| Listen up! |
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| Written by Argonaut Staff | ||||||
| Tuesday, 07 February 2006 | ||||||
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Between the Buried and Me (metal) In the one of the best metal albums of modern times, “Alaska,” Between the Buried and Me combines virtually every genre in the metal kingdom and synthesizes them in a way that no band has ever done before. As the band’s third release on Victory Records, this album is a giant step from its previous releases, a self-titled debut album and its sophomore release, “The Silent Circus.” In “Alaska,” the band adds progressive metal to its sound, which is already a mix of death, black and power metal, and grind. The band’s previous albums were technical and brutal but lacked cohesiveness, while “Alaska” reigns supreme. “Alaska” marks the greatest step for Between the Buried and Me, as the band takes its spread of berserk sounds and puts them together in a way that makes an hour-long album of screaming, growling, grinding and overall chaos listenable, something only a few bands have ever managed. Every track on this album glows. From the Iron Maiden-like power metal chorus in the opening track “All Bodies” to the smooth Carribean groove of the closing instrumental, “Laser Speed,” the band covers territory that is oddly in sync with the album’s title. After listening to this album, you’ll feel like you were dragged by a dog-sled team across 2,000 miles of arctic wasteland while being chased by two dozen rabid wolves and polar bears, then thrown into the Pacific Ocean and run over by an oil tanker. How is that a good thing? It’s hard to understand without listening to the album. Granted, most people will have trouble making it through the first song because it is so unlike modern popular music. However, if you have a stomach for anything from Dream Theater to Tool to Morbid Angel, this album has something for you. Brian Rich ClearView (blues, folk rock) ClearView is a local band with a unique sound that is quickly grabbing the attention of many people on campus. The band’s style is a mix of acoustic, blues, folk and rock, which makes for a pretty interesting show. The band features four members of the Sigma Chi fraternity: Spencer Batt on guitar and vocals, Chris Dowell on bass, Mike Cannon on guitar and Kerry Seidel on drums. ClearView’s music can be found on Myspace at www.myspace.com/clearview theband. The band’s plan is to keep the music updated so fans can download the songs they like and keep up with ClearView’s progress. This is a great way to hear ClearView’s music, but the band has also got a killer live show that includes a mix of original music along with some old favorites. ClearView is a relatively new band, but it’s got a great stage presence and a relaxed sound that keeps audience members on their feet. Check ClearView out at its next concert, Feb. 25 at Sigma Chi. Liz Virtue Coheed and Cambria (alternative) One of the most prominent cult favorites across the alternative scene in the United States, Coheed and Cambria has made a devastating impact in the past six years. From its first album, “The Second Stage Turbine Blade,” to its latest, “Good Apollo, I’m Burning Star IV, Volume One: From Fear Through The Eyes of Madness,” Coheed has established itself as a staple in any music-lover’s CD collection. Of Coheed’s three albums, its sophomore release, “In Keeping Secrets of Silent Earth: 3” is the best balance of the band’s sound. It has the darkness of its debut release but isn’t quite as upbeat as the newest album. Coheed’s sound is heavily influenced by ’80s metal, progressive rock and pop/punk. Singer Claudio Sanchez’s high voice seems unlikely when looking at his dark complexion, thick beard and massive afro, though when seeing him live it somehow makes sense. The band’s live performance is the definitive point, when Sanchez matches every insane note with perfect pitch while playing complex rhythms and melodies on his guitar that harmonize with his voice. Lyrically, Coheed and Cambria is a real mind-job. The names Coheed and Cambria come from comic book characters in a series that Sanchez writes. The comics coincide with the band’s albums, and most of the lyrics are contextual lyrics that make no sense in the real world. For example, in one of the catchiest songs off this album, Sanchez trails off at the end of the song repeating the line “pull the trigger and the nightmare stops,” in a very upbeat, catchy melody that is in complete juxtaposition with the lyrical message. However, there is a side-note in the liner that explains the line, saying it is out of context and is not to be taken literally by listeners. Ultimately, every album from this band deserves a listen. Its songs are inspired and