Hinds’ debut album enthusiastic, dynamic

Spanish indie rock band Hinds released their first album Leave Me Alone on Jan. 8. The all-woman four-piece hails from Madrid and has played music throughout Europe since 2014. The band played numerous shows in America in 2015—including 16 shows at the South by Southwest festival—and have a few American dates lined up for their 2016 tour. Hinds is a perfect mix of grungy, yet fun; they are cute, yet intimidatingly tough rock. The opening track “Garden” is one of the best songs on the album, giving a strong introduction to the band’s style with its punchy guitar riffs. Singer and guitarist Carlotta Cosials starts the track with her attitude-filled and whiny—in a good way—vocals with, “How many secrets [do] you have that keep you smiling that way?”

Later in the track, Cosials and second singer and guitarist Ana Perrote enthusiastically scream together, “Show me the game/show me the rules again/because I’ll play it, I’ll play it, I’ll take it now”—making it irresistible to sing and dance along to this song in your bedroom.

The track “Castigadas En El Granero” has the best chorus on the album. Perrote and Cosials sing back and forth, with Perrote singing about the cows and corn in the granero—meaning barn—and Cosials—in her effortlessly sultry voice—responding, “I know you’re hearing that voice … a smoking roll… daddy let me go… oh father let me go.” The track is a perfect rock ‘n’ roll hit reminiscent of The Vaccines or punk band Jawbreaker Reunion.

The next track “Solar Gap” is where Hinds really shows its musical and artistic talent. The song is two minutes of dreamy instrumental, making you feel like you’re floating on a cloud. The track’s emotional simplicity makes it stand out from the upbeat tracks on the album.

My favorite track on the album is the playful “Bamboo.” Bassist Ade Martín starts off the track before an explosion of guitar and drums. Once again, Cosials and Perrote choreograph their vocals, bouncing from Cosial’s coy, “I want you to call me by my name when I am lying on your bed” to Perrote’s, “How could I show you without looking freaking mad/that I am not always gonna be around?” The song feels familiar and relatable while still being naturally fun and quirky.

The track “And I Will Send Your Flowers Back” feels like a bittersweet complement to “Bamboo.” It carries an air of melancholy from lost love as the pair sings, “And I’ll send your flowers back/What goes around comes around.” If “Bamboo” tells the story of a flirty new fling, this track is the ending chapter of the relationship. It feels raw and honest—almost like your best friend giving you tough advice after a break-up.

The last track “Walking Home” ends the album on an upbeat and positive note. The dynamic instrumentals—especially drummer Amber Grimbergen’s catchy beat—make this track unique and original.

Hinds feels down-to-earth and easy-going, yet you can tell that they take their music very seriously. It is such a pleasure to discover female musicians who are easily on their way to global success.

Panic!’s sound evolves on new album

Fans of Panic! at the Disco are well aware that the band’s sound has evolved dramatically over its decade of existence. For instance, the folky ambiance of their sophomore album Pretty. Odd is a great departure from their pop-punk debut A Fever You Can’t Sweat Out. Panic! at the Disco has also seen many members come and go. Notably, the band’s last album Too Weird to Live, Too Rare to Die! is the last in which drummer Spencer Smith appeared, leaving front man Brendon Urie as the only remaining original member of the band.

Because of the loss of Smith and the previous album’s disappointing lyrics and forgettable songs, I was apprehensive about the release of their fifth studio album Death Of A Bachelor on Jan. 15. I was pleasantly surprised, however, by Urie’s complex and memorable lyrics, vocal diversity and catchy instrumentals.

The album starts off strong with “Victorious.” It sets the mood for the rest of the album, building the feeling of power and excitement on a fun night out with lyrics like, “We gotta turn up the crazy/Living like a washed-up celebrity.”

The second track “Don’t Threaten Me with a Good Time” doesn’t disappoint, either. Beginning with a sample of The B-52’s “Rock Lobster,” its lyrics tell a story of waking up after a night of debauchery. The unique lyrics and explosive chorus are strongly reminiscent of the band’s debut album.

