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Top 5 Coolest Dressers in Music

In most cases, music is about how someone sounds – their lyrics, their technique, their passion. However, the following five artists have chosen to give their audiences something more: a visual flair to compliment their auditory feasts.

Whether you choose to view it as a gimmick or an extension of artistic expression, something to be mocked or admired, one thing is guaranteed – you won’t be able to buy these outfits anywhere anytime soon.

Lady Gaga performs at the MTV Europe Music Awards on Nov. 6, 2011 at the Odyssey Arena in Belfast, Northern Ireland. (Jeff Kravitz/FilmMagic)

5. Lady Gaga

 Let’s get this obvious one out of the way first. Gaga certainly does not own the copyright for odd garbs, nor was she the first to dress in outlandish fashion, but what makes her stand out is the scale of her audience. While well known, the other artists on this list could only dream of holding the public’s attention the way Lady Gaga held it. Some of her greatest outfits include an ensemble made of raw meat and a dress that was inspired by the universe, complemented by a mask of the sky.

 

4. Marilyn Manson

Manson has been criticized time and time again for his appearance, but the demonic artist finds a home on this list.  The criticisms about his look probably even played an important role in propelling Manson to superstardom. Manson is nearly always seen wearing mismatched eye-altering contacts and white makeup, which leaves him looking pale, and often wears all black clothing. If one were to describe Manson’s appearance in one word it would undoubtedly be ‘unnatural,’ and this is most certainly his intent. The artist has often said that he hopes his appearance inspires people to be truer to themselves and reject societies’ standards—a noble endeavour indeed.

 

3. The Locust

While on stage, members of The Locust all dress identically so they collectively hold the third spot on this list. All four members of the group perform in green and black body suits and wear masks that are made to make them resemble their namesake. As a group stylistically defined as belonging to the powerviolence genre, The Locust’s songs are fast, frantic, and full of screeches. All of this combined with creatively naming their songs things like “The Half-Eaten Sausage Would Like to See You in His Office” and “Gluing Carpet to Your Genitals Does Not Make You a Cantaloupe” has earned The Locust a respectable following over the past two decades.

 

The Residents:
The Residents perform as part of their “33 rd Anniversary: The Way We Were” tour as part of the “What is Music?” festival on March 12,2005 at the Brisbane Powerhouse in Brisbane Australia. (Amé Kolodziejczyk/Flickr)

2. The Residents

 The Residents, like The Locust, all wear the same attire on stage – giant eyeball helmets usually complemented by tuxedos and a top hat. Details on the art collective are scarce since they often attempt to misinform their audience and contradict themselves. In fact, no one is truly sure who The Residents are, though it is assumed that their members have changed multiple times since their formation at some point around the early 70’s. Other visual performers often accompany them dressed as everything from death to jesters. The only thing stranger than their uniforms is their music, which escapes description and must be heard to be appreciated.

 

1. Dave Brockie aka Oderus Urungus

Known to his fans as Oderus Urungus, Brockie was the frontman for GWAR from 1984 until his death earlier this year. GWAR as a whole is truly something to behold, as all of its members dress as different types of extraterrestrial warriors from the planet Scumdogia and rarely break character in public. Their live shows leave audiences drenched in fake blood and other bodily fluids. While this list could have been totally populated by the various GWAR members’ amazing costumes, their leader, Oderus, stands as a personal favourite. His horned head, spiked shoulder and crotch pet known as The Cuttlefish of Cthulhu make Oderus the unchallenged greatest dresser in music – and a great Halloween costume.

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Music

The Gaslight Anthem is a gas gas gas

Their new album, entitled Handwritten, is inspired by heartbreak and moving on

In 2012, The Gaslight Anthem released Handwritten to the acclaim of critics and fans alike. After two years and countless miles under their belt, these Jersey boys are back to amaze once more. In the mid-August Billboard Charts, dominated by pop artists and summer beats, The Gaslight Anthem’s fifth studio album, Get Hurt, a grungy rock EP, debuted at number four. Currently touring North America, The band will be rolling into town on Sept. 18. The Concordian recently spoke with Alex Levine, the group’s bassist and backup singer, to talk about the band’s past, present and future.

“It started in our parents’ basement. At first it was just me and Brian [the group’s frontman] and then the other two guys were in a band together,” Levine recalled. “We all got together and the rest is history as they say.” Taking the name of the old New York venue, The Gaslight, for their own, the group set out to craft their sound. Even though the venue closed in 1977– long before their time — many of the performers who played that stage influenced The Gaslight Anthem’s work.

“We were influenced by [artists] like Bob Dylan and Bruce Springsteen.  Any artist worth a dime will start off one place and end up somewhere else. We were really just a punk band but with a singer-songwriter twist,” Levine said.

This past year has been a time of both work and change, Levine recounted. “In the last year or so we’ve become more professional. We would never practice all together before a tour. I guess we kind of enjoyed the thrill of figuring it out [live] but now we realize that we don’t have time for that. We don’t have time for a shitty show,” Levine said.  Before going on tour, the band rented out a small venue to practice on a stage and set up a “full production with lights and everything,” Levine explained.

