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Not long after the Wisconsin men's hockey team took three points from their series against No. 1 Denver, reporters uttered the two words that instantly set the bar of expectations for the rest of the season: national championship.
After the Wisconsin women's hockey team's 4-3 loss to St. Cloud State Saturday, reality set in for sophomore forward Brooke Ammerman. Coming into the series the Badgers sat at No. 7 in the national rankings, placing them on the bubble for a berth in the eight-team NCAA tournament.
Spoon: Spoon may have hit their peak with Ga Ga Ga Ga Ga, but Transference is evidence that their signature sound and talent aren?t going anywhere.
In the two years leading up to the release of Transference—Spoon's seventh studio album—Spoon has been faced with the lofty task of following up their own perfection. Their previous release, 2007's formidable Ga Ga Ga Ga Ga, was about as conclusive a punctuation mark as it gets, the full-bodied conclusion to the skeletal sketches they'd slowly perfected throughout the preceding 13 years. If there was any room for improvement left in their airtight creases or minimalist instrumentation, they didn't show it.
University Health Services Director Dr. Sarah Van Orman provided a campus H1N1 virus fall semester recap and update at a Board of Regents meeting held January 8.
There isn't much undiscovered land left on earth. While most authorities have dubbed space the final frontier, there's a serious divide—both geographically and personally—between people in living rooms and gaudy NASA equipment light-years away. Although our future relatives might own real estate on the moon, for our sake we're likely confusing literary and scientific fodder for legitimate expansion. And if you take only one lesson away from indie rock's most ambitious debut, Cymbals Eat Guitars' Why There Are Mountains, it's that. Although we're indefinitely stuck on this increasingly crusty rock, we're wasting our resources if we fail to revisit and re-evaluate the forest behind the trees.
It would sound absurd to call platinum-selling, arena-filling, most-critically-beloved-band-in-the-world Radiohead an underground act. But on the other hand, they don't operate or sound anything like a mainstream, best-selling rock band (even the ones that have gotten popular aping mid-90s Radiohead): You'll hardly ever hear them on the radio or see them on TV; their idea of promoting an album is mentioning it on a blog ten days before it comes out; and they've built their reputation on some of the strangest, most original music of the past two decades.
Most students here are familiar with Gordon Commons. Regardless of your love-hate relationship with University Housing, you have to admit it's a homey place to relax during free time. Well, fun at Pop's Club and Ed's Express will soon come to an end, as UW plans to tear down the building this upcoming summer. Even if you look at the upcoming project glazed with rosy assumptions, the $34 million project is probably unnecessary.
If greatness were measured by sheer volume of output, Eels would be right up there with Weezer and Frank Black in topping this list. But Mark Oliver Everett (better known as E) and his revolving door of collaborators really belong in this pantheon for one extraordinary accomplishment. Eels emerged in 1996 with the post-grunge-friendly hit ""Novocaine for the Soul"" and reached their critical peak with 1998's Electro-Shock Blues. But it was 2005's double-album Blinking Lights and Other Revelations that fulfilled the potential of an underrated songwriter and recording artist. Years in the making, the often-downbeat album is more than a one-note ""Woe is me."" The content covers a lot of ground, from the wounded but upbeat love letter to the world of ""Hey Man (Now You're Really Living)"" to the morose confessions of ""I'm Going to Stop Pretending That I Didn't Break Your Heart"" to the whimsical love song ""Sweet Li'l Thing."" The same is true of the music, with sparse, piano-only songs rubbing elbows with elaborately atmospheric productions. With 33 tracks of different sounds and material including diverse collaborators like Tom Waits and the Lovin' Spoonful's John Sebastian, the album feels cohesive nonetheless and is almost never slowed down by the filler and repetition that normally plagues double albums. Eels released six albums this decade, and perhaps Blinking Lights is the outlying work from an uneven and merely good band. But few artists have put forth that kind of greatness in the new millennium.