In the song “Emperor’s New Clothes,” Urie outdoes himself. The catchy line “finders keepers, losers weepers” that repeats throughout the track is sure to get stuck in the listener’s head. The chorus brings to mind ghosts and ghouls from “This is Halloween” from The Nightmare Before Christmas. It’s an interesting surprise that fits the song’s underlying dark vibe perfectly.

The album’s title track “Death of a Bachelor” immediately hooks you with its strong bass line. This song is also where Frank Sinatra’s influence on the album appears most clearly. Urie pays homage to Sinatra’s jazzy croons while simultaneously displaying his own broad vocal range. From a lower intonation on the verses, he seamlessly shifts into a falsetto on the chorus. In typical Panic! at the Disco fashion, the song’s bridge features a synthesized electronic pulse that complements the classic feel of the rest of the song.

One of the album’s most memorable songs is “LA Devotee.” Starting off with a catchy drumbeat, this track is one to dance to and one that could definitely be found playing on the radio. It’s more exciting and engaging than many of Panic! at the Disco’s attempts at accessible pop in the past both in terms of lyrics and beat.

Death Of A Bachelor is, as all of Panic! at the Disco’s albums are, an experiment—and a successful one at that. Even if the last album left you disillusioned, I would recommend giving Panic! at the Disco another chance. I would even go as far to say that beyond warranting a simple nostalgic listen, Death Of A Bachelor has at least a few songs that you’ll fall in love with and have stuck in your head for the next few weeks.

Bieber reignites music career with sophisticated album

Justin Bieber released his latest album Purpose on Nov. 13, creating huge waves in the music industry. Bieber sold over 649,000 copies in the first week of the release, breaking his previous records and making this his sixth consecutive number one album on the Billboard 200 chart. Despite his constant presence in the news for delinquent actions, it is impossible to ignore the immense talent and growth he has displayed as an artist. Purpose represents the maturity in Bieber’s music, both in substance and vocals. Bieber was signed to his first record contract when he was only 14 years old. At the time, Bieber had a much higher voice, but the progression of his albums highlights the changes his voice has undergone—which in and of itself is an incredibly unique aspect of his music, as many artists do not have this experience.

In terms of substance, this is probably one of the most distinguished records that Bieber has released. As a whole, it is more serious than any of his other works—all of which were more playful and pop-oriented.

In his lyrics, Bieber expresses deeper and more meaningful themes which were never present in his earlier, teenage albums. In the second track “I’ll Show You,” he comments on the superficial way that people view him. In the song, Bieber talks about how they don’t really know him for who he truly is. As far as lyrics go, this song further proves how far Bieber has come since his “One Less Lonely Girl” days.

Bieber’s previous albums were full of catchy, fun music and were prone to being overplayed on the radio. His music was made to satisfy his 15-year-old “Belieber,” not to express himself as an artist and a person. This is something that many mainstream singers do today and, while it sells records, it does not establish them as respected singers.

Purpose does not emit this same feeling, however. Now, Bieber sings for himself, not for his audience. While a few of his songs such as “Sorry,” “What Do You Mean?” and “Love Yourself” have definitely become huge hits, they are not shallow and repetitive like some of his other songs.

The song “Love Yourself” has quickly become a favorite for many people. The title of the song is misleading. At first glance, it seems as if the song is about an insecure girl—an overused and drawn out trope in pop culture. It’s actually quite the opposite, though. Written in collaboration with Ed Sheeran, the track is about loving a self-centered girl and why it’s necessary to move on. The main chorus states, “If you like the way you look that much/Oh baby you should go and love yourself.” The song is lyrically rich and seems to express some of Bieber’s life experiences—something that captures the essence of his entire album.

The release of Purpose has shown his immense growth in character and as a musician. This album is the equivalent of Kanye West’s Yeezus—incredibly different from anything ever released by the respective artists.

Purpose is a significant album in Bieber’s career, symbolizing his transition from a teen into an adult. It has even shocked many non-listeners into becoming fans of his music. It shows the world his true potential as an artist and sets the bar high for his future albums, which will likely surpass expectations once again.