The past year was also marked by a nearly 9-month period off the road.  “That stretch at home gave us time to figure out what direction we wanted to go in for this record,”

Levine said. The band’s songwriting process is far from an exact science. “We don’t have a formula, everything is up for grabs. Nothing is done a set way. Brian writes the lyrics — that’s always been his thing — but somebody might have a whole song or a riff and we go from there,” he said.

In the end, Levine likes the final product. “It’s pretty bold and pretty simple. It’s stripped down in terms of imagery, but it’s a lot of growing up, heartbreak and moving on. A changing of the guard as they say.”

Levine sees the new album as a landmark of sorts. “I think that years from now, looking back, this record could be a turning point in our careers. We’ve grown as musicians. I think we’re at a point where we really feel like we know what we want to get out of our work.”

Since the release of Get Hurt, the group has done a handful of publicity, most notably their appearance late last month on The Late Show with David Letterman. The band caught fans off guard by including a small string section when they played their new album’s title track, “Get Hurt”, on the show.

“The string thing came about out of nowhere; our manager was friends with one of the composers. We did a lot of versions of “Get Hurt” in the studio; we thought it would be cool.  We thought that this was a way of showing that the newer songs are more versatile.”

While interesting, Levine would not want to have the violins on the record.

“One of my greatest pet peeves is when people go back and record songs to make them sound better. You can never record the same song twice or three times. There’s a certain authenticity, an energy, when you first record a song, and redoing it loses that feeling. I’m glad that we have the studio version and I’m glad we have the Letterman version.”

While Fallon and Levine are the founding members of the rock band and share a certain connection (the two even have matching lyric tattoos from “Young Lions” by The Constantines) the group as a whole has been solid for nearly a decade.

“Our ten year anniversary is coming up next year. We haven’t decided what we’re going to do for it yet but … we want to do something a little bit original,” Levine relayed. The bassist even stated that “we’re already writing new songs at this point — there might be another album out before you even know it.”

What we can expect, however, is to hear “Underneath the Ground”, Levine’s favourite song off the new album, on Sept. 18 when the band plays Metropolis. As for what Levine thinks of our fine city, “Montreal has a special place in my heart. When I was 18, I lost a lot of money at the Montreal casino, but your town gave me a chance to sow my wild oats as they say.”  So when the group inevitably says that they love playing in Montreal, as all bands claim, you might just be able to believe them.

The Gaslight Anthem plays Metropolis Sept. 18 along with Against Me!

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Music

Top 10 End of the year songs

10. “Photograph” – Nickelback

While few people anywhere on the face of the earth would ever admit to being a Nickelback fan in public, most people have teared up listening to this song. This song speaks to your inner teen reminding you that growing up and leaving home isn’t easy for anyone, especially not for lead singer Chad Kroeger.

9. “Forever Young” – Bob Dylan

Staying young at heart is something that many want, but few can actually achieve. This song is good for graduation, but keep it around for the next few years in case your soul-sucking career gets you down and destroys any notion you had of sleep and free time.

8. “Fight For Your Right (to Party)” – The Beastie Boys

What many people don’t know is that this Beastie Boys song was meant to be a joke. But it turns out the joke’s on them because this tune is the perfect way to start any party. After a long year of test-taking, homework and class, we can all use a party or two…or 17.

7. “Graduation (Friends Forever)” – Vitamin C

A good dose of teenage dramatics and early 2000s pop make this a timeless classic and musical masterpiece. Just kidding, this song is a cheese-fest but as the name suggests, it sums up the feelings of graduation pretty well.

6. “We Are the Champions” – Queen

Whether you’re leaving Concordia with a B.A., a PhD or are simply proud of your semester, this song can make any scale of triumph a victory for the ages. Even if you failed a few classes, there’s always next semester and that’s something to celebrate.

5. “Stairway to Heaven”- Led Zeppelin

While there is no prom in university, if there was one, we can almost guarantee that this song would play at some point throughout the night. Whether your high school prom was in 1975 or last year, you definitely slow danced to this one.

4. “Don’t You (Forget About Me)” – Simple Minds

This ‘80s classic ended The Breakfast Club in style. Anyone walking out of their last final exam should pump up this jam and throw a fist in the air to celebrate. (Bonus ‘80s points if you’re listening to it on a Walkman while wearing a neon track suit and high-fiving a Ninja Turtle of your choosing.)

3. “Good Riddance (Time of Your Life)” – Green Day

This song is so steeped in sentimentality that its name alone can be enough to conjure up a few tears. Any graduation or ‘moving-on’ ceremony would be incomplete without this song about the roads we take and the life they create.

 2. “School’s Out for Summer”- Alice Cooper

As Mr. Cooper so eloquently states “school’s out for summer” and for some of us “school’s out forever.” For those who simply cannot stand the thought of another minute spent in a classroom, this rock anthem understands you. Party on.

