Student musicians raise domestic abuse awareness with music

Women’s Action Coalition and Guitar Club hosted an open-mic fundraiser for domestic violence awareness in Newton Hall on Thursday Oct. 30. The fundraiser was part of Domestic Violence Awareness Month and included performances of a variety of genres and styles, as well as a raffle. All donations went toward Chances and Changes, a local shelter for victims of domestic violence. The event had a very casual vibe, with some performers reading lyrics off notebook paper and engaging with members of the close-knit crowd directly. Most played either the ukulele or guitar, but the music was varied. The opening performance wasn’t technically music at all.

Junior Greg Stewart started the show off right with some original slam poetry. He rattled off letters, including some very hard-to-swallow lines like “xenophobia played like a xylophone” and “zero hour is upon us.” At times the verses tumbled out so fast that focusing on the words became a challenge, if a rewarding one.

For his part, senior Mark Susmann performed a couple of original instrumentals on the acoustic guitar. Walking the line between soft rock and country, the first melody was a slightly sad, nostalgic-sounding piece, while the second song was happier, with chords that built on one another for a rich, soaring sound. These songs were emotional, dynamic and felt complete— even without lyrics.

Freshman Blaise Tangney also played an impressive guitar set and sang original songs. He strummed his guitar enthusiastically, playing bluegrass-infused rock and rasping out surprisingly romantic lyrics to songs with names like “One Heck of a Girl.” His music feels like it’s from another time––maybe even another state.

Halfway through the event, WAC president sophomore Jes Heppler took a break from introducing the performers to read some sobering statistics and talk about domestic abuse. “Violence isn’t just physical,” Heppler said. “Emotional and psychological abuse are just as common.” She pointed out that by raising money for Chances and Changes—one of the only shelters for victims of domestic abuse in Livingston County—Geneseo students can help make a difference in their community.

Senior Chris Coffey closed out the event with some original songs on electric guitar. “I don’t normally play by myself,” Coffey said. “Some of you might know me as the bald guy who plays in Red Kettle—if you know Red Kettle.” His songs had a full, holistic quality, almost as if he were still playing with a full band. He drummed on his guitar often, creating an electronic sound that was somehow simultaneously deep and trippy. The highlight of his set was a funeral dirge of sorts. “I wrote this for the art department when it closed,” Coffey said with good humor.

WAC has donated to Chances and Changes in past, but this open-mic event was new territory for the organization. “We didn’t want to just do tabling,” Heppler said. “We wanted people to come together and enjoy some music while supporting a good cause.”

A cappella groups attract full house at fall concert

All five of Geneseo’s a cappella groups came together for their fall concert in a very packed Wadsworth Auditorium on Saturday Oct. 25. Co-ed groups Exit 8, Between the Lines and Emmelodics as well as all-female group Hips ‘n Harmony and all-male group Southside Boys each performed two two-song sets to much fanfare. Southside Boys started the night off with the traditional “Good Old A Cappella.” Afterward, sophomore soloist Matt Burley delivered his first of two impressive performances: a melodic, emotional rendition of Ed Sheeran’s “The A Team.” If anything, the popular acoustic song sounded fuller with its stripped-down instrumentals swapped out for the surprisingly gentle backing vocals of the all-male group.

Next up was Between the Lines, opening with a fun and energetic performance of American Authors’ “Best Day of My Life.” BTL kept the upbeat vibe going with their rendition of Jukebox the Ghost’s “Somebody,” swapping the synth sounds of the original for poppy backing vocals.

For its performance, Hips ‘n Harmony started strong with its take on ZZ Ward’s “Put the Gun Down.” Junior Nicole Peinkofer rocked the bluesy growl and absolutely killed the solo.

Later, the all-female group garnered lots of applause with a performance of Paramore’s hit “Ain’t It Fun.” Done by senior Hannah Rody-Wright, the arrangement was spot-on—down to the timing of the claps and stomps—and sophomore soloist Melody McAlister sounded amazingly like Paramore frontwoman Hayley Williams.

