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CONTENTS TABLE OF

V O L

I I I

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ALBUM REVIEWS PG 8

Carousel

PG 10 Willow and the Builder PG 12 Youngblood Hawke PG 14 Giants at Large PG 16 Bear Hands

FEATURES PG 20 Jhameel PG 24 Raveena Aurora PG 28 The Royal Concept PG 30 Rebecca Perl PG 34 Miles to Dayton PG 38 Mara & the Bushkas PG 40 Three Legged Fox

VENUE REVIEWS PG 46 Music Hall of Williamburg

LIVE REVIEWS PG 48 WHY?

CHECK OUT PG 52 Alex Winston PG 52 Little Brave PG 54 Weird Children PG 54 The Red Lights


RACHEL PLATTEN

STORY BY JAMIE BOLETTIERI | PHOTOS COURTESY OF RACHEL

R

achel Platten is a rare kind of musician. She is down to earth with an upbeat attitude and a pleasant sense of humor, plus she hates rushing when meeting fans. The pop artist’s debut album is packed with positive pieces in which she simultaneously sings and plays piano. Rachel is an easily likable person with a refreshing musical sound and a compassionate attitude. Rachel has always known that she loves music; she felt it was more special than anything else in her world. When asked about this passion, she reveals, “It felt that I was doing something right when I was singing.” Surprisingly, the pop artist did not study music throughout college. Rachel studied political science, and had an interest in politics and foreign countries. Despite growing up in a liberal and artsy, albeit small, town in Massachusetts, Rachel confesses that there was a “surprising lack

of students who were going into artsy fields.” Her hometown was the type of place that expected serious-minded college graduates, and viewed becoming a musician as mere fantasy. It was not until she travelled to Trinidad during her college years, where she first started playing in bands and writing songs, that her interest in a musical career was awakened. Platten realized, “I loved music— I had to listen to this love of music inside of me.” When the subject of musical talent within the family is touched upon, Platten good-humoredly mentions, “If you ask my parents, both of them say that there is, but I’m not really sure. My mom is a social worker and my dad is a psychologist; they’re not really into music and arts.” Her mother used to sing and play the piano, which Rachel loved and received her first musical inspiration from. She admits that she used to tunelessly bang on the keys until


I loved music — I had to listen to this love of music inside of me...

— Rachel Platten

she was about five or six, which helped spark her mother’s decision to take her to lessons. Besides piano, Rachel plays guitar, some ukulele, and is learning drums from her drummer. Currently she does not play any of them live, but she plans on branching out in the future and including some of these other instruments. Before her breakthrough album Be Here, Platten had to “pay her dues” with her work. During her first year in New York, Rachel was in an all-girls band called Daisy Chain. Next, she was in a funk band that played cover songs from one to four in the morning on weekends in the Village. After that, Rachel played covers of pop songs at night in NYC bars. Rachel says, “I learned many pop covers, and I think that is what took my songwriting to the next level.” The pop star’s beatboxing inspiration was sparked during her hip-hop-loving high school days. When Rachel first saw The Roots in concert, one of the band members, Rahzel, started beatboxing, and Platten was instantly hooked. She remarks, “I had no idea what he was doing, and after that I practiced as much as I could. My parents would be like, ‘What the hell is she doing?’ My sister would make fun of me as I was spitting all over the place. But I was determined to make it work.” In college, Rachel was in an a cappella group that need a percussion section, so she used her beatboxing. She declares, “I learned beatboxing from hip hop and perfected it in a nerdy a cappella group.” Lyrics are important to Rachel, and the lyrics on her debut album Be Here were written by her. She wants them to be as honest as possible, and it is difficult for her to let other people get involved in her writing process. For her current album she is co-writing some lyrics and, despite the frustrations, Rachel thinks it is an awesome learning experience; at times an outsider’s point of view makes her songs so much better than she ever expected. Platten alleges that she sees herself in her lyrics from Be Here. The songs function as pick-me-ups that lighten listeners’ moods. While on tour she had countless fans divulge to her how inspirational her songs were to them. Platten’s fans would tell her things like, “Oh my gosh, I felt like that song was written for me to help me get out of this funk!” Rachel originally intended to write her songs to help inspire friends and loved ones, but looking back she realizes that she wrote them for herself as well. Rachel’s first tour, “53 Steps,” is named after a song from her debut album. “53 Steps” is Platten’s favorite song on the album, and she considers it an important turning point in her career. Before writing the song, the pop artist felt stuck. She had a notion of being trapped and unable to make anything significant happen. Writing “53


Steps” was a breakthrough for Rachel, who was able to finish the lyrics in about half an hour. She claims, “The song is about how amazing it feels to explore the world and that I wanted to be on the road to explore the great unknown, which is the last line.” Platten remarks that while writing, she had an epiphany. “All of a sudden I realized I could be on tour, and I could make my dreams happen. The tour had to be named that, that was my first headlining tour and it felt right to name it after a song about my dreams coming true.” This past year Rachel participated in a radio campaign. Rachel is on a small indie label, and it is rare for them to compete in major radio campaigns. Despite the odds, Rachel’s team believed it would be worthwhile to enter her song “1,000 Ships” to compete against other artists, some of which had millions of dollars to promote their song. According to Platten, “People couldn’t believe that we were climbing the charts and doing as well as we did without a proper promotional push.” “1,000 Ships” became the highest charting single in the last five years for an indie label. Rachel’s song “Seven Weeks” was featured in the film The Good Guy, and her song “Work of Art” in the television series

Jane by Design. Rachel was asked by the producer of Jane by Design to write the opening song for the show and, after viewing preview episodes, she wrote it based on Jane’s character. Platten appreciates that she was asked to write a song for the show since it has gained her many new friends and fans. Rachel’s musical influences are constantly changing. For her album Be Here, Platten had mostly listened to bands and male singers. Her current inspiration includes female artists such as Robyn and Kimbra. Rachel holds a special place in her heart for Beyoncé, stating, “I love her lately, I’m so inspired by her. I love her femininity and her power.” Rachel expects her work to retain some of the feminine strength of her favorite female artists. Platten loves her fans, calling them “incredible, just incredible.” She considers them “beautiful people that are kind and lovely.” Rachel believes her music attracts fans that are in touch with their feelings, and says, “I would love to be their friends. I love meeting fans.” Recently, she met a ninety-oneyear-old fan who had never been to a concert before, and she came up to Rachel crying and blessing her after. The fan told Rachel she had added years to her life because she wanted to listen to her music. Platten called the experience “a wonderful thing,” saying it was “so incredible” to have been able to have touched someone so deeply. Inspiration for her album in the progress has been readily available to Rachel. She feels, “I am in the most incredible, spiritual, creative place in my life. Songs are just coming out of me right now, it’s amazing.” There was the initial fear that she would be unable to write again, but she quickly overcame that and is excited to share her work with the world. Rachel shares some of her experience with aspiring musicians, saying, “Don’t be afraid, and don’t waver in your mind. Believe in yourself, because no one else is going to believe in you as much as you are. No one will work as hard as you do; at the end of the day you are your strongest team member.”