1. “Doin’ Time (Summertime)” by Sublime

While the last few days of school are good and all, what really matters is the next four months of vacation. Welcome to the wonderland of beach parties, movie marathons and unpaid internships known as summer. Enjoy it, you made it.

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Music

Quickspins – The Gaslight Anthem, Supreme Cuts, Sleepy Sun, Isiah Rashad

Isaiah Rashad – Cilvia Demo (Top Dawg Entertainment; 2014)  

After blowing up at the 2013 BET Hip-Hop Awards with Kendrick Lamar and other artists from his label, Top Dawg Entertainment, Isaiah Rashad is one of the many artists to watch out for in 2014 with his debut EP, Cilvia Demo. The tracks flow perfectly into each other from one to the next, and Rashad himself rarely missteps on any of his beats or hooks. His introspective story-telling fits perfectly with the beat selection, meshing together tales of drinking, smoking, and of course, women. While Rashad isn’t afraid to go in and glorify these influences, he can acknowledge these as faults as well. The EP’s beats bleed the jazzy and soulful influence of Outkast making for a smooth and cool listen. (Fun fact: Rashad aspired to be a preacher before listening to Outkast’s album ATLiens, which inspired him to be a rapper). While the EP doesn’t feature Lamar, Top Dawg Entertainment’s Schoolboy Q and Jay Rock are among those featured on Cilvia Demo.

Trial track: “Shot You Down” (ft. Jay Rock & ScHoolboy Q)

-Julian McKenzie

Rating: 7.5/10

The Gaslight Anthem- The B-Sides (SideOneDummy; 2014)

The Gaslight Anthem’s newest album, The B-Sides, is, as the title suggests, a compilation of covers, a live recording, outtakes and acoustic versions of previously released material. The acoustic renditions are the meat of the album but are hit or miss. Certain songs, like “The ’59 Sound,” translate beautifully from electric to acoustic, at times sounding better than the original releases. Others however, such as “American Slang” and “Boxer,” do not hold up as well when stripped of their punk influence. The covers on the album are good, but few will consider The Gaslight Anthem’s version of “Tumbling Dice” better than the original released over 40 years ago by The Rolling Stones. Overall, a handful of the songs on the album really shine; for instance some of the acoustic renditions convey the emotional weight of the lyrics better than their amped brethren. Sadly, subpar songs clog up the track list, holding these few gems back.

Trial Track: “The ’59 Sound”

Score: 6.5/10

-Justinas Staskevicius

 

Supreme Cuts- Divine Ecstasy (Dovecote; 2014)

If you love the music of Disclosure and Flume, then you will absolutely fall for Supreme Cuts. Their newest album Divine Ecstasy, is a breath of fresh air in the music world. The Chicago-based duo consists of Mike Perry and Austin Kjeultes who began their music careers together in 2010,according to the website Pretty Much Amazing. Apparently, Supreme Cuts began originally as hip-hop producers and have now emerged on the front stage as electronic artists.
Their new sounds are hard to file in respect to any specific genre. The best way to describe their sound is a psychedelic, tech-house with undertones of an earthy-ambient hip-hop. The album also has a variety of female and male vocalists featured with soundscapes of the synthetic world. The vibe is very laid back but the clarity and the sound designing is impeccable. Overall, the album was also very well mastered.

Favorite Song: “Divine Ecstasy”

Rating: 9/10

-Jonathan Cohen

 

Sleepy Sun – Maui Tears (Dine Alone Records; 2014)

Maui Tears is the fourth studio album from the California-based collective, Sleepy Sun. Often labeled as psychedelic surfer rock, the entire album is drenched with sunny guitar riffs and trippy instrumental distortions. Tracks like “Words”  and “The Lane” are heavily laced with the signature ‘60s California surfer spirit, while others like “Everywhere Waltz” play up the trippy echoes and heavy synth sounds to create six minutes of pure neo-psychedelia. While most of the album features fast-paced instrumentals and chaotically hazy guitar playing, “Slowdown” stays true to its name. On this track, the band turns down the tempo, allowing for frontman Bret Constantino’s distorted vocals to stand out next to the deep feedback loops from the guitar amplification. On the title track, Sleepy Sun dish out smooth jazzy bass lines that continue subtly throughout the rest of the 10 and a half minute instrumental epic, leaving listeners on a next level trip.

Trial Track: “Maui Tears”

Rating: 7.8

-Jessica Romera

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Music

Quickspins – Jan. 28, 2014

Sharon Jones & the Dap-Kings – Give The People What They Want (Daptone; 2014) 

Although Give The People What They Want was written and recorded before the diagnosis of Sharon Jones’ pancreatic cancer, we can’t help but feel that this fifth studio album stands as a testament to her strength and resilience. Now fully recovered from her treatment, Jones demonstrates that an artist can remain relevant without adhering to fleeting trends. Authenticity has always been the key to her success, and Give The People What They Want is surely dishing out plenty of that. The tracks are a mixture of soul and funk that could each have easily been Motown hits from the late 1960s or ‘70s. As always, the real gem is Jones’ powerful vocals that are perfectly suited to both the deep funk grooves and soulful ballads. Jones’ triumphant comeback is finally giving the people what they need!