Exit 8 opened its first set with a major crowd-pleaser. The Rescues' “Crazy Ever After” was Burley’s second big solo of the night, and the harmonies complemented each other beautifully. Later, the classily-dressed group performed a fun mashup of “I Want You Back” by the Jackson 5 and “Classic” by MKTO, complete with a rap done––to a barrage of cheers––by senior beatboxer Phil Longo.

Geneseo’s youngest a cappella group Emmelodics had some serious competition, but the new group fared well; dressing in flannel and bringing a fun, quirky vibe. They also brought back one of the favorites of the parents’ weekend concert: Carrie Underwood and Miranda Lambert’s country rock duet “Somethin’ Bad.”

Emmelodics ended its second set with a mashup of Fall Out Boy’s “My Songs Know What You Did in the Dark” and Panic! at the Disco’s “Miss Jackson” that would have made any listener nostalgic for the glory years of pop punk.

Southside Boys also impressed in their second set, showcasing their talent and while still having fun with a rendition of Adele’s dramatic single “Skyfall.”

One of the highlights of the night was Exit 8’s complex and creative arrangement of Sia’s “Chandelier,” done by junior musical director Sam Weinstein. Even more impressive than senior Emily Rittenhouse’s hauntingly gorgeous solo was the reharmonization of the last chorus.

BTL closed out the show with “Under Pressure.” Senior soloist Liam Enright never fails to give an electrifying performance, and the high note in this Queen and David Bowie classic alone helped him more than live up to his reputation.

Each of the groups gave its all, resulting in strong performances across the board at one of the most entertaining and well-attended a cappella concerts in years.

Food Day encourages sustainability, educates students

Geneseo Environmental Organization celebrated annual Food Day on Friday Oct. 24 with a panel discussion in Bailey 203. This year’s talk addressed the themes of food access and food justice. Sustainability director Dan DeZarn, philosophy professor Dr. Carlo Filice, geology professor Dr. Jeff Over, and local farmers Eli Rubin and Chelsea Reinhart spoke at the event, which was catered by CAS. Geneseo Environmental Organization has been celebrating Food Day for years, but this semester’s talk had its biggest turnout yet. “We just wanted to raise awareness about food issues, food justice and sustainable ways that people can interact with our food system and change their habits to make it better,” GEO president senior Jessica Kroenert said.

The topics of discussion included the environmental impact of factory farming and eating local and genetically modified organisms. There seemed to be a general consensus among the speakers that eating locally grown foods as much as possible is ideal. This can be challenging, however. According to the American Farm Bureau Federation, just 2 percent of United States families live on farms and ranches.

Growers at local Bean Hill Farm themselves, both Rubin and Reinhart are passionate about locally-sourced foods. “Working outside with your hands every day is pretty great,” Reinhart said.

Both she and Rubin attended college and arrived at their chosen career path later in life—not because they were born into it, but because they loved it. “I just really like the work and couldn’t imagine doing anything else at this point,” Rubin said.

Professor and Chair of the philosophy department Carlo Filice has also had experience with locally grown food. He was born on a farm in Cosenza, Italy, where he lived until he was 15. “My family moved away because it was too hard to make a living on a family farm in Italy,” Filice said.

He added that his academic background has made food—specifically, ethically obtained food—a priority in his life. “The ethics of food is one of my great interests in philosophy,” he said. He believes that factory farming is unethical toward animals and has been a vegetarian for 33 years.

Director of Sustainability Dan DeZarn addressed the issue of factory farming from a more direct, ecological standpoint. “In simple terms, when you tear up the environment, it makes it more difficult to live in,” he said. Rubin added that “factory farms make it very hard to be a [small-scale] meat producer” and that massive companies like Purdue Farms make for “an unfair playing field.”

The speakers were largely in agreement about how little is known about the effects of GMOs. “We don’t know the health effects because these things aren’t labeled,” Reinhart said. Reinhart emphasized that he is advises caution when it comes to genetically-altered foods. DeZarn seemed equally wary of the potential problems associated with GMOs, advocating for gardens in addition to eating locally grown foods.

