NYU’s Daily Student Newspaper
washington square news Vol. 40, No. 9
tuesday, february 7, 2012
nyunews.com
Broome resident faces bedbugs
NYU, NYPD confirm tragedy By Amanda Randone
By Julie DeVito University exterminators have confirmed the presence of bedbugs in Broome Street Residential College, according to associate vice president for student affairs Tom Ellett. He said though the university sent exterminators after the first complaint from students in Broome, they were not able to find the bedbugs until the most recent attempt. However, he said he could not provide any more information about specific cases. Ellett said the university is embarrassed that it did not find the insects sooner. It is further investigating whether the extermination company is still reputable after this error, he added. A sophomore resident in Broome, who wished to remain anonymous because of the health concerns associated with
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SARAH KAMENETZ/WSN
NYU starts mandatory travel system
The university has implemented a pilot program called NYU Traveler to ensure security of faculty and students traveling abroad. Soon, students in Florence and other sites will be required to use Traveler.
NYU has confirmed the death of a student who was struck by a subway car shortly before 11 p.m. on Saturday night. The NYPD Office of the Deputy Commissioner, Public Information reported that a black 21year-old male was hit by a southbound N train at W. 49th Street and Seventh Avenue. Authorities are still investigating the details surrounding the tragedy. “I am sure I speak for the entire NYU community when I say that our thoughts and deepest sympathies are with the family, friends and loved ones of this young man,” NYU spokesman John Beckman said. “It is tragic whenever someone so young dies.” The university has involved counselors in individually notifying the victim’s classmates and friends.
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STORY ON PAGE 3
Old is new again on experimental Of Montreal record By Daniel Fuchs
Of Montreal has always had a penchant for the eclectic, from its bubbly brand of dance-pop to its verbose titles and lyrics. At their best, the band produces timeless classics such as 2007’s “Hissing Fauna, are you the Destroyer?” Still, after releasing music for over a decade, listeners have to wonder whether the Of Montreal formula has grown thin. However, its newest effort, “Paralytic Stalks,” is an energetic, expansive experience that reminds fans why they loved Of Montreal in the first place. On “Paralytic Stalks,” Kevin Barnes and company borrow from numerous genres while still expanding on the dance-pop that has become so associated with Of Montreal. “Gelid Ascent” opens the LP on a decidedly experimental note, with a frantic ca-
cophony of echoed voices, distorted guitars and tough percussion. “Malefic Dowery” is a cool, calm slice of jazz-pop, with flutes whistling behind an infectiously relaxed upright bass groove. During “Ye, Renew the Plaintiff,” flaring guitars mesh with vocal samples and pulsating pianos, while “Exorcismic Breeding Knife” is as experimental as the opening track. Chaos ensues as blips and bloops eventually devolve into a totally unrecognizable but still compelling sound. “We Will Commit Wolf Murder,” an oddly bubbly track about homicide, contrasts an energetic, lighthearted arrangement with lyrics like “We will commit acts of misery/ We will weaponize silence in a sense.” In the same vain, “Malefic Dowry” counters its smooth, Vince Guaraldi-esque jazz orchestration
with twisted, trippy lyrics like “I will turn to my crotch for counsel/ And it won’t disappoint me.” Barnes’ willingness to experiment makes for a gripping listen. He expands the Of Montreal sound while still injecting it with the band’s signature style. Even the most familiar, formulaic tracks like “Spiteful Intervention” are still decadent slices of orchestrated electro-pop. An Of Montreal record is not complete without long-winded, wonderfully ridiculous song titles and lyrics, and they are in full supply on “Paralytic Stalks.” With titles including “Authentic Pyrrhic Remission,” this record is not for those seeking streamlined, tightly packed songwriting. Yet Barnes’ gaudy writing enhances the sounds and styles of the tracks. Thematically, “Paralytic Stalks” has no central connection, but
Barnes’s lyrics ooze prolixity, whether he’s waxing poetic on loneliness in “Dour Percentage” or on an insane vision of cruel love in “Malefic Dowry.” On every track, Barnes’ vocals, whether whispered or gruffly shouted, help to exemplify the eccentricity in his writing. “Paralytic Stalks” proves that at this stage in Of Montreal’s career, the band can find new avenues to explore and gain influence from new styles. Still, as fresh and grandiose as “Stalks” is, one has to wonder just how much longer Of Montreal can produce quality records. Hopefully, “Paralytic Stalks” becomes the rule rather than the exception, serving as a sign of things to come from this delightful band. Daniel Fuchs is a staff writer. Email him at music@nyunews.com.
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