Trial Track: “Making Up and Breaking Up”

Rating: 8/10

– Paul Traunero

 

Against Me! –Transgender Dysphoria Blues (Total Treble Music; 2014)

Against Me!’s newest album, Transgender Dysphoria Blues, is a perfect evolution of the band’s sound. It has been a long and eventful three and a half years since the group’s last studio album, White Crosses. Laura Jane Grace, formerly Tom Gabel, the band’s lead singer, came out as a transgender woman in 2012. Transgender Dysphoria Blues brings Against Me! back to its punk roots. Musically, the band combines the clarity of its more recent releases with the distorted guitars of its older tracks. The manner in which Grace belts out genuine feelings of both happiness and total alienation leaves nothing to be desired. Lyrically, this album does not touch on politics like its predecessors often did. Instead, the album focuses mainly on Grace’s personal life as she dealt with gender dysphoria. With Transgender Dysphoria Blues, Against Me! proves that it is still one of the best punk bands around.

Trial Track: Black Me Out

8.5/10

-Justinas Staskevicius

Young the Giant – Mind Over Matter (Fueled By Ramen; 2014)

Three years and a half after the release of their well received eponymous album, Californian quintet Young the Giant is back with a recipe mixing old and new. Their distinctive, stunning vocals and catchy melodies are blended with a different sound that borrows a lot more of  pop than indie-rock/alternative, debatably making the album overproduced.

Yet, it seems that everyone stands to gain from the new path. Objectively, YtG’s sophomore album is well balanced: from great arena rock hymns like “It’s About Time,” to the enchanting lullaby “Firelight” that proves lead singer Sameer Gadhia’s talent, we can’t deny the band has made an overwhelmingly pleasing album.

We can ignore the pop-ish path recently taken, and hopefully Young the Giant will give “Paralysis,” the final track off the album that closes with a questionable ‘fade out’, the flamboyant finale it deserves on March 6 at Metropolis.

 Trial Track: “Firelight”

Rating: 7.5/10

– Béatrice Viens Côté

 

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Music

Static Kings: Montreal’s up and coming indie-rock royalty

Over the past decade, indie music has moved into mainstream popularity. Acts such as Arcade Fire, Radiohead and the Arctic Monkeys have inspired a new generation of musicians to push the boundaries and expectations of the rock ensemble. Montreal band, Static Kings, is one such group.

Since 2011, the quintet has been blending a multitude of rhythms and riffs that can best be described as dance-inducing yet thought-provoking. James Parm, the group’s frontman, and Michael Abraham, the band’s guitarist, recently spoke with The Concordian about the Static Kings’ origins as well as their more recent projects.

The Static Kings, in their current state, formed in late 2011 after an earlier version of the group went through a major lineup change.

“James Parm, James Frank (keyboard/synth) and I were all in the same grade in high school, so we knew each other from there,” Abraham said.

Photo by Amanda Gallo

“Charles we didn’t know very well, but we knew he played drums, and that kind of just fit. Richard (bass) came later, he started to work at the Tim Hortons where me and Abe worked,” Parm added.

The band took their name from musician Mark Linkous’ personal studio, Static King Studios, as a tribute to the late musician.

“I had a huge admiration for this guy going through high school. Shortly after forming our band, he killed himself and that was pretty upsetting,” recalled Parm.

In early 2013, the young musicians released their first studio album Beautiful Artificial. The album was a definitive nod to the band’s indie roots and, while barely a year since its release, the singer already feels that the album is a relic of the past.

“The whole album was a bit overdramatic but we were young and we weren’t over our adolescence yet, at least I wasn’t,” said Parm. “The album lacks a lot of perspective, but that’s kind of why I can still enjoy aspects of it.”

During a show earlier this month at Le Petit Campus, the band debuted their newest material. The new songs stray further from their previous path and offer the listeners a fresh experimental rock sound.

“James had an idea for making a continuous piece of music similar to classical music with different movements all part of the same piece, except in our style,” Abraham said.

“It has more truth in it, with a greater perspective on music in general. Personally, I feel it’s a more confident approach to songwriting,” Parm admitted.

While the band is attempting to determine whether or not to record their newest tracks live or in studio, those wishing to hear James Parm and Michael Abraham sooner can catch their acoustic performance at Crobar on Jan. 31. The Static Kings will be performing as part of On Rock’s Coldest Day of the Year benefit concert on Feb. 8.