Several of the speakers acknowledged that eating local is a challenge, especially for students living on campus. “If you’re really interested in doing it right, you’re going to have to adjust your expectations of what you’re going to eat and when,” DeZarn said.

Professor of earth history, paleontology and stratigraphy Jeffrey Over offered more blunt advice for students looking to eat local. “You can all slow down your lives,” he said. “Stop buying [prepared] dinners and learn to cook.”

Jukebox the Ghost polishes sound with self-titled album

I've seen Jukebox the Ghost play live twice. Once was at a community center in Wilton, Connecticut, and the other was here at Geneseo’s 2013 Spring Fest. Both of these venues were so intimate that I got a chance to talk to the members after both shows. And each time, I was left with the impression that they’re all pretty weird. The band’s fourth full-length album Jukebox the Ghost, however, is notably normal. Released on Tuesday Oct. 21, the LP is the embodiment of sleek indie pop. Self-titled albums often represent either a band’s total reinvention or a return to its roots, but this one is really neither. It’s the same Jukebox, —just shinier.

The album opens with “Sound of a Broken Heart,” an upbeat breakup song. Vocalist and pianist Ben Thornewill is as happy-go-lucky as can be, and the song is interspersed with lighthearted “whoa-oh-ohs.” This track flows into “Made For Ending,” which juxtaposes downer lyrics with uplifting riffs, only this time the lyrics are delivered by saccharine-voiced singer and guitarist Tommy Siegel.

On past Jukebox albums, Siegel and Thornewill have generally split vocal duties evenly, although Thornewill is clearly the superior singer. He does, however, sing slightly more on this new release. Even drummer Jesse Kristin gets a chance to sing, making his lukewarm vocal debut on the otherwise lively “Hollywood,” featuring some of Thornewill’s most melodic growls yet.

With a catchy chorus and jazzy vibes, “Girl” is a standout.Thornewill hits an impressive high note here, reminding that he’s––as usual––the star of the show. He often channels Billy Joel with his classic style, but there are also moments in which his odd vocal flourishes are more madman than “Piano Man.” This happens more on “Girl” than anywhere else on the album, which I would argue is not nearly weird enough.

Lead single “The Great Unknown” is absolutely button-down. It has a gospel-inspired sound, reminiscent of Safe Travels’ “The Spiritual” and echoed on the vibrato-heavy “Undeniable You” later in the album. It’s perhaps a bit too inspirational in content, with cheesier-than-normal lyrics: “There’s something waiting for you! The time is now!” Still, for what it’s worth, it’s a fun song. This is a fun album.

Of course, the stripped-down coser “Show Me Where it Hurts” isn’t fun, but it is pretty. Some of the lyrics are clunky, but the piano is pure, the strings are full and Siegel’s sweet vocals fit the sad tone. This stands in stark contrast to his annoyingly overproduced failure of a disco pop song “The One” where he sounds like he’s parodying himself.

Overall, Jukebox the Ghost is high on pop-gloss and low on quirkiness. It’s expansive and uplifting, but also tight and sleek.

Spotlight On: Savannah Williams

There is a human being behind Humans of Geneseo: freshman Savannah Williams. The international relations and art history double major runs Geneseo’s popular Facebook page––inspired by Humans of New York––and she runs it in style. Armed with nothing but a camera and an idealistic attitude, Williams photographs and interviews random students that she encounters around Geneseo in order to create a digital catalogue of campus life.

Founder and previous operator of the HOG page Danielle Grimm left Geneseo in the spring of 2014. Before Grimm left, she held a contest to see who would take over her role. Students were asked to submit five photos along with a statement about why they wanted to assume responsibility of HOG.

Williams participated in the contest and won, something that shocked her immensely.

“I didn’t think I would get it because I’m a freshman,” she said. “When I received a message from them in late July, I honestly thought it was a rejection. But it was actually a ‘congratulations, you got it.’”

Williams may have only just learned to take portraits during her senior year of high school, but her passion for photography extends back much farther. Williams explained that she developed a love of taking pictures as a child and first joined photography club in middle school. “I used to do a lot of landscapes,” she said.

