By Dina Kolman
Allison Moorer- Crows
Tattered threads hug her half-heatedly as she ambles along the dirt-ridden road. Tears crawl down her porcelain skin, pre-maturely wrinkled from grief and worry. She gazes off into the foreboding horizon, longing for a new life; A life of simple pleasures and harmony. Such emotion is propelled through the heart-felt poetry of singer/songwriter Allison Moorer’s music. One can imagine the agony and plead for serenity of a women, from the release of Moorer’s album, Crows.
Allison Moorer’s seventh album, Crows, is a canvas on which she paints her insightful creativity. With an emphasis on life and nature, this metaphorically driven album touches hearts and effectively transfers Moore’s emotions to her audience. Crows is the follow up to her critically acclaimed 2008 album, Mockingbird. Allison Moorer carries out the bird motif to celebrate her obsession with birds. She has been told that birds “are our messengers from the other side, so she decided that instead of letting them make her uneasy, she would consider them friendly and believe they were bringing her messages of comfort.” She even sings about these omniscient crows in the concluding track entitled “Crows.” Showing her connection to earth and natural pleasure, Moore surely sends her message to ears around. In “Easy In The Summertime,” Moorer’s nostalgic reflection on a southern lifestyle in the summertime: mother’s love, mouthwatering- melon, swinging in torn blue-jeans, and the freedom of going barefoot on the cool, hard wood, is relatable and charming. In “The Broken Girl,” Moorer depicts a solemn girl, creatively adding an upbeat catchy rhythm of drums and guitars to contrast the dramatic and sorrowful lyrics. “Just Another Fool” shows her attitude about women overcoming oppression and being independent. The sultry voice captivates listeners in the ballad “Should I be Concerned,” greatly showcasing her dynamic voice range.
Though her songs grant listeners with consoling warmth, alleviating air, and a light of hope, Moorer has the tendency for her lyrics to become disconnected with the supporting music. These heartfelt, bluesy songs of desperation and solemnity become repetitive cries, becoming mundane and melodramatic. Songs such as “Abalone Sky,” and “Goodbye to the Ground” encompass such heartfelt and optimistic words, yet posses such a repetitive, persistent meter, distracting the listener from its powerful message. “In Still The Side of Gone,” Moorer begs for a sign of hope to set her free. While not every track on Crows is a depressing ballad, the majority are woeful pleads that may be easier to listen to if they had an upbeat rhythm, like few tracks on Crows do. In those few tracks, Moorer counter-balances the solemnity with beautifully balanced acoustic guitars, precise piano, and even guest instruments such as violins. The mix is quaint but intriguingly passionate. The final transition is to a very dull, blues-like sound. In “It’s Gonna Feel Good (When It Stops Hurting),” dramatic lyrics swirl amidst the eerie melodies. Vivid images of overcoming pain dance in our heads, leaving a lasting impression of Moorer’s thoughts.
Along with Allison Moorer’s passion and thoughts, comes this warm, comfortable quilt of an album. The songs are strung together as the unique patches. Finally, holding together those patches are the threads of lyrics, running themselves in and out of this quilt. The lyrics brilliantly convey Moorer’s thoughts about life, love, hardship, and even birds. Though the tracks may seem to overlap in style and lose distinguishability, they are still creative evidence of thoughtful Allison Moorer. One must have an open ear to the sultry, soulful, and blues-like style on Crows, but it is not a quilt to be discarded and forgotten.
by Diana Ciuca
Two bands. One genre. There can only be one winner and one loser.
Whereas one might think, “This genre can’t possibly be big enough of the two of [them],” I will vouch to say you’re wrong. Welcome to the magical land of techno, which encompasses house to trance to electro-pop. Although these sub-genres may be diametrically opposed, just because they lie on the periphery of techno doesn’t mean that the repetitive beats don’t possess the resemblance that it takes to become part of the expansive “techno” genre. Thus, in this realm of new-age realism, I will compare two very diverse, yet seemingly similar songs with an extremely encompassing techno album by the famous producer, David Guetta. Who will rise and who will fall?