Grimes’ new album innovative, bold

It’s been awhile since Canadian-born indie-pop singer Claire Boucher—professionally known as Grimes—has released an album: three years, to be exact. Her previous album Visions spawned critically-acclaimed singles “Genesis” and “Oblivion,” which helped propel her into the spotlight and achieve recognition. Grimes is known for her conceptual, intricate music in which she fuses musical genres that run the gamut alongside her eccentric do-it-yourself compositions. In fact, Visions was entirely recorded and composed through the free music-recording software GarageBand.

And now, with her highly anticipated fourth album Art Angels, Grimes has reignited the buzz around not only her music, but her narrative as an artist.

The first track off of Art Angels titled “Laughing and Not Being Normal” immediately gives insight into Grimes’ own style. The nearly two-minute intro begins with riffs, glockenspiel-like sounds and a composition of strings. Halfway through the song, Grimes belts her well known high-pitched vocals. It ends abruptly to lead into the lively next track, “California.”

“Scream” is one of the most eccentric songs of the album. On this track, Grimes collaborates with Taiwanese rapper Aristophanes, who sings the entire song in Mandarin. It is a poetic track, but is sexually explicit. While you may not understand what Aristophanes is saying, the noises she makes lets you know what she’s rapping about.

The fourth track “Flesh Without Blood” is the lead single of the album and is a Europop-sounding dance track. Lyrically, the song follows the theme of the public’s perception of Grimes and her rebuttal, singing, “And now I don’t, and now I don’t/And now I don’t care anymore.” She also takes jabs at people who claim she is “selling out” or “betraying” the roots of where she came from in order to become more marketable.

Another standout track, “Kill V. Maim,” is more conceptual and is sung through the scope of an altered, gender fluid version of Al Pacino. It’s backed by an infectious beat, hard synths and Grimes’ chirpy, chipmunk-esque vocals. In the pre-chorus, Grimes spells out “B-E-H-A-V-E” like a high school cheerleading team would with child-like enthusiasm. It is one of the liveliest and memorable songs of the album.

With Art Angels, Grimes travels to destinations Visions did not—there is a common theme of being free within the album. The song “Pin” encapsulates this with the chorus lyrics, “Falling off the edge with you, ahh-ooh-ooh-ooh/It was too good to be true.” Grimes has no regard but to be wild and have a great time, despite negative ramifications or knowing the moment won’t last. While the song is cynical, it takes a different approach to handling human attachment and detachment.

Another odd but refreshing song is “World Princess, Pt. II,” which encompasses a lively, booming beat. Something noteworthy about this album is that Grimes criticizes how male-dominated the music industry is and how she feels that she is viewed as incapable simply because of her sex. Many would believe that a man or a group of people shaped Grimes into the star she is, but Grimes rebuts this by saying, “It’s mine” over and over in the chorus. Grimes is quick to emphasize that she made herself on her own.

In “Venus Fly,” Grimes collaborates with American artist Janelle Monáe—known for her various Grammy nominations and appearance on Fun.’s hit “We Are Young.” “Venus Fly” is a thrusting, bluntly feminist track touching upon the objectification of women. Grimes and Monáe assert that women in the music industry should not have to be judged on their appearance.

All in all, Art Angels is a packed, 14-track album with a lot to say. It showcases Grimes’ musical progression as an artist, but more importantly, it demonstrates what she has to say and what she stands for: feminism, liberation, environmentalism and happiness. With this album, Grimes is no longer running to escape: she’s confronting her reality and she does a darn good job with it.

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.

Symphony Orchestra pays tribute to classical composers

The Geneseo Symphony Orchestra performed with pianist, Department Chair and professor of music Jonathan Gonder in Wadsworth Auditorium on Sunday Oct. 19. The first half of the concert featured renditions of Hector Berlioz’s “Hungarian March from ‘The Damnation of Faust’” and Pyotr Ilyich Tchaikovsky’s “Suite from ‘The Sleeping Beauty’ Ballet, Op. 66a,” which includes the well-known “Waltz” as heard in the Disney movie Sleeping Beauty. Played by Gonder, Ludwig van Beethoven’s “Piano Concerto No. 1, ” comprised the second half of the concert and acted as the focal piece.