When most of the musical world became acquainted with Arcade Fire via their 2004 debut Funeral, there was no trend or gimmickry by which someone could easily characterize the band; they weren't wearing futuristic costumes, rehashing '60s rock 'n' roll, or auto-tuning their vocals. All anyone could talk about was how fucking good the album was—like, astonishingly, breathtakingly good, and even more-so because just a month earlier, almost no one had heard of the band.
For the first time ever, UW-Madison college freshman Jeremy Levin was hailed as ""kinda cool"" by students in his alma mater, Pembleton Senior High in northeast Wisconsin. Visiting his hometown over Thanksgiving break, Levin insisted on visiting the institution that once brought him so much pain, humiliation and creative limitation so he could show them how much wiser and sexier he had become over the past three months.
He likes to party. That's an easy and totally accurate way to describe Andrew W.K. But the full truth of the man as an artist and performer is delightfully layered. After all, it's hard to define a guy who combines his classically trained piano skills with his love of heavy metal and Max Martin's productions of Backstreet Boys music. How many artists would hit themselves in the face with a brick for their album cover photo? How many artists can go from Ozzfest to the motivational speaking circuit? How many artists' debut albums could feature songs called ""It's Time to Party,"" ""Party Hard,"" and ""Party Til You Puke""? W.K. peaked with that anthemic first album, 2001's I Get Wet, as his follow-up, The Wolf, was redundant and disappointing. His most recent album, 55 Cadillac, is a collection of car-themed piano instrumentals. But as a man who really knows his way around music and studio recording and is hell-bent on making party music, and as an energetic performer so fiercely affectionate to his fans that he famously signed autographs from the ambulance after breaking his foot onstage, he is easily among the most interesting and memorable artists of the decade. Party hard, Andrew W.K.
""Cool.""
When looking for music that brings to mind images of plaid flannel shirts, Samuel Beam-style facial hair and worn-down corduroy pants, look no further than Ola Podrida. With every solemn melody and subtle lyric, the group evokes such images. It's likely, however, that when visualized, these images don't seem all that unique. That's because they're not.
After finishing the regular season with a 9-5-5 record overall and a third place finish in the Big Ten, the Wisconsin women's soccer team was expecting an NCAA tournament bid. However, it is hard to say if anyone predicted the Badgers would win their first two games of the tournament.
California is so in right now. Following the breakthroughs of bedroom noisemakers Wavves and Girls, among others, West Coast rock hasn't seen this much attention since Black Flag and the Minutemen roamed the coast. Indie culture has swelled around the geographically prominent lo-fi geyser, fully embracing the characteristically ramshackled processes and the ambiguity of chaos. Music's cyclical history has clearly shown, though, that if anything, this spells the beginning of the end. Increased exposure designates a fleeting, special flavor by creating a public swimming pool of sounds.
Best known for their film ""Once,"" The Swell Season maintain their familiar emotive approach to music for their third album, Strict Joy.
Today, during peak Internet-usage hours at a local apartment off of University Avenue, Junior Alex Rothman came to a disturbingly apparent realization. Rothman, 20, red-faced and teeth gritted, stared irately at his Macbook-Pro screen as it struggled to muster the Wi-Fi necessary to display his Facebook Newsfeed, and suddenly realized it. ""I'm just not happy when my internet speed falls below a certain level, just the thought of a total loss of Internet connection scares me far more than global warming and North Korea combined.""
What is most disappointing about ""The Invention of Lying,"" the latest comedy by Ricky Gervais, creator of ""The Office"" and ""Extras,"" is that it comes so close to being as brilliant as its premise. Gervais' protagonist, Mark Bellison, lives in a world where people never developed the ability to lie. The result is a society without mistrust, without fiction and without that which becomes the focal point of the plot: religion. The idea that religion cannot exist in an exclusively truthful world is both subversive and fascinating, but unfortunately the concept is never fully fleshed out.
University Health Services released statistics Tuesday revealing a decrease in students at UW-Madison reporting flu-like symptoms.
Solutions by The State News