RACHEL PLATTEN


wisdom behind her years and she also brings on a spiritual maturity not often seen in many artists. She is a very positive girl with a great outlook on life and the people around her that admire her music. You can tell within her songs she has a gentle soul and wants everyone that listens to her music to heal within and accept what they cannot change. She has a type of Whirlwind existence that found her looking to meet the needs of others around her. With her strong love for God, you can see it within her music; there are slow songs and also fast songs. These types of songs are the type you can listen to if you’re having a bad day- you can just listen and well, you will feel relaxed and at ease. It is what she believes god has called her to do and I completely admire her passion and drive to get on stage and hold onto her thought of healing from her humble music. Her positive vibe will keep you hooked onto her songs and the feeling she portrays to her audience. “I just felt different. I felt like the old me was gone and God had started to show me who I really was and what I was called to do,” Britt says. “As I was driving home from the conference, everywhere I would stop, whether at a gas station or a restaurant, God was challenging me to step out and tell people about Him and His love for them. There are so many hurting and broken people around us each day and God was showing

me the importance of reaching out to them just as He would. In the past, I have often let the fear of people and their opinions stop me from being who I am. At the core though, I know who I am and who God has called me to be. In letting go of my past, I was able to move forward, and instead of focusing on all my mistakes and failures, I started focusing on those around me. That’s ultimately why I’m here, to worship God and to reach those who need to know Him.”


BY BRITNEY GRASMAN PHOTOS BY KARMIN

HELLO


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my Heidemann and Nick Noonan are a duo we’re glad went viral. Just last year, the pair were posting covers on Youtube, including Chris Brown’s “Look at Me Now” which, thanks to Amy’s smooth flowing rendition of the infamously speedy rap song, gained them worldwide recognition. Karmin became an internet sensation, seemingly overnight. After becoming globally recognized on the internet, Karmin won the award for New Media Honoree at the American Music Award’s. This year their fans, or “Karminites” as Nick and Amny call them, voted the breakout artists Web Born Star’s at the MTV O Music Awards. It’s unbelievable to think a decade or two ago Karmin may have never exploded onto the scene as they have been able to do in todays internet era. Karmin recalls, “We were too broke to tour, so we started posting live videos to Youtube instead- and it wasn’t just the U.S. that could watch. It was the whole world.” Their platform was both affordable, and has made them relatable across the map. To date, their tracks have topped charts in the U.S., Canada, Australia, New Zealand, and the U.K. This past September, Rolling Stones readers voted Karmin to be on the cover of their “Women who Rock” issue. Holding back tears, a gracious and almost speechless Amy uttered, “oh gosh our fans are going to be so excited,” when she found out. Rightfully so- the duos “Karminites” have, after all, played an integral role in Karmin’s success- from Youtube views, to awards and Rolling Stones cover, and Karmin is thankful.

Two short months after “Look at Me Now”, successful record producer, executive and songwriter L.A. Reid signed Karmin to Epic Records. But meeting L.A was a surprise. “We didn’t really have time to freak out. We played a few recordings we had done, and then found a piano and played live for him. It was all very exciting,” the two recall. Epic is home to many successful and diverse acts including the late Michael Jackson, Avril Lavigne, Jennifer Lopez, Modest Mouse and The Fray. As a duo Karmin admits to being compared to fellow Epic artist Andre 3000’s group- Outkast. Reid, now a judge on Fox’s X Factor, knew what he was doing when he welcomed Amy and Nick to the Epic family. Karmin has the talent to live up to their labels current artistry and compete with other labels top performers. Amy’s oft compared to Gwen Stefani or Katy Perry, while Nick gets Coldplay lead singer Chris Martin. Their individual sound, which Amy and Nick coined “swag-pop,” because “It’s not all pop, but it’s still extremely influenced by hip-hop and urban music,” adds another fresh dynamic to Epic Records, making it a fitting home for the couple. That’s right, couple. Karmin don’t only connect through headphones and music notes. Amy and Nick are engaged in the studio and outside of it. Their hit song “Brokenhearted”, off of their debut EP under Epic Records (Hello) recounts when they met in their sophomore year at Berklee College of Music. “We were at Nick’s friends apartment. We ended up at the fridge pulling random assorted cheeses from it and


laughing. We didn’t even think we’d get along nearly as well as we did. But Nick didn’t call me right away so I freaked out,” Amy admits. The two are now engaged to be married. Needless to say, Amy got her phone call, and we’re sure Karminites around the world are just as thankful as Amy that he did. Nick loves that Amy is “alive, motivated, and loving,” and Amy adores Nick’s “happy, balanced, comedic” personality. Their romantic relationship was more obvious than their musical partnership. Before there was Karmin, there was Amy, and there was Nick. Born and raised in Nebraska, Amy was a wedding singer throughout college where she studied songwriting, performance, and business. Post-graduation, she also performed with an all girl group. Nick, from a small town in Maine, pursued music and considered a career as a jazz trombonist after graduation. Three years ago, the couple decided to combine their musical dreams. “It was Amy’s idea. We were sitting in the Lowell train station in Massachusetts on Thanksgiving waiting for Nick’s aunt to pick me up,” Nick admits. Karmin’s sitting pretty now, and although their “Look at Me Now” cover seemed to launch them the top, they climbed strenuously to get there. The individuals performed solo, and then the duo collaborated for years before a Youtube video finally stuck. What did they struggle with? “Almost literally everything. It was way more work than we imagined, but totally worth it. Since Nick didn’t play cajon or keys, and [I] didn’t play guitar or rap, we literally had to start from ground zero. It takes more time and it’s way harder, but learning how to do everything yourself definitely helps you out exponentially in the long haul,” Amy remembers. The individuals bring crucial elements to the table. “In the studio [I] take more of the producer and editor role. Amy does more of the lyrical and melodic side. But, we tend to switch those responsibilities from time

to time, too.” That’s probably why we hear Amy’s voice on most Karmin tracks and most people believe Karmin is her as a solo artist. But Nick’s presence is very much alive in the instrumental and production aspects. Karmin’s been playing shows across the U.S. and recently returned from Australia. Now that they can afford to tour, the pair are excited to visit their fans to give back and play live for the Karminites. Perhaps their group of loyal fans across the world represent a new generation, the internet generation, hopeful that the small-town big-dream guy and gal can make it. Karmin is just like you and me, and that’s why we’re rooting for them. We can also expect the rest of their EP Hello and debut full length album in the near future. I don’t know about you, but I’m most looking forward to the nuptials between this up and coming power couple.


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STorY BY Desiree Keegan

A

t 20 years old, Chicago native Sara Niemietz’s life has been everything but ordinary. From acting in high school plays to Broadway musicals, to making appearances on famous sitcoms, recording her own EPs and traveling to Los Angeles to pursue her musical dreams, Niemietz has done it all. “Singing and performing are so natural to me,” she said. “Music is that old, worn-out, well-loved sweater we all keep close at hand. I am more comfortable while performing than almost anywhere else. Music is so uplifting, cathartic and powerful—it is the most natural form of expression for me. I love the possibility, the openness. I also love that music is a language of its own. English is beautiful, beautiful, but its nice to have another vernacular to use and another wavelength to communicate on. How wonderful is sound? There is inspiration everywhere— from the swooshing of windshield wipers to the crack and buzz of construction sites.” Just recently, in May of 2011, she appeared on the Ellen DeGeneres Show after DeGeneres had come across a video of her singing, and requested she come and perform.