Taking photographs of people, however, can often be more complicated than inanimate objects; especially when people don’t want their picture taken. Williams’ preference for spontaneous, spur-of-the-moment photos does not always help. “A lot of people are really camera-shy,” she admitted.

Williams looks to the advice of Humans of New York founder Brandon Stanton for inspiration. “[Stanton] says it’s all about energy,” she said. “You have to give off this vibe. You can’t be nervous.”

Having the right energy can make approaching strangers with a camera in hand a lot easier for Williams, but being on a college campus presents its own set of challenges. “You can’t ask certain questions,” Williams said. “You can’t ask, ‘What’s the biggest regret you’ve had in your life?’ because our lives are just starting.”

Of course, the campus is as an essential part of it all. Scrolling through the page makes one feel closer to the school community—which is exactly what Williams wants. “I mean, it’s a small campus,” she said. “So maybe you’ve seen these people but never interacted. But now you get a glimpse into their [lives].” The creation of this sense of closeness is a major goal of Humans projects across the country.

This community support is evident in the HOG project. In the days following the Sept. 26 assault of a transgender Geneseo student, Williams posted a photo and accompanying interview of a transgender student on her page and received an overwhelmingly positive response. The post, however, was not planned. Senior Chris Nasim, the subject of the photo, had messaged Williams requesting an interview before the incident on Court Street.

After the assault made the news, Williams still felt compelled to publish—but also apprehensive. “It was very arbitrary,” she explained. “Coincidental. And so I had to be careful.” Whether or not she had set out to make a statement, 400 likes and counting prove that a statement had been made: one of acceptance in the wake of a public outrage.

At its heart, Humans of Geneseo is about embracing differences. “Everyone is just weird and interesting in some way,” Williams said. “People say, ‘Oh, I’m not photogenic.’ But that’s not true––everyone is photogenic.” With an attitude like this, it’s not surprising that Williams had difficulty choosing a single favorite story or photo. She looks forward to future photographs and new beginnings. “There’s always going to be more,” she said. “I’m excited.”

Binge-worthy shows eat away at box office sales

Subscriptions to premi- um networks like HBO and Starz have increased dramati- cally. This is because people want a high-quality entertain- ment experience––which is pretty understandable. What is incomprehensible is that the average American has also lost the desire to get off the couch to get it. HBO, or Home Box Of- fice, is the epitome of “bet- ter-than-the-movies” televi- sion––its very slogan is “It’s not TV. It’s HBO.” The net- work’s hit series “Game of Thrones” costs between $6- 10 million an episode to pro- duce. It pays off, however; the fourth season’s finale gar- nered 7.1 million views on its first night alone.

It’s not all about the flashy effects, either. The writing on “Game of Thrones” is abso- lutely top-notch, shining even in scenes that haven’t been taken from the books. In ad- dition to the writing, the act- ing is phenomenal. If you still haven’t seen Peter Dinklage’s heart-wrenching performance as Tyrion Lannister at his trial, then the answer is yes––it really is that good.

Premium television pro- graming is now consistently beating box office offerings at every turn. Thanks to shows like “Game of Thrones,” many have deemed going to the movies as being more in- convenient, too expensive or just not worth the effort.

If HBO and compa- rable networks are making people idle, Netflix is making them immobile. Binge-watch- ing shows allow viewers to be both physically and mentally lazy. While we watch five episodes at a time, comfort- able in our sweats with bag of chips in hand, we also allow our minds to stay comfortable with the same old settings and characters.

In this way, shows by the season is even lazier than streaming whole movies in bed. And with il- legal streaming sites going strong and Netflix original shows like “House of Cards” being released whole seasons at a time, it seems as if movie theaters don’t stand a chance. That’s a shame.

It’s not that I have a problem with television––it’s actually one of my favorite things. I have no complaints about the recent trends in better writing and even bet- ter special effects. I watched all five seasons of “Breaking Bad” in about a month, just like everybody else.

Still, people are not us- ing their time to expose them- selves to new characters, sto- ries and cultures in favor of returning to the same worlds they already know is a little disappointing. And the total experience of going to the movies—the darkness, the big screen and the environment that varies considerably from your living room—cannot be replicated.