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Music

Quickspins – Dog Day, The Crystal Method, James Vincent McMorrow, Bruce Springsteen

Bruce Springsteen – High Hopes (Columbia Records; 2014)

Bruce Springsteen’s 18th studio album, High Hopes, is a blend of the new and old. Adding to the album is Rage Against the Machine’s guitarist Tom Morello, whose talents are criminally underutilized. The Boss’ album is mainly an assortment of covers and rearrangements of his previous work and while a reimagining of original works can be controversial amongst fans, the possible blow to Springsteen’s legacy is avoided by the fact that none of his greatest hits are featured on the new album. All but the most knowledgeable of fans will struggle to identify more than a handful of these back-catalogue diamonds in the rough. Springsteen’s decision to give these works a second chance instead of rehashing hits is a bold yet interesting approach for this type of project. Musically varying from Celtic to disco-inspired rhythms and arranged with masterfully composed lyrics makes this one of the best albums that the Boss has put out in recent memory.

7.5/10

Trial Track: The Ghost of Tom Joad

-Justinas Staskevicius

James Vincent McMorrow – Post Tropical (Vagrant; 2014)

 In the four years since the release of his debut album, Early In The Morning, the Irish singer-songwriter has transformed from a modest Bon Iver imitation into a bold, self-assured artist.

Shedding all but his distinct falsetto, McMorrow found inspiration in hip-hop for his sophomore album. He explains on his website: “I wanted to give this record the feel and movement of the hip-hop records that I love,” admitting that he “re-recorded every single part of the N.E.R.D album, apart from the vocals, just for the joy of it”.

The multilayered sound on Post Tropical reflects his love of R&B and pop, wrapped in a pulsing electronic atmosphere. Lyrically, the album draws on the theme of strength and nature, hinting at his folk beginnings.

Post Tropical is playful and confident, boasting a slick production, strong songwriting and fusion genre, and it’s sure to expand McMorrow’s audience.

Trial Track: “Gold”

Rating: 9/10

– Paul Traunero

The Crystal Method- The Crystal Method (Tiny e ;2014)

The Crystal Method is the new self-titled release from the American electronic duo composed of Scott Kirkland and Ken Jordan. Since their debut in the mid-90s, The Crystal Method have put out a slew of albums, making this eponymous release their fifth to date.

Initially the album was set to be released in 2013, but was pushed back to Jan. 14, because Kirkland needed to undergo brain surgery, according to Rolling Stone. Over a week prior to the official release, the album was set as a free stream on The Hype Machine website, allowing fans to get a full listen.

The album itself is truly a work of art: the complexity involved in electronic music is well mixed with organic instruments to give a unique final touch. What really stands out on The Crystal Method is how they tried to incorporate new-school synthetic sounds with organic instrumentation to give an almost rock-electro effect. It sounds like a futuristic band trying to bring something vintage to the table.

Trial Track: “Emulator”
Rating: 8/10
-Jonathan Cohen

 

Dog Day – Fade Out (Fundog; 2013)

Fade Out is the fourth studio release by Seth Smith and Nancy Urich, better known collectively as Dog Day. The Halifax husband-and-wife duo have combined garage-rock and classic rock, with underlying dream-pop tones to create some of their grittiest material to date.

Classic guitar riffs and drum hits are the backbone to Fade Out’s 13 tracks. But despite the overall energetic rock ‘n’ roll nature of the album, Dog Day manages to fuse their unfiltered underground sound with moments of hazy synth-pop. “Joyride” is casual and upbeat, while tracks like “Interview” have an overarching darkness felt through Urich’s calm but commanding vocals. While Urich’s vocals have a controlled assertiveness, Smith lays out his lyrics with artful ease. The duo’s pipes are blended with the heavy percussion and synth elements and come together to form an album that is both raw and compelling.

Trial Track: “Lurking Fear”

Rating: 6.5/10

-Jessica Romera

 

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Music

The Flatliners find their pulse on their latest record

Loud, aggressive and energetic—these are the three pillars of punk rock and Toronto’s The Flatliners have mastered these. Placing a particular importance on their live shows, this hard-hitting four-piece has toured extensively over the past decade. With the recent release of the band’s fourth studio album, Dead Language, these vets prove that there certainly is no rest for the wicked.

While many bands routinely see changes in their line-up, The Flatliners have remained undivided since their formation, a feature that has allowed them to become a tightly knit musical unit. Chris Cresswell, vocalist and guitarist for the group, recently spoke to The Concordian and discussed the band’s journey from the suburbs to center stage.

The Flatliners’ story is that of a group of tight knit, lifelong friends coming together to play the music that they love. These four musicians, so close that they share multiple tattoos including a beer can and Autobahn sign, rose through the ranks and ultimately came to share the stage with the very bands that inspired them in the first place. The band officially formed in 2002, but as Cresswell pointed out, the seeds of the group were sown years earlier. Cresswell’s mother introduced him to Scott Brigham, the band’s future lead guitarist, at a young age.

“This is Scott, he’s your new friend,” Cresswell recollected.

The duo met Jon Darbey, the group’s bassist, while in second grade and later percussionist Paul Ramirez. Cresswell grew up listening to a variety of music including Weezer, The Foo Fighters and Oasis, but he attributes his punk education to his older brother.

“He got me into grunge. Nirvana, Pearl Jam and punk like NOFX and No Use For a Name. One of the first bands I got into was Rancid,” the frontman recalled, “I got my mom to drive me into town to get [Rancid’s 1995 platinum album]… And Out Come The Wolves. I got it on cassette, I still have it somewhere.”