First up is RÃ¶yksopp, a heavyweight due to its popularity in media through TV series and commercials. However, this comes as both a blessing and a curse. Due to it’s commerciality, RÃ¶yksopp has lost any luster as being a potential “indie” band. For this match, they’re presenting their new hit, “Happy Up Here,” and uplifting piece. At the opposite end lies STS9, Sound Tribe Sector 9, a structured band and more than a mere amateur. They’re giving us “Atlas,” a more extended techno piece with a greater compositional variety.
“The fight had it’s turns,” in the words of famous novelist Normal Mailer. RÃ¶yksopp won most of the early rounds, but STS9 knocked RÃ¶yksopp down in the sixth. STS9 had trouble getting up, but made it, came alive and was dominating RÃ¶yksopp again before the round was over. The first sign of weakness arose once RÃ¶yksopp maintained the same 4 bar beat and STS9 kept progressing, hitting stronger and stronger.
While RÃ¶yksopp failed to promote the usual variety, STS9 included musical climaxes and fade-outs to not only excite the audience but crush RÃ¶yksopp. Even with RÃ¶yksopp’s previous success, this battle proves that historical precedent does not do justice to present faults. “Happy Up Here” simply is a trite piece of ‘chill-out music.’ Generally not associated with this prolific Norwegian band who has had hits like “Remind Me” and “Poor Leno,” this song exemplifies the negative side of techno: synth, synth, beats, synth. STS9′s “Atlas” beautifully told a story, as would any song that belongs in a movie action thriller. Sadly, that classification does not do mercy to the song itself. Albeit it will not hype you up, it is still quite enjoyable in the end.
Nevertheless, the true winner here is techno. Compare this “battle” to David Guetta’s recent album “One Love” which featured romantic hits such as ‘Sexy Bitch’ (Akon) and ‘I Gotta Feelin’ (BEP). Guetta gained fame through “Love Has Gone,” which includes a relentless beat mimicked in “Gettin’ Over” on his newest album. These songs, as usual, are relayed throughout the radio and on the billboard charts, as he even received a Grammy nomination for his production of Kelly Rowland’s “When Love Takes Over.” Nevertheless, his work exemplifies the level of achievement and success that the genre of techno has arrived to. It now mingles with pop (Black Eyed Peas), R&B (Kelly Rowland), Reggae (Bob Marley), and metal (not on this album, but on other bands’ such as Rammstein). Therefore, with the rise of technology comes the fall of musical barriers as the differences between genres increasingly fade away.
Sunday’s Student Press Event is changed to 2:45pm at The Fillmore Miami Beach.
The address is 1700 Washington Avenue Miami Beach 33139. The phone number is 305-938-2505.
You are all welcome so contact us at firstname.lastname@example.org if you’d like to attend! We still have room for more!
by Vanessa Paredes
Itâ€™s here. The highly anticipated, overly hyped, oh so talked about film: New Moon. The second installment of the Twilight Saga hit the big screen this November and you can bet your life savings that the lines were outrageous and theaters were sold out all over the nation. Fully equipped with a new director (Chris Weitz), New Moon definitely out staged the production of Twilight, but not by a long shot. If one thing is for certain though, itâ€™s that Edward Cullen is about to blend into the shadows and a new obsession will arise; his name is Jacob Black.
In New Moon, Edward Cullen (Robert Pattinson) and Bella Swan (Kristen Stewart) couldnâ€™t be more awkward with each other, and there is a reason behind it. Edward plans to leave forks and Bella behind. He does so early into the film, and the â€œbreak upâ€ shakes up the story line, bringing forward Jacob black (Taylor Lautner) to our attention. Once Bella really starts warming up to her new â€œfriendâ€ another fantastical secret is unraveled. Vampires are not the only non-humans roaming around Forks; Jacob and his â€œclanâ€ take the form of wolves in order to â€œprotectâ€ the town from vampires, or at least the evil kind. Naturally, Jacob falls in love with Bella while Edward is absent, and this creates a chaotic love triangle that will be a major theme in the movies to come. Just when it seems like Bella is finally warming up to the idea of liking Jacob back, Edward is forcefully engrained back on to her feeble mind when he makes a phone call to the Swan residence for the first time after his disappearance.