powerful, and each one has a message and is part of a bigger story that is told from album to album. As kings of progressive pop, the members of Coheed and Cambria surely have a bright future ahead of them. Brian Rich Damien Rice (neo-folk) Rice’s amazing album “O” was released a few years ago, but it hasn’t really caught on despite some high-profile usage in hip teen dramas and the Julia Roberts film “Closer.” With the simplicity of an acoustic guitar, occasional string arrangements and beautiful guest voices added to his songs, Damien Rice is the best alternative crooner out there. If you like John Mayer and all his cocky little acoustic stylings, then you’ll love the passion Rice dishes out on this album. There are moments when the guy just resorts to screaming in high-pitched desperateness, but it never feels forced. Rice’s simplistic but emotive approach resembles what was great about Coldplay before it started to overproduce every song. Here the words are never drowned out. It’s not exactly the happiest music out there, but at least the final track is about a friendly Eskimo. Tyler Wilson Fiona Apple (singer/songwriter) Perched atop many critics’ top 10 lists last year was the long-awaited third album from singer/songwriter Fiona Apple, “Extraordinary Machine.” Tracks were leaked on the Internet months before, but Apple reworked 10 of the songs, dropping frequent collaborator Jon Brion as producer in favor of a simpler, more refined sound. The result was nothing short of astounding. Apple is one of those gifted songwriters in that she can turn a break-up album into one of the most lyrically dynamic surprises of last year. Even better is that any listener can tell Apple “feels” her music. She may not have an “American Idol” kind of voice, but there’s more emotion behind her words than anything Kelly Clarkson will ever perform. All 12 tracks on the album are gems, but “Oh Well” and “Parting Gift” should be considered masterpieces of the “angry, artsy lady” genre. Apple may have been off the popular radar since she proclaimed the world to be “bullpoo” (paraphrase) on MTV, but her music has never been better. Tyler Wilson Flogging Molly (Irish punk) Flogging Molly has a sound that is alternately “too Irish” or “not nearly Irish enough,” depending on who’s writing the review. The band is too punk rock for Celtic purists, and it’s most times too Irish for the Warped Tour set. This hasn’t seemed to bother the band in the slightest, and shouldn’t bother listeners. Flogging Molly’s three full-length albums, “Swagger,” “Drunken Lullabies” and the latest, “Within a Mile of Home,” have grown steadily more influenced by the fiddle-and-tin-whistle sea shanty, without leaving behind the band’s ear-splitting electric guitar roots. On “Within a Mile of Home,” songs such as the pub chant “Whistles the Wind” coexist alongside “Screaming at the Wailing Wall,” a furiously guitar-driven charge against President Bush’s foreign policy. “Swagger,” the band’s debut album, is a similar mix of sounds, with the resigned “Worst Day Since Yesterday” followed by the rollicking “Every Dog Has its Day.” “Lullabies,” the most truly “Irish” of Flogging Molly’s albums, pairs the acoustic sound of “If I Ever Leave this World Alive” with “The Rare Ould Times,” lead singer Dave King’s rousing tale of the Dublin of yesterday. Regardless of which is your favorite, it seems that every song on all three albums requires one of three things: a sing along, pint glass firmly in hand, an energetic jig, or a barroom brawl. Carissa Wright Israel Kamakawiwo’ole (world music) While his name may sound strange to ethno-centric music lovers, most people should be familiar with this ukulele-toting tenor. His rendition of “Somewhere Over the Rainbow” has appeared on countless TV commercials and on the soundtrack to the movie “Finding Forrester.” Though quite large — on his 1998 live album, he thanks the backstage caterers and oxygen tank suppliers — his voice is light and smooth. While some of his music is still deeply entrenched in the ’80s and keyboards are a huge part of his music, Kamakawiwo’ole’s sound is easily accessible to contemporary music lovers. The singer died in 1997 of a weight-related illness, but the work he left behind is more than enough to please anyone looking for a little island music. Interested parties should check out 1990’s “Ka’ano’i” and his live release, “The Man and his Music.” Jon Ross Joanna Newsome (folk) Joanna Newsome is a soldier in the ever-expanding army of eccentric folk heroes. Like cohorts Devendra Banhart and Bright Eyes, Newsome bucks the trend of pitch-perfect production and precise packaging and instead grabs accolades by way of exploiting her musical idiosyncrasies. The most obvious of these unique talents is her delivery. Artistically