Darbey, previously a guitarist, was forced to play bass because as Cresswell stated “we already had two of them.”  With the release of the band’s second album, The Great Awake in 2007, The Flatliners joined their heroes Rancid, No Use For a Name and NOFX as label mates, at Fat Wreck Chords.

“ We’re proud to have been able to tour with some of the bands that we have,” he said.

Their most recent album’s name is a nod to both the fact that the band “released [their] first album in 2003 on CD and the format was already pretty dead,” as well as a connection to the lyrical themes of the album.

“A lot of songs on the album are about screwing up and starting over,” Cresswell stated.“Its like Latin, it’s a dead language but a lot of other languages use it as a base. They used the parts of it that worked and they made the parts that didn’t work, better.”

This long awaited album, the follow-up to the group’s highest charting album to date, 2010’s Cavalcade, was recorded in two large sessions.

“We recorded all the instruments for the album at the same time live in studio, with no click track, and did the vocals last,” said Cresswell. “We felt that we tour and play together enough to do that, we’re more of a live band than a studio band anyways.”

The band also recently contributed to The Songs of Tony Sly: A Tribute. This compilation album was released Oct.29 in dedication to the former frontman of No Use For a Name, Tony Sly, who passed away unexpectedly in August of 2012.

The album has songs by a variety of punk stars such as NOFX, Bad Religion and Rise Against, among others, covering the songs of Tony Sly with profits going to the Tony Sly Memorial fund.

“We’ve been at Fat Wreck Chords for a long time so when Fat Mike (owner of Fat Wreck Chords and NOFX frontman) asked us to play we wanted to do it” said Cresswell.  “We narrowed it down to “Fireball” because it was the one song we all agreed to.”

Cresswell added that while it was a terrible event, he was glad to have been a part of the album and was happy that the funds were going to a good cause.

The Flatliners will be playing at Cabaret Underworld on Dec.21.

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Quickspins – New music releases from Nov. 12, 2013

White Ash Falls – Over The Night  (Light Organ Records; 2013)

Having performed under several different monikers throughout his musical career, Vancouver folk sensation Andy Bishop released his latest album Over The Night, under the name White Ash Falls, on Nov. 5. His sophomore effort features 10 tunes, each filled with country twangs and soulful vocals.

Opener “Want It Bad” sets up the album as a soothing, yet upbeat, guitar-infused record, while “That List Is Too Long” sounds as if it were plucked from a ‘70s folk-rock festival lineup, with its subtle bluesy hints, reminiscent of roots-rock veterans, The Allman Brothers. On Over The Night,  Bishop showcases his ability to seamlessly blend genres and proudly displays his versatility as a musician dabbling in country, blues, rock and folk. Regardless of what moniker he performs under, Bishop proves that a name does not make the man and lets his music speak for itself.

 

Trial Track: “That List Is Too Long”

Rating: 7.5/10

– Jessica Romera

Melvins – Tres Cabrones (Ipecac;2013)

It can be difficult to continue making music as time goes by when a band bases a large portion of its music on its youthful angst and vigour. The Melvins came into prominence in the early ‘90s, in that post-Nirvana wave of grungy, punk-infused metal. The songs put forward in their newest album, Tres Cabrones, are similar to the songs that they were making 20 years ago, except that they are not as good as the classics.

The band does not play as fast as they once did, making the album sound like an LP spinning a tad too slowly, and the vocals sound rather worn. This is the group’s 22nd album and their second of 2013.

While it could possibly have benefited from some more time in production, perhaps old dogs simply cannot learn new tricks. This album is pure stagnation for the Melvins and those wishing to hear better tracks should pick up 1993’s Houdini.

4/10

Trial track: “Psycho-Delic Haze”

– Justinas Staskevicius

 

65daysofstatic – Wild Light (Superball Music; 2013)

The album opens with a warning: “Nobody knows what is happening. There is a lot of danger out there. OK?” As the Sheffield post-rock quartet begin their sixth album, this singular vocalized snippet conveys the journey on which the listener will embark. Channeling a dystopian, post-apocalyptic world, with moments of hopelessness, beauty and danger, Wild Light is 65daysofstatic’s most cinematic album. Bearing the influence of their recent work on the alternate soundtrack to the 1972 science-fiction film Silent Running, this is their most conceptual and coherent body of work to date.

Wild Light is a perfect balance of humanity and technology. Delicate piano melodies, percussion and the consistent use of guitar throughout, stand in contrasting harmony with the richly-layered synthesized bleakness that envelops the soundscape. Despite the album’s desolate themes, Wild Light showcases 65daysofstatic at their climax.