Gonder has balanced performance activities with academic and administrative duties throughout his career. He has performed as a pianist in solo concerts, concerto performances with the orchestra, chamber music, accompaniments and piano duo concerto. He has won the Southeast Regional Music Competition and was chosen as a finalist in the William S. Boyd International Piano Competition

Gonder played Beethoven’s “Piano Concerto No. 3” with the Geneseo Symphony Orchestra last semester and even wrote his own cadenza––the most elaborate and virtuosic element of a piece played by a soloist at the climax of the first movement of a concerto. At this concert, however, Gonder used one of the original three candenzas Beethoven wrote.

Beethoven wrote his first published piano concerto “Piano Concerto No. 1” at the age of 28. At that time, he was already regarded as the most promising young composer in Vienna. While the concerto is clearly indebted to Mozart, it sparkles with the addition of Beethoven’s exuberance and originality.

Beethoven has always been one of Gonder’s favorite composers, which may be why he has such a strongly developed personal view of how the composition should be played. In addition to understanding Beethoven and conducting extensive performance practice, Gonder has become an expert in expressing his own ideas and music throughout his performances.

Along with the orchestra, Gonder shared his music with the audience and members in the orchestra. For a great pianist like Gonder, the goal of playing alongside students is to inspire. As the soloist, Gonder has to constantly follow and lead the student-composed orchestra, which can sometimes limit the soloist’s performance.

Even with this slight limitation, Gonder thoroughly demonstrated his musical ability. The second movement of the concerto—which is slow and conspicuously exposes the ability of the pianist—was especially phenomenal. The phrases exchanged by Gonder on the piano and senior Nick Ellsworth on the clarinet provided an impressive example of how great musicians can create even greater music.

Gonder will be performing later this semester with the Geneseo Wind Quintet as well as with the newly formed Geneseo Piano Trio alongside violinist Peter Povey and cellist and lecturer of music James Kirkwood.

Led Zeppelin tribute band drums new life into classic songs

Led Zeppelin tribute band Out on the Tiles rocked the Wadsworth Auditorium on Wednesday Oct. 22 with covers of many of Zeppelin’s classic rock hits. Made up of University of Rochester professors Jimmy Warlick, John Covach and Jason Titus as well as drummer Rob Thurman, the band opened with a roaring version of “Immigrant Song” to set the tone for the remainder of the set. Led Zeppelin is viewed as the originator of modern heavy metal, drawing on guitar-heavy blues influences to create its iconic sound. Out on the Tiles remained faithful to that sound during its performance; capturing the heavy, power riff-laden sound of Zeppelin’s influential guitarist Jimmy Page.

Out on the Tiles guitarist and Chair of the University of Rochester’s music department at the Eastman School of Music John Covach faithfully rendered the now-famous licks of Page on songs like “Black Dog,” “Whole Lotta Love” and “What is and What Should Never Be.”

In addition to being loyal to the original, Covach also played each song on the same type of guitar Page used––bringing out the iconic double-necked Gibson EDS-1275, Gibson Les Paul and Danelectro 59-DC. In addition to these classic guitars, Covach played the mandolin on “Going to California” and “Hey Hey What Can I Do.”

The rest of the band also covered the Zeppelin songs with integrity, with Titus giving a sound performance on bass and keyboard and Thurman tearing through his own version of the famous drum solo in “Moby Dick.” Vocalist and second guitarist Warlick nailed many of Robert Plant’s infamously high-pitched vocals, especially on “Whole Lotta Love.”

In its nearly two-hour long set, Out on the Tiles performed tracks from across Zeppelin’s ultra-successful first six albums, from 1969’s Led Zeppelin to 1975’s Physical Graffiti.

Despite the challenges of playing such heavy music for a seated auditorium audience, Out on the Tiles still managed to rock; with the audience clapping along to “Heartbreaker” and bobbing their heads to the riff of “Moby Dick.” It is a credit to the musicians that their sound was perhaps too loud for the venue, as they were able to capture much of the weight and power of Zeppelin in its prime.