It would be pretty unfor- tunate if maybe two genera- tions from now, kids didn’t even understand the concept of a movie theater. Sadly, binge-watching could defi- nitely make that a reality.

Casablancas album ruled by digital noise

Regardless of whether or not The Strokes are ever, ever getting back together, Julian Casablancas has found a new group of guys to jam with. On Tuesday Sept. 23, Julian Casablancas + The Voidz released Tyranny, an eclectic, neo-psychedelic noise-fest. Fans may remember Casablancas's first solo release, 2009's largely unimpressive Phrazes for the Young. But while Phrazes has some catchy choruses and is a more or less familiar example of a not-so-alt-rock album, Tyranny is simultaneously very alternative and totally unfamiliar.

The album opens with the dystopian anthem “Take Me in Your Army.” Casablancas sings in a cyborg-esque voice here, setting a sci-fi horror mood that is enhanced by a brainwashing refrain and the thud of phantom army boots. The album represents other genres too, of course; “Father Electricity” has sort of a reggae vibe, and “Xerox” is apparently trying to be rap.

Several of the songs begin with a nice riff and then devolve from danceable electro punk into digitized screamo. In “Business Dog,” Casablancas sounds as if he's becoming a rabid dog, or else maybe just experiencing some serious road rage. “Crunch Punch” begins quirkily enough, but by the end of it Casablancas could have been an emo singer in Tron if Tron had emo singers. It may be difficult for fans to accept, but out of all the noise on Tyranny, Casablancas's voice often produces the most grating noise of all.

There is a tongue-in-cheek punk vibe more or less throughout the LP, like this is all one big joke or some kind of self-promotion spoof (“Don't miss the show, okay?”). Casablancas's delivery of the lyrics is also vaguely comical. His vocals have always been artistically drunk sounding, but on a scale of one to Ariana Grande the level of unintelligibility on Tyranny is just about off the charts.

Out of these ambitious and often incongruous twelve tracks, “Dare I Care” will prove the most accessible for Strokes fans. It has some real rock roots and actually could have fit in on 2011's Angles despite its uncharacteristic length and Latin vibes.

Many of the songs on Tyranny are overlong; “Human Sadness,” the lead single, lasts 11 minutes, but length alone does not make an epic. The song moves from what could be an auto-tuned version of something out of Cinderella to perhaps an audio recording of a game of laser tag (think Daft Punk, but less good).

Clocking in at an hour and two minutes, Tyranny is as bloated as it is bizarre. Along with The Voidz, who may or may not be totally devoid of talent, Julian Casablancas has created an album that is at once avant-garde, unexpected and unlistenable. Of course, he should not be faulted for experimenting.

If The Strokes really do have “more magic in them,” as Casablancas recently told Stereogum, he might want to take a break from allowing the The Voidz to dictate the direction his music takes. As it turns out, Tyranny is more like anarchy.

2.5 stars

Pop-up U2 album takes iTunes users by surprise

On Sept. 9, U2 surprised the world by releasing its 13th studio album Songs of Innocence directly to every iTunes customer's library for free. The LP just appeared like magic, no download necessary. According to a Billboard interview with U2 manager Guy Oseary, the album reached over 500 million people—that's 7 percent of the world's population—in a matter of seconds. It will continue to be available for free to anyone who joins iTunes between now and Oct. 13. On this date, a deluxe version with four bonus tracks will go on sale.

The rock vets' latest release is the audio equivalent of coming-of-age literature. Named after William Blake's illustrated collection of poems about childhood, the album hearkens back to the band's boyhood days in Dublin. It's an ambitious concept, doing for music what James Joyce did for the literary culture with his short story collection Dubliners.

Songs of Innocence is not some haphazard collection of B-sides. This album is five years in the making; if it's overproduced, it wears the extra pop gloss well. It's no Achtung Baby, but it is filled with gems regardless. There’s the lead single “The Miracle (Of Joey Ramone),” a youthful, punky, big-sound tribute to The Ramones.