Her sultry sound soothes you with its accompanied bluesy guitar riffs and heartfelt melodies. Although she is a sweet girl, once the mic is in her hands the soul within her is released. With power and excitement Niemietz belts out notes you never thought a young adult her age ever could. She took the stage on the Ellen show at 18 years old and sang “Tighten Up” by The Black Keys. Her accurate tone and pitch control shows her rare, raw talent, and her vocal powers give you goosebumps. “Singing on Ellen’s show was such an honor and I smile just thinking back on it. She is incredibly down-to-earth and welcoming, it was a great experience,” Niemietz said. Her performance, emotional and moving, helped her persona shine. It resembled a performance of Niemietz seen only by those who watch her YouTube channel--one that dates back to when she was 11 years old. In the video, Niemietz is singing “And I Am Telling You, I’m Not Going,” by Whitney Houston. She notes in the caption that she was singing the song in public for the first time after hearing it a few days prior. The little girl in the video, with such passion and energy, belts out the tune so naturally. Hands flailing,


back arched, mouth wide--it mimics her performance years later on Ellen, and can also be seen in watching her sing “Talking to the Moon” by Bruno Mars on the set of Ellen, during rehearsal. Her heartfelt performance and soulful voice is captivating. To see such talent when she was a child transpire into what you hear as a young adult shows the real quality to her voice, not ones done up by producers or morphed with autotune and correctors. And Niemietz has only grown with experience, after having been a part of so many large projects at such an incredibly young age. Growing up in the Chicago suburbs with her parents, Tim and Cheryl, her brother, Brian, and sister, Kim, Niemietz said she loved the Midwest for its people and its seasons. “There were gorgeous trees, freezing winters, close-knit family,” she said. “My dad sang in rock bands around Chicago and my mom was in the choir (and plays a mean accordion), so there was always a lot of music around my house.” Her childhood revolved a lot around deer as well, she said, from playing the part of a deer in her kindergarten play Oh My Deer, to the drives through the woods across Illinois and Wisconsin to visit her grandmother, and flapping her arms in the snow to make snow angels while watching deer in the backyard. “There were lots of times with family and friends, (and deer), and lots of laughter,” she added. In school, Niemietz said that a musician always seemed to be a natural occupation choice, and even in class when there would be a “describe what you want to be when you grow up” assignment, Niemietz would always describe a world of stages with microphones and music notes. Looking back on it now, Niemietz explains that she knows there is nothing else she would rather be doing with her life. “Each day I am able to spend creating music is a gift. It is a part of my identity. It’s something that just fits,” she said. “Fish are fond of water, I am fond of music. I’ve also met some great folks through it. What a joy.” Singing, for Niemietz, would begin when she was three, as her parents have the old video tapes to prove, and voice lessons would begin at the age of six. Niemietz recalls her first concert at the Chevy Chase Country Club in Illinois at the age of four. “My parents took me to see BJ Thomas playing live. To ‘prepare’ me for it, so I wouldn’t be bored, they would play his CDs and tapes on the car rides to daycare and I memorized most of his songs. We sat near the front and I was the most enthusiastic audiencebackup singer he ever had,” she said. “BJ noticed me singing along and invited me to join him on stage. After that I was ruined in the best way. Each stage, or makeshift table-stage seemed to call to me to give an impromptu encore. I think I’m still riding on the residual excitement of that night.” Growing up, Niemietz said her favorite tunes to belt out where those of Elvis Costello, especially, “Allison.” Another popular song of choice was “My Heart Will Go On” from the film Titanic. But the musical influences who helped mold her into the artist she is today are slightly different. These include The


Beatles, Ella Fitzgerald, Bill Evans, and Andrew Bird, whom she said have had an immense impact. “I’ve always tried to soak up as much music as I can,” she said. “I do love the great Jazz vocalists of yore.” At age seven, her acting lessons began in Chicago, but would take her to California where she found an agent and manager and decided to “follow the path and see where it would lead.” At age 10, she made her Broadway debut as young Helen in Hollywood Arms, written by Carol Burnett and her daughter, Carrie Hamilton. For six months Niemietz lived in New York and performed the play in Times Square. “There were 50,000 people there,” she said. “What a beautiful, lingering memory even today.” She would end up singing on stage with Burnett and Donna Lynne, who played the adult Burnett. “The whole experience was such a gift,” she continued. “Together we sang ‘I’m Always Chasing Rainbows,’ my family was there in support, Carol and Donna were on stage with me, the amount of people was unfathomable, the Jumbotron was larger than life, the sky opened up and lovely rain fell at the end of the show—everything was magical.” During her middle school and high school years, Niemietz would work with film composer Christopher Young, being the vocalist for his score in the film The Exorcism of Emily Rose, and would also work with him on the 2008 project The Uninvited. After completing the music, Young remarked, “Without Sara’s voice, there would be no score—I have never in my life seen someone at her age so thoroughly professional.” Niemietz also appeared playing guitar on an episode of Glee, and was a part of the cast for the box office hit Akeelah and the Bee. She also appeared on television series’ such as Providence, First Monday and Gilmore Girls. In 2001, Niemietz named “Female Vocalist of the Year” National Champion at the National American Country Music Association International, and was the “Female Entertainer of the Year” California State Champion at the California Country Music Association. But while working on all of these project at such a young age, Niemietz also tried to find time to be a kid, and, be a student. Niemietz was in the Jazz Choir in high school and said she absolutely loved it. She also maintained an “A” average all throughout high school and in 2010, graduated seventh in her high school class, which she said was all thanks to the support of both her school and her family. “With that foundation, I was diligent about focusing on my studies and music,” she said. “It was important that neither one suffered as a result of the other. I also really enjoyed studying, so it worked well.” While in school, she also managed to record an independent CD titled Without a Net, in which she teamed up with well-known record producer John Boylan. Niemietz also writes and records all of her own music, especially recording with her favorite instrument, her guitar. “It’s the instrument I’m most comfortable with and my go-to for writing or playing live,” she said. She has been playing the guitar since she was 11, the piano on and off since she was seven, bass starting at age 16, and recently received a mandolin, her new addition, for her 19th birthday. She also adds that she plays “a mean shaker.”

SARA oN THE ellen SHoW


Niemietz said that music and writing is her favorite form of expression. “In everyday life, intentions and deeper meaning can be tricky to articulate, but with music there are no limits. Linear thinking, practicality, and conventions become fluid. Music is freedom,” she said. “Often I don’t set out to be autobiographical, or with a decision of, ‘Okay, now I will write about (insert topic here).’ That does happen, but many times a melody buzzing around in my head will manifest itself with some sort of germ of lyric and I’ll work with that, meld it, and see where it leads.” She also said she doesn’t believe that all writing must be “hyper-confessional,” and thinks that looking at a concept through mirrors and under lights can tell a story in a novel way. Niemietz also loves to read. “I am a certified bookworm,” she said, “I love diving into the pages of a great book.” It’s one of her favorite pastimes, when she gets a chance to relax from hectic and busy days she likes to unwind with Faulkner, Calvino, Chandler, Emerson or Orwell, a huge cup of “quality coffee” and a fuzzy blanket to make for the perfect evening. As you can tell, she loves coffee too. “I like it any was I can get it,” she said. “Just kidding, sort of.” In hot weather she loves a good iced coffee with soy milk and vanilla, and on a colder day, a triple Americano—She also said she bought a French press recently and heard that the next thing she needs is a particular grinder, thermometer, and timer, but notes, “I’m not quite there yet.” So you could say that besides growing up so quickly and diving into professionalism, she still finds some downtime to find her inner child. Her favorite color is purple, her favorite foods are tuna casserole and soy pizza, her favorite place that she has visited is New York, and she loves her impromptu adventures with her friends. “Sometimes getting in a car without a clear vision of where we are going or what we are doing creates the best trips,” she said. “We also love journeys to Amoeba Records, local coffee shops, and live music venues.” Niemietz performs at live venues several times a week as well, at places like the Cafe Cordiale in Sherman Oaks, where she regularly sings with the Babylon Social Club. She said she has been fortunate enough over the years to collaborate with some “groovy folks,” like Walden, Richard Marx, Randy Kerber, Herman Matthews, Jake Coco, Maia Sharp, Melissa Manchester, and Aaron Beaumont, and thanks her parent for making the move that exposed her to all these projects and experiences. “My parents moved to Los Angeles from Illinois so that I could pursue what I love professionally,” she said. “They are the definition of selfless and a great time to be around…my family has been very supportive and understanding through this journey, that is worth its weight in gold.” Although she hasn’t been a part of a tour yet, she said she hopes to be some day. “I am so looking forward to it,” she said. “Wacky as it sounds, sometimes as I run errands or drive across the Valley, I pretend I’m trekking across the country on a tour.” On June 12, Niemietz released her newest EP of original material titled Push Play, in which she collaborated with musician and composer W.G. Snuffy Walden. She is focused on music fulltime, and is currently working with Walden on a Christmas CD which she said is a “grab bag” of some of her favorite Christmas songs. “There is an a cappella track, and some of my favorite musicians are on the CD. Snuffy and I are having a blast,” she said.