Trial Track: “Heat Death Infinity Splitter”

Rating: 7.5/10

– Paul Traunero

Eminem – The Marshall Mathers LP 2 (Aftermath, Shady, Interscope Records; 2013)

Eminem’s latest album manages to bring something new to the artist’s repertoire while simultaneously displaying shades of his golden days.The album starts off moderately with “Bad Guy,” followed by a short skit of Em running away from the police. Pretty bizarre, but the album then launches itself into oblivion over the next few tracks. “Rhyme or Reason” masterfully incorporates a sample of The Zombies’ “Time of the Season,” circa 1986.
“Rap God” is an all-you-can-eat Marshall Mathers buffet, a sampling of everything Eminem is still capable of, jumping all over the place in the process. “Love Game” is a goofy song featuring Kendrick Lamar — though not serious in tone it is definitely among the best on the album. This is by no means classic Slim Shady but it’s the next stage in Eminem’s evolution. A much needed mutation that corrected almost a decade of mistakes. And for that, it earns its place in your collection.

Trial Track: “”Rhyme or Reason”

Rating: 7.5/10

– Alex Melki

 

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Music

Quckspins – New music releases Nov. 5, 2013

Arcade Fire, Reflektor; Merge Records (2013)

On Oct. 29, Montreal rock icons, Arcade Fire, released Reflektor; the group’s fourth album and the follow-up to the 2010 Grammy album of the year, The Suburbs. The new album brings a slight change in style from their previous works, adding synthesizers that stir up recollections of the disco era. Caribbean drum patterns give the whole package a laid back feeling in stark contrast to their previous work’s sense of urgency.

The highly anticipated album does not disappoint with several thought provoking and catchy songs covering a variety of topics. Arcade Fire delved deeper into symbolism than ever before; Reflektor presents lyrics that can be analyzed on several levels and rarely present a straightforward message. Overall, Reflektor is an amazing achievement and a major step forward for a band that was already arguably one of the top groups of modern rock.

9.5/10

Trial track : “We Exist”

– Justinas Staskevicius

 

Dale Earnhardt Jr. Jr. – The Speed of Things (Warner Bros., 2013)

The sophomore slump doesn’t seem to have affected Detroit electro-pop duo, Dale Earnhardt Jr. Jr.. Following the critical success of their 2011 debut, It’s A Corporate World, Josh Epstein and Daniel Zott have returned with an album that solidifies their place in the post-new wave revival.

With comparisons ranging from The Beach Boys to Vampire Weekend and Phoenix, The Speed of Things thrives in the bands’ pop sensibility and sense of humour. Their sound is both nostalgic and modern, with ’60s pop and Afro-Caribbean tinged melodies and vocal harmonies over a layered electronic background.

Dale Earnhardt Jr. Jr. certainly did not reinvent themselves with their second release, but what they did accomplish was a cohesive album that feels lighthearted and accessible, yet still thoughtful and dynamic.

Trial Track: “Run”

Rating: 7/10

– Paul Traunero

 

Big Dreams – REAL (Independent ;2013)

 REAL, the latest mixtape from Montreal rap group Big Dreams, has lyrics that hit harder and features better production than its predecessor, Stars. REAL is laced with emotion, even on tracks like “YDKM” and “Shut It Down” where you’d expect the group to leave their deeper undertones to the side. Instead, they creep up to the surface.

That being said, their emotional side doesn’t hold them back. The group’s members are between 19 and 20 years of age and are not living lavish and rich lifestyles. They’re rapping about what they feel, what they’ve gone through, and what they know. However, it is refreshing to hear them go off and spit, like on “High Tech/Mos Def 2,” where three quarters of its members, Task the Radd, Timeliss, and Myles spit over an old-school sounding beat.

It’s chill, and perhaps a bit safe and lacks a bit of variety, but the group is growing and maturing and they’ve got time to branch out and be larger than life.

6.5/10

Trial Track: “High Tech/Mos Def Part 2”

– Julian McKenzie

Albert Hammond Jr.- AHJ (Cult Records; 2013)

It’s been five years since Strokes guitarist Albert Hammond Jr. released his sophomore record ¿Cómo Te Llama? During this hiatus, he battled crippling drug addiction and other demons. Since his tour in rehab and subsequent recovery, Hammond Jr. has been channeling his energy and concentration into his latest record, AHJ. The 15 minute album showcases the guitarist’s entrance to sobriety and maturity with basic clean-cut sounds, dropping many instrumentals that were prominently featured on his previous releases.

Having released AHJ on fellow bandmate Julian Casablancas’ Cult Records, Hammond Jr. does not entirely lose his gritty guitar riffs signature to the Strokes on tracks like “Strange Tidings”. Familiar Strokes drum beats and basslines can also be heard sporadically through the album, most notably on “Rude Customer.” Though the EP is well-crafted displaying a new chapter of his musical career, the short track list leaves listeners waiting and wishing for a full length release.

 

Trial Track: “Strange Tidings”

Rating: 8/10

-Jessica Romera

Categories
Music

Death and decay: our fascination with zombies

American poet Langston Hughes once claimed that “life is for the living, death is for the dead, let life be like music. And death a note unsaid.” But what about a darker piece of music, a more sinister sound?