speaking, Newsome’s isn’t pretty, but it isn’t meant to be. Her voice can assume a rich tenderness when exploring the basement of her register, but when she ascends, her technique comes across as vocalized cackling. This harsh delivery is juxtaposed against a harp that, even with the percussive attack Newsome frequently utilizes, rings with a subtle beauty. Bad first impressions of this musical package are horribly ill-founded, as the odd mixture of plucked strings and Newsome’s ragged voice is endearing. Jon Ross Josh Ritter (folk rock) On one of my first assignments as an Argonaut arts writer, I went to a Josh Ritter concert at a Kenworthy theater. From the first phrase of his opening song (the funky ballad “Kathleen”), I knew I was in presence of an incredible artist and true musician. Ritter has hit superstar status in Ireland and is rising in the American folk-rock world, but does not have the widespread appreciation he deserves. His music is impossible to squish into any neat musical genre, and it’s a good thing. Ritter’s range includes the melodically sweet but lyrically surprising “You Don’t Make It Easy Babe,” the folk anthem “Snow Is Gone” and the simple, beguiling love song “Bright Smile.” While much of Ritter’s music employs only his voice and guitar, many songs throw in beautiful, unexpected backgrounds. If you don’t know what a Wurlitzer organ can do for folk music, Ritter will amaze you. Pick up any Ritter CD for a musical delicacy, but if you ever get the chance to watch him live, don’t miss it. Hearing that shaggy-headed Idaho boy belt out gorgeous, eloquent lyrics to his carefully plucked guitar is something momentous. Tara Roberts The Postal Service (indie) The Postal Service first came to me through a roommate who blasted the album “Give Up,” which I heard from across the hallway. After only a few listens, I was obsessed with the first three songs, “The District Sleeps Alone Tonight,” “Such Great Heights” and “Sleeping In,” because of the incredible hooks, infectious melodies and driving electronic beats. The Postal Service is a side-project of Death Cab for Cutie frontman Ben Gibbard and Jimmy Tamborello from Dntel. The sound is a positive, up-tempo blend of ’80s synth-pop and modern indie rock that comes together with an emo feel. For Death Cab fans, this album is surprisingly poppy and upbeat, both musically and lyrically, compared to Death Cab’s albums. Many of the songs are love songs, instead of break-up songs. The most obvious example of this is “Such Great Heights,” which references the incredible high that results from falling in love. Other songs, such as “The District” and “Nothing Better,” are break-up songs, but have lyrics such as “I am finally seeing that I was the one worth leaving” that lend a positive tone to the break-up, as if it is actually for the better. It is so uplifting that it is almost guaranteed to bring the listener to a feeling of serenity and satisfaction. All in all, spare some cheesy lyrics and unnecessary rhyming, this album is a must-have for anyone looking for upbeat, emotional music. Far better than any Death Cab album, this album deserves to be at the top of every playlist. Brian Rich The Sugarcubes (whatever) Why should you be listening to The Sugarcubes? Because they are awesome, of course. Before Bjork was Bjork, she was a singer in The Sugarcubes. The Sugarcubes are an Icelandic sensation with strange melodies and even stranger lyrics, which make it one of the coolest bands ever. They started in the late ’80s and lasted through the early ’90s, when the band members went their separate ways and Bjork launched her successful solo career. The vocals combine Bjork’s haunting voice and that of male singer Einar. The combination of the two is very B52s. Bands with male and female vocals are just plain rad in the first place, and Bjork and Einar sound so unique together. Describing The Sugarcubes’ music is hard. It’s like a modern, Icelandic version of the B52’s with a punk-rock sensibility. The songs are off-the-wall — For example, the song “Cowboy.” It’s about a cowboy in a big town who is looking for his pony. The song goes, “I am a cowboy in a big town/I am looking for my pony!” These are probably the best song lyrics ever written. Bjork’s voice is strange and unique but Einar has a voice that can barely be described. His strange accent and loud voice make for some interesting songs. Their debut album, “Life’s Too Good,” is undeniably their best. Songs such as “Birthday” were college radio hits and the album achieved critical success. Check out this band. Anyone who likes Bjork, has quirky tastes or just plain loves Iceland can get into The Sugarcubes. Ryli Hennessey  Add as favorites (28) | Views: 1835
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