Niemietz adds that she is thankful to her fans and to her family for being with her every step of the way through her journey, and said that as time goes on, she learned more about herself and about music in general. “Each CD is a snapshot of where I am at a given moment. Listening to a release, I think of the people involved in it, the creative process—They are all different and I am grateful for them all...I want to spend my time, my life, creating music and sharing it. Writing, recording, touring to play shows—I can’t imagine that ever getting old,” she said. “There are so many wonderful projects I have been a part of. I look forward to new collaborations and ideas, and hopefully traveling abroad someday to spread my music.”


M ALBU EW REVI

STORY BY | ASHLEY GOLL


T

he band Steel Train met in the mid-1990s at The Solomon Schechter Day School of Bergen County, New Jersey. At that time, Jack Antonoff (Vocals, guitar) and Daniel Silbert (Vocals, guitar) were actually part of the hardcore band Outline. Evan Winiker (Vocals, bass) was a member in the punk band Random Task. After the dissolution of these bands, Steel Train formed. The band soon signed to Drive Thru Records/MCA and flew to Los Angeles to record with Jon Naclerio at Hans Zimmer’s Media Ventures Studios. The outcome of this session was the band’s first EP, 2003’s “For You My Dear.” Along with Rx Bandits, Steel Train were the odd one’s out on the early to mid noughties Drive Thru roster. However like those damn Bandits (and the majority of other Drive Thru bands still active) they’ve jumped ship and struck out on their own, choosing to self release this, their third full length. When you get away from these simpler songs that pull from classic tropes, you meet a different Steel Train who are more reminiscent of OK Go or a happier Modest Mouse. The angular guitars, dancing drums, varied back-up vocals (which do everything from harmonizing to shouting to just random interjections) and frantic and sometimes sassy lead vocals drive most of the other songs on the album. While it is often interesting to try to figure out where these songs will go next, this style has a hard time creating a compelling song. Musically, this is definitely Steel Train at their most polished and ambitious. No sooner have they kicked off with the stomping ‘Bullet’, all Tegan and Sara melodies and E-Street Band orchestration, than they immediately switch it up with the camp broadway-pop of ‘Turnpike Gates’. As if the band knew that this would be the question on most critic’s minds, Steel Train answers by opening the album with their strongest song yet. “Bullets” opens with layers of wall-of-

sound guitars, hearty backing vocals, and xylophones, bringing to mind the best moments of Bruce Springsteen’s masterpiece Born to Run. Without wishing to offend or mislead, there is a definite Broadway feel throughout this album, much in the same way as Fun’s ‘Aim & Ignite’. There’s the down tempo songs for the sad parts, such as ‘You & I Undercover’ which builds from a melancholy ballad into breath taking crescendo. Then there’s the jaunty rocker in ‘The Speedway Motor Races Club’ which is cracking pop song augmented by succinct use of organs and synths. Things naturally all comes to a head at the end in the form of the reflective and absolutely gorgeous ‘Fall Asleep’. These lyrics are so powerful you can feel the emotions Steel Train are portraying. For example, the


chorus is amazingly moving “And when I fall asleep I want to see you there in a dream I want to take you to the heart of every place that I’ve been I’m around you I know you’re around me But sure as I’ll wake up You will always stay fast asleep” You can almost see the end credits scrolling down the screen during the pizzicato strings of its delicate outro. The production is perfectly pitched. Rather than reserve specific instrumentation for particular songs, the liberal use of glockenspiel, piano and glorious string arrangements make the album sound cohesive and full rather than making any one individual element sound gimmicky or tacked on. They can write some great, timeless pop-rock songs with gorgeous melodies and enough dynamics to grab any listener This is a definite record of class. Even when you strip away all the orchestrated pomp the songs still stand up on their own who allows Steel Train to build upon these solid foundations and lovingly craft a record of huge pop bombast but with a tender and melancholy soul.


The

BA L L RO OM


VENUE REVIEW S TO RY BY ASHL EY GOLL

T

he Bowery Ballroom is generally regarded as the city’s best music venue. It has three floors, three bars, an intimate 550-person capacity, balconies for the mosh-pit-adverse, and status as the most popular destination for rising indie-rockers. It’s also the place where “special guests” (such as David Byrne!) drop by, and more established acts (such as Nine Inch Nails!) treat their fans to “secret” shows. While the Ballroom now has a Brooklyn clone (the Music Hall of Williamsburg) with sleeker finishes, swankier bars, and better couches, the original club’s homey charm is something that can’t be replicated. Wild Nothing performance at the Bowery Ballroom was indescribable and yet unforgettable. They blew their fans and everyone at the venue away with their use of instruments and form. A venue that occupies a building originally built in the 1920’s. Although the building acted as a high-end retail store until its conversion into a music venue in 1997, its old school elements—wide,

wooden banisters leading to a balcony view, and its large, stage-encompassing curtain that greets the venue’s guests— create a comfortable, personal atmosphere. The band’s arrangement of alluring guitar riffs, prevalent bass lines, quick drum beats, and mellowed-out, reverb-heavy vocals hypnotized the venue’s 550 guests into a state of grooving in a way completely dissimilar to many of today’s fist-pumping acts that occupy popular dance clubs. It was this presentation of instruments and vocals that engaged the audience in such an authentic way, focusing the crowd’s attention on the music while also creating a fun, dance-dominated atmosphere. If you really want to be up close and personal with your favorite musicians this is one of those venues where you’ll have the opportunity rather than having to look at some screen from way in back somewhere wishing you were up front! Saying I love this venue is an understatement - intimate, classy, good

acoustics. Halfway back in the venue and I’m still 30 feet from the stage. Hell the bands load in from the side of the stage, just awesome. If you love live music, go see a show here - if you have a chance of seeing a headliner here, buy it immediately. This music venue had a feel of relaxation and that makes people want to keep coming back for more. The way this place makes you feel when you first step in- no matter what kind of mood you are in this venue will turn it around for the better. The atmosphere, the people, the music, the drinks, the food- it is everything you could ask for in a music venue. If you haven’t checked it out yet you should get there as soon as possible- The music will always be playing- you cannot miss it! The bands that play at this venue are very well put together and unique. Unique is what we are going for- we are searching to go outside of unique and make it our own brand- The New Sound way.