“California (There is No End to Love)” luxuriates in sunny, synth-riddled, Beach Boys-inspired pop vibes, while “Cedarwood Road” marries driving guitar riffs with lyrical nostalgia. Even with CD sales forever on the decline, U2's latest offering could have made buckets of money in iTunes sales. So why give it away?

While the album itself is surely a treat to U2 fans aching for new material, its delivery system might be troubling to some people. With platforms like Spotify, Pandora and YouTube consistently taking more and more sizable chunks out of the music industry, it was financially savvy to sell directly to Apple.

The company reportedly paid the band $100 million to use “The Miracle (Of Joey Ramone)” to promote the much-hyped iPhone 6. Plus, with an overnight resurgence in publicity―hey, remember those old Irish guys who did “Sunday Bloody Sunday?” Catalog sales already on the rise, it's safe to say that this little media stunt was a massive success for U2.

And why wouldn't it be? Everybody likes free stuff. Still, there is something deeply disturbing about opening up your iTunes and finding something unexpected: something you didn't pay for, download or even know about. It's not the gift that’s unsettling but the way in which it was given is. Hopefully, other bands find ways of rewarding their fans without invading their personal (computer) space.

Artists interpret landscape across expansive media

The Lederer Gallery hosted the opening reception of its “Landscape Today and Tomorrow” exhibition on Sept. 5. Sixty-three submissions are currently on display in the gallery from professional artists across the country. The exhibit defies close-minded definitions of “landscape”––and of art, for that matter. According to director of galleries Cynthia Hawkins, “The theme for the whole show is current conditions of our landscape environment and possible futures for it.” A wide array of media, colors and shapes interplay to create the exhibit. Pieces vary from watercolor paintings to photographs, from traditional to impressionistic. Even maps and collages are featured in the show.

Rural settings and urban sprawl are almost equally represented. Disaster is a prevalent theme, both natural and not.

“[One artist used] the tsunami as a way of fragmenting the work. Other people have used color in ways that imply the toxicity of the environment,” Hawkins said. Many of the scenes depicted feel fractured or otherwise damaged.

Still, there is no universal mood or tone; works run the gamut from serene to scary. Hawkins said that landscape pieces could convey “either something very negative or something very positive.” Featured artist Ronnie Cramer’s “Weld” depicts a calm, almost desolate farm scene, while the dark, muted tones of contrasting artist Alice Valenti’s “Night Branches” and “Strawberry Turf” are almost sinister in their subtlety. Emotion does play a significant role in making the exhibit feel cohesive, whatever that emotion may be.

Texture is another major factor linking some of the more modern pieces together. Artist Bruce Blanchette’s acrylic “Bound Landscape” piece is extremely colorful and appears to be restrained by tangible cords. William Ruller’s “Waiting for Others” makes oil on paper appear rough and tactile, even through a glass frame.

One of Hawkins’s personal favorites is Judith Brandon’s “Stratus Twister.”

“The cloud formation is really nuanced with a balance of light and dark,” she said. Brandon’s use of contrast is notable, with orange and yellow pastels playing off the grays and blacks in order to make the storm clouds appear as even more threatening.

Robert Robbins’ oil on canvas piece “Over Under,” drew the attention of fellow artist Laura Victore. “There’s a beautiful depth here and an interesting perceptual shift. From a distance you see one thing and when you get closer you see another,” Victore said. “It’s very calm and then suddenly very ominous––you’re in nature and then all of a sudden you’re under a bridge in the Bronx.”

This idea of transcendence applies to many of the other landscape pieces. In a way, Robbins’ piece functions as a microcosm of the entire exhibit.

Victore’s own piece, “Lifting Crops,” is simultaneously futuristic and nostalgic. The digital print simultaneously appears as a field of crops and of a field of computer chips, or perhaps architectural plans, with blue sky looming large. This stark juxtaposition of today and tomorrow embodies the spirit of the exhibit even better than the vague murkiness of Robbins’ painting.

What is striking about the exhibit is the astounding diversity.

