Gaga for Lolla
Friday, August 7
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Friday, August 7
The Clean's latest album, Mister Pop, alludes to a generic soda brand, which is quite indicative of The Clean as a whole. Despite producing (or, in The Clean's case, sometimes originating) the same product, consumers are hesitant to pay more than a quarter in a machine outside K-Mart for the unfamiliar label.
The Clean's latest album, Mister Pop, alludes to a generic soda brand, which is quite indicative of The Clean as a whole. Despite producing (or, in The Clean's case, sometimes originating) the same product, consumers are hesitant to pay more than a quarter in a machine outside K-Mart for the unfamiliar label.
After a brutal five-year wait, Green Day finally satiated their fans with a new album, 21st Century Breakdown. It was well worth the wait: each song has an original tune and thoughtful, meaningful lyrics to match.
Lollapalooza 2009
Japandroids just might be the saviors of garage rock. Selfless and bursting with energy, they play music for all the right reasons. Heck, they streamed their entire discography for free on their Facebook page, including Post-Nothing, their newest release, months before its actual release. Self-described as ""2 sweethearts still naïve enough to think they'll never sell out,"" Japandroids are just like the band your two friends had in high school, only they're way, way better.
It's difficult enough to remain conscious throughout South by Southwest, the world's largest music festival, let alone comment on it. Among all the music, beer, magazines, bumper stickers, paraphernalia, the venues, Stubb's, Emo's, the Longbranch Inn, it's tough to feel anything at all. In the end you will invariably find yourself belly-up in Bergstrom International Airport, waiting in limbo with other scraggly, fatigued passengers. They all know where you've been, but it just isn't worth talking about post hoc.
After seven or eight years of taking guitar lessons, I took what might seem like a logical step and began to teach students of my own through the university. I'd considered teaching lessons in the past but had always stopped short. The prospect of seeing ""Instructor"" or even ""Student Teacher"" next to my name in a staff directory made me nervous, as if, decades in the future, one of my pupils would look back on a lifetime of drug addiction and trace the cause of their problems to the failure of a guitar instructor they'd had in college.
Truthfully, Propagandhi would prefer to have people hear their message rather than their music. Sure, they like to rock, but they also like to envision the end of oppression and inequality. That means Propagandhi don't sing about bubblegum and holding hands, and there's a fair amount of ranting throughout their performances.
Black Lips back on top: Black Lips bring a psych-punk mix to their newest album, 200 Millon Thousand. Their unique genre-bending style is eerily reminiscent to the psychedelic tunes performed at Woodstock 30 years ago.
David Reed, in a February 11 review of Trouble Andrew's self-titled debut album, tags the album with the genre label ""douche-core."" This may be the greatest genre delineation I have ever read.
Nobody embraces entropy like Black Lips. Atlanta's most notorious rag-tag group of psych-punk rockers rifle through venues (and, more recently, countries) with rabid exuberance and an utter lack of regard for their own well-being, leaving an indelible mark on anyone fortunate enough to be on the receiving end of their physical tirades. Their 2007 opus and first studio LP released on Vice, Good Bad Not Evil, provided a more polished depiction of their signature hooks, each too voracious to approach three minutes. But on 200 Million Thousand, Black Lips sound more comfortable with themselves, allowing cohesiveness to displace their trust in tempo, and embellishing hooks beyond what an earlier Black Lips record might have permitted.
Trouble Andrew's self-titled debut album holds nothing back, going so far as displaying its lead singer sporting a sideways baseball cap and gold chain on its cover. The amalgamation of repetitive pop-punk guitar riffs and insipid electronic melodies over pseudo-hip-hop-inspired lyrics delivered in a monotone drawl stands as the latest incarnation of douche-core. This serves less as a musical statement and more as a vehicle for the band's front man, ex-pro snowboarder Trevor Andrew.
Franz Ferdinand: New-wave, post-punk rockers Franz Ferdinand return with their third, pleasantly cohesive album.
Of the endless multitude of post-punk/new-wave bands that broke between 2004 and 2005, the Scots of Franz Ferdinand were, without question, the most confident and swaggering, helping to usher in the dance-rock wave of the new millennium on the success of their angularly sexed-up debut, with singles like Take Me Out"" and ""Dark of the Matinee"". The band may have overplayed its hand in 2005 by rushing out a relatively strong, but inconsistent, follow-up with You Could Have It So Much Better. But they seem to have recouped that lost focus in the ensuing years, as their latest, Tonight: Franz Ferdinand , is a tightly-sequenced success, as well as one of the best dance-rock albums since their own 2004 debut.
A big 3-pointer splashed through the net to put the score at 67-66 and for a moment the scene was reminiscent of last year's thriller between UW and the University of Texas. And then it all went awry for the Badgers.
No. 1: Vampire Weekend - Vampire Weekend
It has been over a decade since Converge and Pig Destroyer established themselves as the kings of hardcore/metal music. Although their music has suffered none from age and it's highly unlikely either will be dethroned anytime soon, fans of aggressive music had been patiently waiting for the new wave of sounds to emerge.
While attending a wedding this past weekend, I started flipping through the hymnal in front of me. I have always been fascinated by the way churches use music to represent their views of God and how much of the greatest classical music was written specifically for church services.
*Crazy"" originally by Gnarls Barkley, lyrics rewritten by Eric Anderson*