By: Ashley Goll

O

pened by indie rocker Ken Rockwood, this breadboxsized two-room concert space features a rapid-fire flow of bands and singer/songwriters across the stage. With no cover, and a max of one hour per band (die-hards can see five or more a night), what’s to lose? Music kicks off at 3pm on weekends, 6pm on weeknights. The best place in New York City to see and hear the best talent. I almost hate to tell you how great this place is...It’s already too popular now. Rightfully so, and it’s ALL ABOUT THE MUSIC. Ken Rockwood has managed to turn a closet into a concert hall of sound and Tommy, the booker, has a knack for booking the most pure talent in New York City. The Regular bar staff is super friendly - it’s like stepping into the perfect little sphere of live music. The only problem is that with perfection comes popularity and with popularity comes big crowds including music industry peeps. This tidy room in Allen Street’s dingy mini-mall plays to two downtown tastes. Rockwood’s amber lighting and wooden tables lure Lower East Siders who take their décor cues from shelter magazines. Its careful wine selection deepens the sophisticated vibe. But the schmancy trappings fade into the gold-and-red-painted walls when the scruffy musicians tune up at the cramped stage a few feet away. From around 6pm until 3am, owner Ken Rockwood, a veteran indie musician, hosts a nightly rotation of strummers, chanteuses and rockin’ combos, and the acoustics and cozy quarters make you hush and listen to the tunes. A good chunk of patrons are friends of the performers, and the cheering can be infectious. The Regular bar staff is super friendly - it’s like stepping into the perfect little sphere of live music. The only problem is that with perfection comes popularity and with popularity comes big crowds including music industry peeps. This Wonderful intimate venue has on the les showcasing consistently good singers,songwriters and local bands. Always


VENUE REVIEW

a chilled but also rocking atmosphere - this is not your grunge and warm lager type venue. Most customers drink from the short, but well selected, wine list, served by the glass or bottle, but a good selection of bottled beers and liquor. Never had a problem with other customers- they’re usually a quiet, attentive, mellow bunch enjoying the music whenever I’m there. A floor-to-ceiling storefront window opens up the square room, a full bar stretches across one wall, and a curtain drapes around a catty-cornered stage. The line-ups will keep you engaged. The warm ambiance enhances the total listening experience. The attention dedicated to sound is impeccable. It is evident that the proprietor has an endless pool of respect for the performers’ craft.


LIVE REVIEW

AMBER RUBARTH STORY BY ASHLEY GOLL


it’s okay to be uncertain of yourself; just don’t let others define you, because “everybody

loves a mystery...”

— Amber Rubarth

A

mber Rubarth, a Nevada chainsaw artist who crafted animal sculptures and wooden furniture, taught herself guitar, then took her refreshing, original songs and wistful sweetness on tour. Tom Waits picked her song “Washing Day” (co-written with Adam Levy) as winner of the International Songwriting Competition and she’s the latest NewSong contest winner. Now’s the time to discover this rising singer/songwriter, guitarist and pianist on her album of songs celebrating the mysteries in daily life. In the title tune, she claims it’s okay to be uncertain of yourself; just don’t let others define you, because “everybody loves a mystery.” Her voice flies upward; her lyrics bring her down to earth with charming honesty. In “Wish We’d Gotten Drunk,” she nostalgically regrets “carelessly holding your heart,” and then casually whistles. In “Edge Of My Seat,” she observes breathlessly as a romance begins, or does it? She repeats the title with growing intensity. While fitting for this song, it’s a signature motif in her writing; she does the same in “Full Moon in Paris,” as intimately captivating here as in her recent New York shows. A piano piece called “The Stairwell” provides a moody, satisfying finale. She is but one person with one instrument, be it a piano or a guitar, but Amber Rubarth is mesmerizing. Anyone who has heard her records knows that the voice that goes through their speakers is Rubarth’s true sound with little to no alteration, as she hits every note without fail. Not too bad for someone who used to make wooden sculptures with a chainsaw. You would never expect that out of the soft-spoken girl who mumbled between songs, and got so excited about performing that she stood on her tiptoes while playing. Rubarth moved to Carson City, NV after high school to pursue wood sculpting before completely changing directions and learning how to play guitar. Rubarth humbly mentioned this in a break in her set, failing to hide her excitement of winning the prize of working with producer Jacquire King (Kings Of Leon, Arcade Fire, Norah Jones) on her new album due out this spring. It was adorable. When Rubarth took to the piano to play “Rough Cut” off her New Green Lines LP, the whole venue was focused on her. Her voice filled the space, which seemed to shock most in attendance who underestimated the tiny, young girl onstage, who comfortably floated from low, alto-range notes to a high, lofty soprano. Feeling the need to justify each song, Rubarth showed her quirkiness, as each one took inspiration from unexpected places. “This Is Real,” for example, was written during a long-distance relationship that ended before she returned back to the city where her ex was based. Though quirky, she was never overly so. Rubarth gave each explanation sheepishly, barely moving her mouth, frequently looking down at her instrument, then started singing, erasing any awkward tension that may have taken place, and making the audience fall in love with her a little more each time.


By Kylie

Cremer

A

s you walk through the dimly lit restaurant and up a narrow flight of stairs, it’s hard to judge what you’ve gotten yourself into when you planned on seeing an artist at Blue Point’s Grey Horse Tavern. Then you find yourself in an open room, filled with about 50 fold up chairs, and you see the performing artist setting up their equipment 40 feet away from you – and that’s if you’re sitting in the last row!

LIVE REVIEW

In my case, it was Ari Hest and Sarah Siskind who were plugging their guitars into their PA’s and small amps, checking the microphones, and chatting away with each other like old friends – which they indeed happen to be.


Calling what you see at the Grey Horse a performance doesn’t really do it justice. It’s an experience. It never feels like a show, but a group of old friends – a few of which being more musically talented than the rest – hanging out, sharing stories, existing as equals and enjoying the beauty that music has to offer.

places that they are familiar with.

As the two started playing, you began to realize how deceiving the room really is. Although it’s small, the acoustics were phenomenal, and the sounds produced by Hest and Siskind reverberated off the walls in an intimate way that makes you feel guilty for ever second guessing the Grey Horse. The room produced a clean and rich sound that reintroduces a comfortable feeling; a feeling that one only finds in

Between his songs, Hest interacted with the audience in a way that could only happen in the intimate setting of the Grey Horse. The singer/songwriter talked about his life growing up in the Bronx, where he’s been, and where he hopes to go. He gave us an insight to where he finds his inspiration, and answered questions that were called out by the

And as the experience pursues, you become familiar with Hest and Siskind themselves. As they trade off, each singing songs of their own and contributing to each other’s when it benefits the overall sound, you also find you are learning about who these artists are as people.


people sitting before him. It wasn’t a performance, but a constant conversation, where his songs spoke just as clearly to the audience as his dialogue. Sarah Siskind revealed her character as well, singing songs and telling stories that depicted her love for the south, the mountains – the nature surrounding her home in Virginia. The combination of her mellow voice and clean and deep electric guitar melt over the crowd, which resulted in an overall feeling of calm and peacefulness. Each of Siskind’s songs and anecdotes reveal her spiritual essence to the point where you as an audience member feel as though you have known this about her for years. Half-way through her set, she even told the audience how she and her husband, the bass player for The Infamous Stringdusters, are expecting their first child. Between the quality of their musical performance and the experience as a whole, it was hard to believe


that the tickets for this particular show were only $15 – especially when Hest and Siskind remained at the Grey Horse afterwards and spent time with the audience until it was time for them to pack up and head to their next venue. By the end of the show, you didn’t walk away feeling satisfied in seeing another performance; it was so much more than that. You walked away knowing that you helped introduce two new friends to the Grey Horse Tavern’s music-loving community and with a musical experience incomparable to any before.


