral they have been on.

BY GABE IBAGON

The album is centered on morphing bits of pop into the surreal and grotesque. The band ironically exaggerates melodies from 60’s baroque pop, blues, and rock, bastardizing the beauty these hooks once represented. The effect is something that of Montreal has been developing over their last few albums, but as it drags on in Paralytic Stalks, that irony be-

OF MONTREAL

comes a gimmick. The joke gets old quickly, and what we’re left with is simply annoying.

If there are any improvements to be noticed in of Montreal, they are the sound-scapes and production value. The harmonies are tighter, the transitions are smoother, and the textures are richer. Barnes no doubt spent hours in the studio experimenting with an array of sounds.

When you give a mind like his so much freedom to work, nothing but genius can result. Thus, we find small islands of pure brilliance scattered throughout the album. The experimental drone, classical, and noise aspects of the album almost redeem Paralytic Stalks, if it weren’t for the context that they are put in. The parts sound great individually, but stepping back and viewing each song as a whole reveals a discontinuous mess.

These forward-thinking bits show much potential in Kevin Barnes’ musical ingenuity. Someone just needs to remind him how to write a good song.

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