There are two ways to cover songs by Led Zeppelin, whose live music was known to be slightly sloppier and more aggressive than the recorded, studio versions. Out on the Tiles found itself somewhere in the middle.

Covach’s guitar was generally far cleaner and more faithful to the studio recordings than Page usually was when playing live. Meanwhile, the drums and vocals still surged with the ferocity that was created in “Wall of Sound.” The result was a fantastic tribute to the music of one of rock and roll’s biggest names.

Gambino surprises fans with online mixtape

Formally Donald Glover, actor-turned-rapper Childish Gambino isn’t known for holding back. Whether he’s spitting goofy bars about his preference for Asian women or waxing lyrics about staring into the existential abyss, Gambino’s music has always been about doing what he loves—about being damn good at it. The Internet and fans went wild when Gambino dropped the mixtape/EP combo STN MTN/Kauai, released as a surprise in two parts on Oct. 2 and Oct. 3. He gave this online gift out for free and it is nothing, if not a continuation, of his effort to always tell his truth.

STN MTN/Kauai is a concept album in the same vein as his sophomore effort Because the Internet. This time, however, the album is split into two thematically and sonically distinct narratives.

The first half STN MTN is a tribute to Gambino’s birthplace of Stone Mountain, Georgia. Playing out a professed childhood fantasy, Gambino imagines what it would be like if he ran hip-hop in Atlanta. Starting with the sawing intensity of “Southern Hospitality,” Gambino spends the first 40 minutes of the album drawing on the music of his hometown and indulging in his gangster rap fantasy.

While it sounds like he’s having a lot of fun, most of the material on STN MTN is a little disappointing. Compared to some of his more disciplined and thoughtful hits, such as “3005” and “Zealots of Stockholm,” the first half of the album lacks Gambino’s usual substance. Aside from the standouts “Candler Road” and “U Don’t Have to Call”—the latter of which features a beautiful prose rap bordering on poetry—the first half of STN MTN wasn’t up to Gambino’s usual standards.

Thankfully, the second half Kauai more than makes up for the slack. Upon waking up from his dream of Atlanta, Gambino reflects on lost love to the calm tropical sounds of Hawaii. Backed by a score that seems half-rap and half-PBR&B––with spoken interludes from fellow Internet messiah Jaden Smith fulfilling the role of “The Boy” from Because the Internet screenplay––Gambino crafts the soulful and introspective kind of hip-hop we’ve come to expect from him, with lyricism that entertains us and gives us pause. Especially with tracks like “The Palisades,” “Late Night in Kauai” and the incandescent “Pop Thieves (Make It Feel Good),” Gambino seems to have found the peace that he’s been struggling for, musically and thematically, in his last two albums.

All in all, STN MTN/Kauai is a relatively straightforward showcase for one of the most exciting rappers in the game today. Somewhere between the hardcore hip-hop of Atlanta and the paradisiacal beaches of Kauai, Hawaii Childish Gambino has found home.

Bassnectar drops high-energy EDM beats

World-renowned DJ and record producer Lorin Ashton, better known as Bassnectar, brought his Noise vs Beauty tour to the Main Street Armory in Rochester on Oct. 3. Bassnectar dropped his tenth album Noise vs. Beauty on June 24. I attended the concert; it was my first experience with this type of music in a rave setting. For those familiar with Bassnectar, you know that his music is only a fraction of the entire experience. I’ve never particularly enjoyed his music, but many of his fans regard him as a god.

Upon arrival, the scene was chaotic. Security was tight and the line was massive and moving slowly. Much to my surprise, there was already a girl on a stretcher to my left receiving medical attention.

We proceeded into the venue and I was immediately greeted by the overwhelming energy of 6,500 people bumping to openers Kill Paris and Son of Kick. The lights finally went down and the screams of the crowd grew louder. The real anticipation was growing for the bass-dropping, powerful, electronic-heavy beats that Bassnectar is known for.