SKY FERREIRA By Kristin Cacchioli

T

he sky is the limit for triple-threat Sky Ferreira since she signed a record deal with EMI in 2009.

The singer/songwriter, model and actress released her debut album, As If in 2001, followed by Ghost in 2012. After being discovered at age 14 through social media by Swedish producers Bloodshy & Avant, Sky has been focusing on her music and continues to come up with original angles and lyrics. The opera-trained singer grew up in Los Angeles, California — a haven for starved talent searching for success. While only a few make it, Sky Ferreira’s style its unique, creative and continuously transformative. Her hit songs, such as “Everything is Embarrassing” and “Lost in My Bedroom” have topped charts. “Obsession” has been featured on The Vampire Diaries soundtrack, as well as debuting at No. 44 on the U.S. Hot Dance Club Songs Chart, before moving to No. 37 the following week. “I had the life of ordinary/I spat it out,” the “Obsession” artist sings. The typical life of a teenage girl never appealed to this pop sensation so she took matters into her own hands and created a name for itself in the music industry. Like Sky, her music is fun and energetic. The sound is mystifying, yet it’st hard to deny the dance craving that it radiates. Blending dancepop and indie-pop together has resulted in great success and popularity for the 20-year-old who had her first live TV performance on January 7. Sky has a hip and edgy style which she portrays in her music. Full of loud noises and a wild sound, a soft touch peaks through which gives her music the “it factor.” Sing-a-long lyrics provide her fans with the freedom to rock out privately in their bedrooms or publicly at a high-energy concert. Regardless of one’s taste in music, it is difficult not to tap your feet or nod your head upon hearing the vivacious musical style of Sky Ferreira.


DAVIS FETTER By Kristin Cacchioli

D

avis Fetter offers a unique spin on the normal rock and roll sounds we hear today. Watching his video or a live show, one would expect a crazy rocker to emerge and belt out hardcore tunes, but Fetter’s voice is somewhat angelic. Normally clad in black boots and a leather jacket, Fetter has the whole rock and roll image down pat, but his voice puts him on an entirely different level than most wannabe rockers of today. Fetter’s high voice is a contrast to the fast, loud music he makes. He is able to gracefully hit the high notes while still exuding the “cool” demeanor of a rock and roll star. According to his Facebook page, Fetter’s sounds have been compared to The Strokes and John Lennon. His self-titled record label, Davis Fetter Music, has recently released his 11th single, “Born,” to add to his already popular hits, “I Loved You So” and “Euphoria.” Fetter often writes about love and his own life and is the fun, sensitive “heartthrob musician” seen in a lot of films. He takes it one song at a time and is able to release passionate music that showcases his talent as an artist. In August 2012, his song, “I See Love” reached No. 1 on LA’s KROQ Locals Only and his songs have been featured on MTV, FX, Oxygen and Sky Network, as well as noteworthy publications, such as The Los Angeles Times and Nylon Magazine. The guitarist shows his love for music and performing while up on stage sharing his songs. He grasps the microphone and the love he has for his work shines through his tough look. Rather than jump and run around on stage like some crazy rock and rollers are known to do, Fetter is more interested in the meaning behind his songs, rather than the performance factor. Fetter realized his love for music around age 12 and the rest is history. His influences include The Smiths, Elvis, Morrissey, Chuck Berry and The Stooges.


LP By Desiree Keegan

Y

ou may recognize her song “Into the Wild” from the ubiquitous Citibank commercial, or you may have seen her at the 2012 SXSW, Bonnaroo, Lollapalooza or Tropfest. Once you see and hear LP, you won’t forget her. She’s a gripping performer--dynamic and versatile. And she is not your stereotypical candidate for becoming rock’s “next big thing.” LP, a five foot, curly-haired folk star, looks like a cross between a young Bob Dylan and Marc Bolan. She is often seen wielding a ukulele and wearing androgynous menswear apparel, including boyfriend blazers, oxfords with skinny ties and broken-in black boots. Her voice is instantly ear-catching, and this natural instrument she possesses is full of power and grace. But what you may not know, is that LP, the 30-year-old Los Angeles-based singer-songwriter, landed her first major breakthrough as a songwriter in her hometown of New

York City, co-writing Rihanna’s song “Cheers (Drink to That)” featured on Loud which is Rihanna’s fifth studio album. At that time, LP went by her full name, Lauren Pergolizzi, and her songwriting breakthroughs continued, as she co-wrote “Beautiful People” performed by Christina Aguilera and Cher for the film Burlesque. In June of 2011, Pergolizzi co-wrote “Afraid to Sleep,” which was performed by NBC’s The Voice finalist Vicci Martinez, which reached No. 10 on the iTunes Top Singles Chart. But

in

September

of

2011,

things

would

change.

After moving to Los Angeles, Pergolizzi would sometimes, for fun, show up at Bardot, Soho House or Sayers Club for one or two cover song sets. The music industry crowd hangouts always likes her, and one night, when it seemed right, she pulled out her ukulele, walked up on stage and began to play “Into the Wild.” The people

crowd chanting

LP,

exploded. and

it

She all

remembers felt right.

Pergolizzi signed a deal with Warner Bros. Records, and decided to go by the name LP, to mark the next chapter in a long career that already spans more than ten years. Shortly after, “Into the Wild” was used in the Citibank national ad campaign, and In April of 2012, she would release her first major label album Into the Wild (Live at EastWest Studio), a 5-song live EP, which received a strong reception from critics after its release in April of 2012. “When I wrote these songs, I wrote them with a sense of freedom,” she told ELLE Magazine. “I didn’t put any restrictions on them. I just went where my voice wanted to go. I talked about things

that I wanted to talk about. Because of that they became mine.” From graduating high school and touring with the band Lionfish in 1996, to her first album, Heart-Shaped Scar in 2001, to her second recording Suburban Sprawl & Alcohol in 2004, to her Island Def Jam Music Group record deal in 2006, to signing with SoBe Entertainment in 2007, to her major breakthrough in 2011, LP has been dumped and signed by a multitude of labels. But this artist continued to fight through her challenging journey and a series of what she saw as necessary obstacles that continued to evolve both her singing and her songwriting. “I think I understand everything a little bit better,” she told ELLE magazine. “I haven’t been forcing anything…I’ve opened this door in my head for how I want to sound. I’m inspired.” And besides being inspired, LP has begun to inspire other, as more and more fans begin to gravitate toward her mystique and rare ability to connect with the audience. Fueled by a contagious love for performing, her stage presence has grown more powerful with each appearance, and her free-flowing words and striking voice has created a lot of breakout buzz. Be sure to check out LP’s live EP, and look forward to new material soon, as she is currently crafting her new album with a host of producers including Isa Summers of Florence and the Machine and PJ Bianco. “I think everybody needs to find out who they are and who their, like, inner superhero is, or who you like to be,” she told CNN. “The world would be a better place if everyone was doing what the hell they wanted to do and being who they wanted to be...I hope they do.”