Bella gets on a plane to Italy faster than you can say vampires are not real, in attempts to save her soul mate from killing himself. Edward had been mal-informed that Bella had passed away, and finds only one solution: plead the Volturi (Organized coven of vampires) to take his life, which is no easy task, being a vampire and all. The Volturi consisted of the best actors in the film, including big shots such as Dakota fanning playing Jane, and Michael Sheen as Aro. How the movie ends can be yours to figure out.
New Moon shouldnâ€™t break a sweat impressing the teenage female population. Weitz incorporates all the right elements, and some of the scenes are beautifully done. Although the movie does lack decent actors, because letâ€™s face it, Robert Pattinson canâ€™t act to save his life, the movie-goers will still sink their teeth into this vampire fantasy flick. In addition the film was successful in staying true to the book, which will hopefully keep the Twi-hardâ€™s complaints to a minimum. So get those movie tickets and enjoy the eraâ€™s newest craze.
by Diana Ciuca
The album begins with the quintessential Death Cab for Cutie song, with the electric piano and occasional wavering in and out of loud and soft harmony. The symbol of the equinox in the song displays some astrological influence upon the entire album. So far, I’m hoping that this is a themed album; fingers crossed.
Luckily, or not, the next few songs tend to stick to a similar principle. Truly, the only theme to this album can be summed up in three words: soft, indie, dreamy. After some ups and downs in tempos, beats, and instrumentation (guitars, drums, and piano), the only conclusion that can be drawn is that this is a genre piece. The album advocates the beauty of the indie (sub/counter) culture that has motivated hipsters to invade American Apparel and also the local Salvation Army/Goodwill in search of “hot buys.” They are the picture-hoarding, iPod wearing, Twilight-reading youngsters who are fluent in the language of music and, thankfully, that of texting. By putting all these songs together, I feel like their (the individual song’s and the hip, excitable, teen’s) originality is forsaken; Nevertheless, each song, on their own, is truly a work of art – as are most indie pieces. As Andy Warhol said, “Art is what you can get away with.” Certainly, we have gotten away with much avante-gardness in the past, and this album, asÂ fresh or unique as you want it to be, is no different.
Most critics see this as a medley of wonderful musicians. Still, I can’t help but question what is so great about these musical sensations? Usually it is the voice, or the smooth guitar, or the sound effects. This album has so much of those techniques that it almost becomes overwhelming. In conclusion, the New Moon soundtrack is like food. Sure, I love peperoni pizza, chocolate ice cream, steak, salsa, and salad. But, if you were to throw them all on one plate, I might not enjoy it as much.
The album ends with the quintessential Classical music piece, with the alternating piano and occasion speeding up and down of the tempo. The symbol of the new moon in the title displays some astrological influence upon the entire album – given that itÂ is the title.
Sounds like you’ve heard that sentence before? It sounds like I’ve heard all these songs before, too.
The A.F.I. concert originally scheduled for the Pompano Beach Amphitheater on Wednesday November 18 has moved venues to Revolution Live, 200 West Broward Boulevard in Ft. Lauderdale. Gallows also appears on the bill.
Tickets already purchased for the Pompano Beach show will be honored at Revolution Live. Additional General Admission tickets are still available for $26.50 in advance and $28.00 day of show. Tickets are on sale now at all TicketMaster Outlets and at the Revolution Live Box Office or charge-by-phone: Broward, (954) 523-3309; Miami-Dade, 305) 358-5885; Palm Beach, (561) 966-3309.
The Student Press Conference will also be held at Revolution. Students should meet at will call at Revolution.