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So here’s the thing. My original plan was to run out tonight, catch the first screening of Christopher Nolan’s newest work, “Interstellar,” collect my thoughts and calmly put down some words about the movie. However when I made these plans, I wasn’t expecting the film to be the full body spiritual gut punch experience that I just had (and am still kind of shaking from).
As someone regularly headphones-deep in the critical music world, it’s easy to lose sight of how honestly fun music can be. You obsess over the ins and outs of an album: how visceral its songwriting might be, how raw its tones are, how perfectly refined its production is, how relatable an album’s struggles are and so on. In all of this, pure joy seems bogged down by process.
The Milwaukee Bucks are coming off the worst record in franchise history, have had exactly one winning season in the past 11 years and are projected to top out at around 30 wins in 2014-’15.
In a fog-filled Barrymore Theatre Saturday night, an island emerged. A California-bred reggae band, The Dirty Heads, brought the sounds of the West Coast to Madison. Roman Ramirez, better known as Rome, the lead singer of Sublime With Rome, opened the show with a jaw-dropping solo act. He tweeted a couple hours before about how sick he was, but no one had any idea. His vocals were so smooth and drew the crowd in. The best parts of his set were at the tail end when he performed his popular songs “Eighteen,” “Terrorista,” “Seasons” and “White Girls.” The crowd knew every word to all four of these songs, singing as their bodies swayed to the rock beats his drummer and bassist were putting down. Rome’s sound is unique because it’s a mixture of heavy rock beats and reggae guitar riffs, creating a smooth hip-hop sound a crowd can dance to. As if his set wasn’t awesome enough, he slowed things down and played a sick acoustic version of the title song of his EP Dedication that just about brought me to tears.
A trio of first-rate psych rock bands graced the High Noon Saloon last Friday, including local band Dolores, who opened for Australian outfits Doctopus and Pond.
There’s no telling exactly what you’ll experience if you come out to see the Meat Puppets perform at the High Noon Saloon this Wednesday, Oct. 22 with tour-mate Cass McCombs. In fact, they don’t even know themselves. “I think we’re gonna wait until we get to the venue, and then put some thought into it,” says guitarist, vocalist and primary songwriter Curt Kirkwood. “We got a few different ideas we’re messing around with. We brought acoustic guitars, we might try to hook that up. We’re just playing it by ear.”
Foxygen are a band so painted by their influences that, for better or worse, it’s impossible to talk about them without comparisons. The artists they try to emulate are engrained in every bar of every song. Flipping between the elegant monotone of Lou Reed and the howling of Mick Jagger, the California duo own their nostalgia, but their record collection may have failed them on their new release, …And Star Power.
J Mascis’s last record, Tied To A Star, was far more subtle than Dinosaur Jr.’s power-trio theatrics normally lend themselves to. Mascis, the lead guitar-player and vocalist for the Massachusetts alternative rock legends, turned in his thundering riffs and blazing solos for a gently picked acoustic guitar and meditative falsetto. While his fluid electric guitar stylings would occasionally make themselves known in Tied to a Star’s more dynamic moments, it was still largely another Mascis acoustic album.
It’s hard to believe an album of two banjos, one voice and no other instruments could keep a listener captivated for its 45-minute endurance, but musical duo Béla Fleck & Abigail Washburn make it look effortless on their first self-titled album, Béla Fleck & Abigail Washburn. The married couple’s first collaboration together combines Washurn’s traditional folk stylings with Fleck’s Grammy-winning crossover genres—diffusing the banjo into jazz, blues, classical and funk. The track list contains both original pieces and unique covers and classics.
Quick, name a better rock singer than Steve Winwood. If you answered anyone other than Bob Seger, you’re dead wrong.
1. More touches for Corey Clement
When one listens to non-instrumental music, the point (sometimes) is to tell a story. While one could spend all day looking for a real story in Iggy Azalea’s “Fancy,” you already know that she’s in the fast lane between California and Japan. The song is remarkably catchy but one isn’t looking to Ms. Swaggy P for an investigation into post-racial discourse in the 21st century.
A 20-year-old female Madison resident was shot when trying to prevent a suicide early Saturday morning at a residence on University Avenue, according to a Madison Police Department incident report.
Few things are harder in adolescence than peers perceiving you as “different.” Whether it was the choice in clothing, music taste or after school activities, if you didn’t fit into the normal parameters, which popular kids and jocks dictated, labels started flying from those groups to describe yourself.
During the silent, transitional hours between Wednesday night and Thursday morning, father of three, influential actor and flamboyant racist, Hugh G. A. Hole, passed away—leaving behind a nation of heartbroken fans.
Conceived in 2007, rising from the ashes of its predecessor, Party in the Park, WSUM’s Snake on the Lake Fest showcases the student radio station’s aural acumen, bringing local talent and small touring outfits to play (for free!) for the benefit of the student body.
Going to Bonnaroo is a bit like going to a museum filled with lots of stuff to see in a short period of time—except hotter, dustier, and less judgmental. Everyone is trying to get a glimpse of as much as they can, but most know they’ll have a more intimate experience at their hometown venue when the new act comes to town. Trying to see as many performances as possible at Bonnaroo is surely a valid quest, but be prepared to make tough choices. There is too much going on to see it all, but that is also the beauty of Bonnaroo. It is complete sensory overload and you will be pissed at yourself that you had to pee twice during James Blake and that you had to choose between seeing The Flaming Lips, Frank Ocean and the Skrillex Superjam. Still, the four-day fest is completely exhilarating. And the moment you get on the freeway heading home tired and dirty in the middle of the night, you’ll immediately wish you were back on The Farm.
To put it simply, winning is The Daily Cardinal way.
There was an article circulating on the Inter-webs this past week regarding sexism in our society, which I think warrants some response.
“All of these people, none of them give a damn for me,” lead singer Cameron Neal cries on “Let Go.” While this song doesn't come around until the end of Fear in Bliss, much of Horse Thief's second album echoes that sentiment—overcoming abandon and a perceived meaninglessness are rung throughout Fear in Bliss. What's remarkable is these feelings aren't lost in what, sonically, radiates with uplifting folk rock and jangle pop embellishments.
Solutions by The State News