By Britney Grasman

S

ince Rock and Roll’s induction into American culture in the 1950’s, the perpetual genre has transformed, evolved, and spanned the across the world. Throughout the decades, niches of Rock have rolled onto the scene- including grunge, pop, punk, new wave, Christian, and Indie, to name a few. Individuals and groups alike have dedicated themselves to Rock and, in its wake, legends were born. American bred Jimi Hendrix, The Grateful Dead, Lynard Skynyrd, Journey, and Styx were rivaled by European counterpartsDavid Bowie, the Beatles, and The Rolling Stones. An abundance of world renowned and respected talents from the hey-day of the electric guitar are still relevant today. The chords of some of the greatest Rock and Roll acts of all time are still strummed, lyrics are idolized, and hairstyles and costumes are iconic. Touring cover bands aim to recapture the essence and energy of the originals. In many cases, the music has outlasted its creators. Many have passed on, but these ghosts of Rock have persisted with their music as a vehicle to drive them into the future.

STATION

While the list of unforgettable talents is seemingly endless, many people when asked their favorite rock band will respond with one from a decade prior to present. The underlying reason is that Rock music has seen a decline in recent years, as it’s faded away from mainstream preference. A new band, however, has the talent to turn this around. New York formed Rock band, Station, is electrifying, original, and true to the genre of Rock. The group, composed of Pat Kearney, Chris Lane, Mike Anderson, and Brian Karl, has already performed with a handful of Rocks greatest. They’ve shared the spotlight with Bret Michaels, Vince Neil (of the heavy metal Mötley Crüe), and four-time Grammy winner Pat Benetar. Aside from sharing the stage with idolized acts, the guys are making a name for themselves. The group is currently in the running to perform live at the 55th Grammy Awards on February 10. CBS is hosting the Grammy Live: Gig of a Lifetime, in which musicians from across the U.S. are competing for the honor. Recently, they’ve had the opportunity to travel to Nashville to record their first EP with established producer Michael Wagener, who’s worked with Ozzy Osbourne, Skid Row, Metallica, the Mötley Crüe, and many more. The EP will be released on March 2nd at Arlene’s Grocery in Manhattan, and their single “Everything” is now available for download on iTunes. For a full-on Stationband.com for York, New Jersey, because this is a

Rock experience, check out a list of upcoming shows in New Pennsylvania, and Connecticutgroup you’ll want to see live.


WATCH IT FOR THE MUSIC

Eternal Sunshine of the spotless mind By Desiree Keegan 01 - Jon Brion - Theme 02 - Electric Light Orchestra - Mr. Blue Sky 03 - Jon Brion - Collecting Things 04 - The Polyphonic Spree - Light & Day 05 - Jon Brion - Bookstore 06 - The Polyphonic Spree - It’s The Sun 07 - Lata Mangeshkar - Wada Na Tod 08 - Jon Brion - Showtime 09 - Beck - Everybody’s Gotta Learn Sometimes 10 - Jon Brion - Sidewalk Flight 11 - Don Nelson - Some Kinda Shuffle 12 - Jon Brion - Howard Makes It All Go Away 13 - The Willowz - Something 14 - Jon Brion - Postcard 15 - The Willowz - I Wonder 16 - Jon Brion - Peer Pressure 17 - Jon Brion - A Dream Upon Waking 18 - Jon Brion - Strings That Tie To You 19 - Jon Brion - Phone Call 20 - Don Nelson - Nola’s Bounce 21 - Jon Brion - Down The Drain 22 - Jon Brion - Row 23 - Jon Brion - Drive In 24 - Jon Brion - Main Title 25 - Jon Brion - Spotless Mind 26 - Jon Brion - Elephant Parade

U

nlike many soundtracks which are uneven and derivative, Eternal Sunshine of the Spotless Mind breaks that mold, filling the film with scores that are innovative and quirky like the film-which works. The soundtrack epitomizes the importance of music in a film’s success, and here, Jon Brion does a great job of capturing emotion with great music. Brion’s scores make you feel like you’ve been thrown back into the movie all over again. These fragments come in different colors and sizes, and fade in and out abruptly like memories do. And as we remember things at different times, sometimes searching to remember, they can be put together in the wrong order--much like the main character, Joel Barish, does in the film. And the way the tracks were rearranged on the soundtrack mirrors this idea. The film opens up with a “Theme” score that is melancholy, with some brighter spots, as if to say there’s hope for the future yet. Barish reluctantly gets out of bed. Kicking around his sheets, he sits up looking out the window toward the sun, and sighs. It’s mournful in a sense, sublime and wistful, fed simply through subdued piano and double bass, with just a hint of violins hovering in the background. It’s very different from the pounding sunshine anthem that grabbed your attention in the trailers, Mr. Blue Sky by Electric Light Orchestra, which is on the soundtrack and didn’t make it into the film, but somehow, it all works. Brion does most of the scores for the film, although only one song includes his vocals. And despite most of the tracks being short, just around a minute or under (the shortest being 15 seconds) they fit within the context of the film. There have been many critics of this, claiming that it’s not pleasant to listen to because the scores are too underdeveloped, or that the track’s shortness doesn’t let you explore the theme to it’s fullest because extended editions of the tracks should have been made available to make a more “cohesive flow as a stand-alone piece.” But that’s not the point. They come in short spurts as the memories do. That is why the film was so exceptional, and that is what helps the soundtrack to reiterate and re-evoke that same feeling and those same emotions. And Brion’s scores are subtle and never manipulatively over dra-


I could die right now, I’m just ... happy. I’ve never felt that before. I’m just exactly where I want to be.

matic. This can be seen when you watch the scenes and pay attention to the sounds that you hear. They are never overpowering or interrupt what the speakers are saying. From the delicate string arrangements that ebb and flow, to the aural cues that relate to the action that unfolds on screen, to the vocals revolving around the sun--they all tie in. It is as if the short scores are strung together to create one long sequence that is both dreamlike and nightmarish. Which is why they accompany the film with such perfection. Each relates to a different scene. From the whimsical approach of “Phone Call,” as Barish leaves Clementine Kruczynski’s apartment and calls her to wish her a happy Valentine’s Day, a score that also recurs when they lie on the frozen lake together; to the ensuing loneliness and anxiousness that is brought about by “Phone Call,” as Barish collects all the things that remind him of Kruczynski to bring to Lacuna Inc. as he prepares to get his memory erased. Each score relates to that memory, whether joyous or sorrowful, alarming or humiliating. “Spotless Mind” plays in the background as Barish and Kruczynski play on the snowy Montauk beach, and you’re soothed by the blissfulness of the melody--as everything is calm and serene--you see that the characters are happy. “Sidewalk Fight” can be seen to relate to it’s accompanying scene, as “h” Kruczynski gets angry at Barish while at the market when he implies that she would be a bad mother. The score is filled with worry and apprehensiveness, as if to indicate that maybe the two should not be together. This short score occurs throughout the film as well, as the main character’s personalities clash. And as Barish recalls one of his last memories, “Bookstore” can be heard in the background, as he and Kruczynski wonder if they could give their relationship another try, as the bookstore around