Musicians like Alice Cooper, Rob Zombie, and Marilyn Manson embody the zombie persona on stage. Photo from Flickr Creative Commons user Simaron.

Musicians have been compelled to integrate the undead into their work for generations. From pop mainstays like Michael Jackson’s iconic “Thriller” to genres that thrive on the dark and sadistic, such as black metal, zombies are an element that music has not shied away from.

To understand why musicians glorify zombies, we must understand why the undead captivate our imaginations. To do so, we must understand why the concept of the zombie exists in the first place.

Society is meant to fear zombies. One possible explanation could be that the modern zombie represents what people fear most: becoming a brain dead and anonymous follower with no free will.

The zombie would therefore represent the death of our individuality. They also bring up the idea of mortality; the ultimate unsatisfying ending that all things living must meet.

Why would some of the most creative and individualistic members of the artistic community choose to conjure up such imagery?

Music has often confronted many of the most primal and relatable of themes: love, loss, freedom and of course, fear. By exploring what humans fear, musicians attempt to bring what is unfamiliar and uncertain to center stage. One needs only to look at Alice Cooper, Rob Zombie or Marilyn Manson to see entire musical careers based on the macabre as they attempt to walk—and sometimes completely step over—the line of the audience’s comfort level.

By making the majority of listeners uncomfortable, these three veterans found a whole following of those who already felt misunderstood and on the fringes of society.

Death has been approached in a wide variety of ways. From sad ballads about the passing of a loved one, perhaps like The Beatles’ “Yesterday,” to the uncertainty of life in its closing moments, such as “Searching for a Former Clarity” by Against Me!, songs about death can be written by artists for therapeutic reasons, in tribute to someone they lost or as a welcoming to what they believe awaits them after death.

“Music itself is an art about time, and every piece of music contains in itself the ineluctability of its ending,” said Georges Dimitrov, an assistant professor in Concordia’s Music department.

Music, like human life, must at some point come to an end. It is an art form that is inherently and constantly changing. A musician must accept the finality of their song and may choose to emphasize its ending to highlight its importance.

To use zombies in one’s work is to mock death itself by showing no fear in the face of limited time. By becoming what most people fear, these musicians transcend the mundane and enter the realm of the supernatural.

 

Categories
Music Uncategorized

Quickspins – Agnes Obel, Jordan Klassen, KoRn,

Agnes Obel – Aventine (PIAS; 2013)

Aventine is the sophomore release from Danish singer-songwriter, Agnes Obel. Following her multi-platinum selling debut Philharmonics, Obel  has again decided to grant herself full creative control by writing, producing, arranging, and mixing the album herself.

Perhaps it’s that freedom which allows Aventine to feel so pure and impressionistic, both musically and lyrically. The album is cinematic, channeling lullabies and fairytales all within a dark and mysterious atmosphere. Decidedly slow-paced throughout, the songs follow the same piano-driven folk pop formula, but Obel’s vocals are more empowered and showcase an intensity that was lacking from her debut. Aventine is so pleasant and meditative that it will likely take repeated plays to fully appreciate its simplistic beauty. However, its mixture of romance, melancholy and darkness make it the perfect autumn soundtrack.

Trial Track: “Dorian”

Rating: 7/10

– Paul Traunero

Jordan Klassen – Repentance (Nevado Records;2013)

Often categorized as ‘fairy-folk,’ Jordan Klassen has crafted a thoughtful yet playful sound in his latest album Repentance. From the twinge of the glockenspiel in the opening track “Sweet Chariot,” we are immediately pulled into Klassen’s enchanted universe where pleasant and light harmonies coexist with a multitude of different instruments ranging from guitars and ukuleles to pianos and glockenspiels.

“Ranchero” showcases an eeriness to the Vancouver native’s vocals in a soft, mystical way. “Go to Me” starts off with soft chimes and ukulele, but slowly builds up and heads in a upbeat, pop-infused direction. Klassen displays a maturity and youthfulness on Repentance with an inherent warmth rarely seen in young musicians.

Trial Track: “Go to Me”

Rating: 8.5/10

-Jessica Romera

 

KoRn – The Paradigm Shift (Caroline Records; 2013)

In their 11th album The Paradigm Shift, Korn return to their early days of violent, in-your-face metal that does not disappoint. The appearance of a traditional Korn album could very well be due to the recent return of Head, the group’s original guitarist who had left the band in 2005.

The dreadlocked, nu-metal pioneers have distanced themselves from their previous album, 2011’s Path of Totality, which they had considered an “experiment,” as it had been heavily influenced by dubstep. The band does not completely drop the electronic elements however, they are lightly sprinkled throughout the new record in key moments rather effectively. While the lyrics are somewhat lacklustre, comprised mainly of the standard elements of the genre such as abandonment, self-seclusion and anger at societal norms, the guitar work is superb. Musically, this is one of Korn’s greatest works, and debatebly on par with their breakthrough album from 1998, Follow the Leader.

 

Trial Track: “Spike In My Vein”

Rating: 9/10

 

-Justinas Staskevicius

 

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