“Differences can exist throughout nature, throughout art,” Hawkins said. “It depends on who’s making it and it depends on who’s looking at it.” “Landscape Today and Tomorrow” will be on display until Oct. 9 at the Lederer Gallery.

Spoon serves synth for the indie soul

Spoon is respected in the alternative rock scene for a reason: the band has been cranking out good old American indie rock since 1993. And after a four-year hiatus, the band released its eighth studio album, They Want My Soul, on Aug. 5.Somehow, this new release feels more simplistic and less intricate than Spoon’s 2010 album Transference. It also lacks the special brand of weirdness for which Spoon is usually celebrated—a quirky quality that even the top single on 2005's Gimme Fiction, “I Turn My Camera On,” managed to maintain. The album opener and first single released off They Want My Soul, “Rent I Pay,” sounds like rebellion: a rasping, righteous teenage anthem. Its hook may be burdened by the burning desire to become an earworm, but at least the song sounds substantial. “Inside Out” comes next, marked by a slower, trippier sound, almost crossing over into (stoner) ballad territory. In terms of genre, the first two tracks lack any commonality beyond being “alternative.” While most of the songs on the album get better with repeat listens, some are too repetitive to warrant a single play-through. “Knock Knock Knock” is one of those songs. One of the repeated lines is, “and it starts all over again,” as if the band wanted to call attention to the fact that it sounds like the same song played twice in a row. Additionally, the excess noise is just that―excessive. “Outlier” is another low point; it's a melodically repetitive, lyrically-lacking song. It has top-quality new wave aspirations, but the endless series of “na-nas” in place of actual words prevents it from reaching truly artistic heights. “Do You,” the second single released off They Want My Soul, is undeniably catchy. While the title track is a little bluesier than the majority of the album, this track differs. Lead singer Britt Daniel rasps in the melodic way fans are used to on this one. The heavy lyrical and melodic repetition feels more natural and less, “Well, we ran out of ideas, so we're just going to do that one thing again and again.” The lively and lyrically poignant “Let Me Be Mine” is the real gem of the bunch. This song is heavily influenced by musical styles spanning at least the last three decades and still manages to sound up-to-the-minute current. It's emotional, genre-bending and unmistakably Spoon. Fans won't find many surprises on this album and that itself might be disappointing. The biggest change is a new preference for airy, synth pop, but these lighter songs are anchored by an equal number of bluesy, guitar-heavy tracks. Overall, They Want My Soul may not feel like a new high for an old band, but it proves that learning a few new tricks can help make an album a solid addition to a veteran band's discography.

Album Review: After the Disco

The next retro-futuristic indie drama set in space has just found its soundtrack. That soundtrack is Broken Bells’ sophomore album After the Disco, which dropped on Feb. 4. Super-talented, ultra-eccentric producer Brian Burton (also known as Danger Mouse) and The Shins frontman James Mercer came together to produce their slick, eclectic self-titled debut in 2010. After experimental EP Meyrin Fields hit iTunes in 2012, it became clear that these two were aspiring to be a real band with a unique, distinctive sound. For After the Disco, they honed that sound perfectly, creating a niche within a niche.

After the Disco may bend (and blend) several genres, but the result is more or less consistent – maybe even a little too consistent. Musically, it’s a pretty upbeat collection of songs, but the lyrics do tackle some heavy stuff.

The album starts with the ironic, even oxymoronic opener “Perfect World.” Mercer sets the tone when he croons, “I’ve got nothing left / It’s kind of wonderful / ‘Cause there’s nothing they can take away.” Here, as in many places on the album, the lyrics are as beautiful and haunting as Mercer’s falsetto. The title track is similarly layered: It’s definitely got that disco vibe, but it’s surprisingly sad and sweet for such groovy, gleaming song production.

The smooth, even elevator music-esque “Medicine” would have gone well with the tracks on Broken Bells’ self-titled debut, but “No Matter What You’re Told” is a little less clean, with more distortion and more emotion – at least on the angst-filled choruses. “Leave It Alone” is bluesy and has a little gospel to it. It’s almost like an electronic influence of a song from The Black Keys.