them fades. The score is hopeful--as the soft strings play on you feel a sense of optimism. But there is this magnetic force between them--one that brings them back to each other. As the opening credits begin, we see Barish breaking down emotionally, as “Everybody’s Got To Learn Sometime” blares through his car speakers. It is foreshadowing what is to come, and what you will soon find out, as the characters erase their memories and realize that they need to learn from their mistakes and work to fix their issues, instead of trying to erase them. To end the disk, we have Brion’s “Elephant Parade” which relates to “Strings That Tie to You,” Brion’s only vocal track. Although the latter is not actually in the film, “Elephant Parade” ends the disk as sort of echoing to this sad yet pretty tune. “Strings That Tie to You” can be seen as almost an anthem to the entire film. The lyrics go: “In my dream I’m often running to the place that’s out of you. Of every kind of memory with strings that tie to you… Now I know it’s either them or me, so I’ll bury every clue, and every kind of memory with strings that tie to you.” As Barish begins to erase his memories, he tries to bury himself and Kruczynski underneath older memories, to try to preserve the ones he has with her, and avoid them being erased. It’s as if to say he’s running from what he’s done, or doing, but leaves strings that tie to Kruczynski and his memories, in the hopes that when the erasing process is complete, he may be able to pull those strings so that the memories can resurface, to bring them back together. This dark comedy is filled with many twists and turns, as is this moving soundtrack, which is why they make such beautiful compliments to one another. Eternal Sunshine of the Spotless Mind is filled with love, loss, mind journeys, exploration of the soul and of course, sunshine--and so is the soundtrack.


By Britney Grasman

S

ince Rock and Roll’s induction into American culture in the 1950’s, the perpetual genre has transformed, evolved, and spanned the across the world. Throughout the decades, niches of Rock have rolled onto the scene- including grunge, pop, punk, new wave, Christian, and Indie, to name a few. Individuals and groups alike have dedicated themselves to Rock and, in its wake, legends were born. American bred Jimi Hendrix, The Grateful Dead, Lynard Skynyrd, Journey, and Styx were rivaled by European counterpartsDavid Bowie, the Beatles, and The Rolling Stones. An abundance of world renowned and respected talents from the hey-day of the electric guitar are still relevant today. The chords of some of the greatest Rock and Roll acts of all time are still strummed, lyrics are idolized, and hairstyles and costumes are iconic. Touring cover bands aim to recapture the essence and energy of the originals. In many cases, the music has outlasted its creators. Many have passed on, but these ghosts of Rock have persisted with their music as a vehicle to drive them into the future.

STATION

While the list of unforgettable talents is seemingly endless, many people when asked their favorite rock band will respond with one from a decade prior to present. The underlying reason is that Rock music has seen a decline in recent years, as it’s faded away from mainstream preference. A new band, however, has the talent to turn this around. New York formed Rock band, Station, is electrifying, original, and true to the genre of Rock. The group, composed of Pat Kearney, Chris Lane, Mike Anderson, and Brian Karl, has already performed with a handful of Rocks greatest. They’ve shared the spotlight with Bret Michaels, Vince Neil (of the heavy metal Mötley Crüe), and four-time Grammy winner Pat Benetar. Aside from sharing the stage with idolized acts, the guys are making a name for themselves. The group is currently in the running to perform live at the 55th Grammy Awards on February 10. CBS is hosting the Grammy Live: Gig of a Lifetime, in which musicians from across the U.S. are competing for the honor. Recently, they’ve had the opportunity to travel to Nashville to record their first EP with established producer Michael Wagener, who’s worked with Ozzy Osbourne, Skid Row, Metallica, the Mötley Crüe, and many more. The EP will be released on March 2nd at Arlene’s Grocery in Manhattan, and their single “Everything” is now available for download on iTunes. For a full-on Stationband.com for York, New Jersey, because this is a

Rock experience, check out a list of upcoming shows in New Pennsylvania, and Connecticutgroup you’ll want to see live.


a conversation with...

A R Y M

N N Y FL l musician u o s e i d n i

by ashley goll


a question for you! Myra Flynn lived in Vermont and moved to... a) Los Angeles

b) Chicago

c) New York City

d) Houston

a conversation with... MYRA FLYNN

HOW WOULD YOU DESCRIBE YOUR MUSIC? “I WOULD LIKE TO DESCRIBE MY MUSIC AS INDIE SOUL. I AM HALF IRISH AND HALF AFRICAN AMERICAN AND I LIKE TO THINK I CAN DESCRIBE BOTH SIDES OF IT VERY WELL.” IF YOU COULD PICK ONE WORD TO DESCRIBE WHY YOU STARTED CREATING MUSIC, WHAT WOULD IT BE? “I DON’T THINK IT’S REALLY AN OPTION- ITS SOMETHING THAT’S INSIDE OF YOU THAT YOU HAVE TO KIND OF JUST DO IT. THAT SOUNDS LIKE A BUNCH OF CREATIVE BULLSHIT BUT ITS NOT.” WHO IS YOUR MUSICAL INFLUENCE? “JONNIE MITCHELL” WHY? “BECAUSE SHE IS LYRICALLY PROFOUND AND SHE’S THE PERSON IN MY LIFE WHOSE ABLE TO DESCRIBE HER FEELINGS IN THE MOST ARTICULATE WAY.” I NOTICED MANY OF YOUR SONGS ARE VERY EMOTIONAL- IS THERE ONE PERSON YOU ARE DESCRIBING? “NOT REALLY- I TRY TO WRITE LOVE SONGS, ANGRY LOVE SONGS AND TRY TO STICK TO THAT AS A THEME. I DO IT UN APOLOGETICALLY AND I WON’T BE CHANGING ANYTIME SOON.” WHAT IS YOUR OUTLOOK ON THE RECORD INDUSTRY TODAY? “OH MAN, HOW MUCH TIME DO YOU HAVE? THE RECORD INDUSTRY IS OPERATING ON A MODEL THAT DOESN’T WORK ANY LONGER. SOMETIMES I THANK GOD FOR THAT BECAUSE AS AN INDEPENDENT MUSICIAN WHO IS VERY BUSINESS SAVVY IT’S A COOL THING TO NOT BE BEHOLD TO ANYONE.” WHAT DO YOU WANT YOUR AUDIENCE TO GET OUT OF YOUR MUSIC? “I JUST WANT PEOPLE TO FEEL IF PEOPLE ARE FEELING WITH MUSIC THAT’S GOOD FOR ME. I AM ALSO A PRETTY LITERAL SONG WRITER SO I JUST WANT PEOPLE TO IDENTIFY WITH THE LYRICS.” WHAT AGE DID YOU START CREATING MUSIC? “I STARTED PLAYING THE PIANO AT THE AGE OF 4 AND STARTING SONG WRITING 11 YEARS AGO.” BACK HOME IN VERMONT DO YOUR FAMILY AND FRIENDS SUPPORT YOU? “MY FAMILY AND FRIENDS ABSOLUTELY SUPPORT ME. EVERYBODY HAS BEEN AN AMAZING HELP.” WHAT MADE YOU REALIZE YOU WANTED TO BE A MUSICIAN? “I USE TO BE A JOURNALIST- AND THEN PEOPLE STOPPED READING THE NEWSPAPER; I GOT LAID-OFF SO I DECIDED TO BE AN ARTIST. MY MOM USE TO SCREAM AT ME TO TELL ME TO SHUT UP WHEN I USE TO SING IN THE HOUSE.” Answer: New York City


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