Rarely does any particular influence come through so strong. In general, this album treads on new territory, and the result is a sound that is often tentative and ambiguous. But the driving, urging choruses of “Control” are as confident as they are catchy.

If all of After the Disco belongs in an outer space movie, then lead single “Holding On for Life” is the one that makes it to the previews. Conveniently, the band has already made a series of short films and a “Holding On for Life” music video fitting this description, so much of the future producer’s work is already done.

Album closer “The Remains of Rock and Roll” has ambitious aims, but the sweeping instrumentals – if you could call them that – imply that it will be a great and important conclusion. And yet the wandering melody leaves the listener feeling that there was no conclusion at all. Intentional? Maybe. Frustrating? You bet.

This record’s biggest weakness may be that it is actually too much of an improvement over Broken Bells’ previous full-length effort. While that record is a collection of (albeit very good) songs that don’t all necessarily hang together perfectly, this one is so consistent – just too consistent. At its heart, it is a marriage of sci-fi pop and dance rock. The songs are fantastic, but the LP as a whole is not ideal for repeated listens, as it is ultimately stifled, even suffocated by its hyper-specific criteria.

Anyway, space is pretty awesome, but it’s also silent. Does it really need a soundtrack?

Movie Review: I, Frankenstein

Theaters are marketing I, Frankenstein as an action-horror movie. It is intended to be thrillingly dark, or at least darkly thrilling. Instead, it turned out to be something of a comedy.The film, loosely based on Mary Shelley’s masterpiece Frankenstein, hit theaters on Jan. 24, and it flopped big time. Its Rotten Tomatoes ratings are in the single digits. Still, I, Frankenstein appears to have potential. The creators of the Underworld series produced it. They enjoy a cult following – and with good reason. But there is just no denying that I, Frankenstein is an appallingly bad film. The plot is lame at best, making use of the ancient idea of a war between supernatural entities. Of course, this film subs in demons and gargoyles – read: ugly angels – for the go-to choices of vampires and werewolves. The film is also chock full of forced religious overtones, taking a bizarrely biblical turn when the gargoyle queen christens Frankenstein’s monster Adam. And the good-evil divide is disappointingly obvious. Spoiler alert: The monster is not the bad guy here. And, of course, the science is a joke. It certainly was incredible back in 1818 when Shelley wrote about an impassioned scientist reanimating a corpse one dark and stormy night using lightning. But apparently the creators of this movie believed that this little origin story is unscientific and in need of some updating. So, what source of electricity does Dr. Frankenstein actually use, according to this version of the tale? Electric eels. It is not lightning that shocked this apparently immortal beast alive but the current conducted by several electric eels. Sorry, what? The acting is not the worst ever, but it’s certainly not great. Aaron Eckhart’s performance as the monster/Adam/Frankenstein is rather unsatisfying. He doesn’t exactly have clever lines to work with – other than “Descend in pain, demon!” of course, which is just brilliant writing – but his delivery is actually laughable at times. It’s easy to forget that this guy played Harvey Dent not to mention Two-Face in The Dark Knight. Yvonne Strahovski of the TV series “Chuck” is also underwhelming in her role as a 21st-century scientist. She simply isn’t passionate enough about her work to be interesting or even convincing, and she and Eckhart have zero chemistry. Bill Nighy is reasonably creepy in his role as the demon prince, but his performance feels a little derivative of that of the Underworld series’ evil head vampire. A quick Internet Movie Database search reveals that this is because he was, in fact, that head vampire. Not only is the character the same but the actor is also the same. The aspect of this movie that has the potential to be really impressive is the effects, but even those are lackluster. The computer-generated imagery just isn’t cutting it, especially when it comes to the gargoyles, which could easily be flying straight out of an early-2000s fantasy PC game. It’s kind of cool when the demons “descend” to hell in red flames and the gargoyles “ascend” to heaven in beams of blue-white light, but it just makes one wonder what the supposedly ignorant humans think of that particular spectacle. Fireworks, maybe? The Northern Lights? It’s simply too ridiculous not to question. Still, my one final and most important question regarding this rather pitiful piece of modern cinema is this: Eels? Really?