Bassnectar wasted no time. He threw the beat right at the crowd and they went insane. Between the lights, music and people, it was sensory overload. Bassnectar played the crowd like an instrument––everyone was in tune very quickly. The crowd moved as a single entity; the vast majority knew the music instinctively and flowed with it to the point of perfection.

About an hour in, Bassnectar dropped “F.U.N.,” an interesting song with a piano instrumental intro. The slow, soft intro continued as I watched a man with LED finger-tipped gloves hypnotize a girl with an LED hoola-hoop for what seemed like an eternity. Then out of seemingly nowhere, Bassnectar dropped the bass and everyone snapped right back. As if on cue, clothes immediately started flying off left and right.

After that brief lull, Bassnectar never stopped. He kept the concert at an inhumane level of energy for two and a half hours, playing crowd favorites such as “Loco Ono,” “Lost in the Crowd” and “Noise.” The concert raged with its high energy, intense lights and community-mob mentality. Faces absolutely melted.

I needed a breather toward the end and returned to the balcony, which was, by this time, over capacity. It was right then and there, as I was looking over the mob grooving hard to Bassnectar, that I got it––I now understand why people go crazy for this type of musical vibe.

Bassnectar is the epitome of the digital age performer. The light show––which is perfectly synched with his electronic dance music––felt oddly familiar despite it being my first time at this kind of concert. He knows exactly the crowd he is playing to, and he knows exactly how to play that crowd.u

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.

Local bands welcome semester with funk, experimental sounds

With their unique blend of hip-hop, jazz and funk, Red Kettle bounced along through a set that included a cover of Herbie Hancock’s “Chameleon” thrown in amongst their own originals. Despite an ever-changing array of instruments that now includes a saxophone and keys, Red Kettle meshes together to create a remarkably tight sound reminiscent of Snarky Puppy’s 40-plus musician collective, “The Fam.”A pleasantly predictable set from headlining band Bronze Radio Return capped the evening. The band’s sound serves as another indication of just how influential the revival of indie folk pop has been within the last five years. They delivered an enjoyable set of easy listening acoustic songs, in the vein of now dime- a- dozen acts such as The Lumineers. While the open air of a Friday evening show on the Union patio was not the most favorable atmosphere for Red Kettle’s jam-heavy dance funk, relative newcomers Soft Cough made the best of their set. Made up of juniors Ben Freiman, Nicholas Koithan, Tom Kohn and Daniel Pugh, Soft Cough’s more traditional sound made for an explosive set. Thanks to the influence of three different writers––with Freiman as the only member who has yet to write for the band––Soft Cough presents an exciting variation. The band offers 1990s-influenced garage rock in the vein of Pinkerton, only to cut back to guitar-led charges accompanied by Pugh’s searing, take-no-prisoners vocal style. Considering the position Soft Cough holds as the flag bearers of Geneseo’s current music scene alongside Red Kettle, the variation in their music becomes more important. “The thing is, last year there were only a couple bands,” Pugh said. “We’re trying to motivate our friends who are talented to start bands.” Pugh affirms Soft Cough’s role as the forerunner in a push for an expansion of musical interests on campus. It was a return to the funky unfamiliar on Aug. 29 as Geneseo welcomed back fusion band Red Kettle and the up-and-coming Soft Cough alongside headliner Bronze Radio Return for the Welcome Back Jam in front of the College Union.

Red Kettle’s fusion of genres and Soft Cough’s ever-evolving sound are indicators of the ear for the new and exciting, shared by many of Geneseo’s own talented musicians. “Our aspirations right now are collaborating with everyone,” Pugh said. Given that the members are still only juniors, it appears that Soft Cough still has a lot more to do before their time at Geneseo is done. While they are yet to release any recorded material, Kohn noted that is something the band is currently working on. Soft Cough, like Red Kettle before them, is a band that above all looks forward to having a good time performing their music. So, look out for more from the big band on campus, because according to Koithan, “Soft Cough really just wants to play a bunch of shows.”

Album Review: Here and Nowhere Else

With their overdrive set to 11, their watery chorus effects and bloody-throat Kurt Cobain-influenced vocals, Cloud Nothings raise the question: Have we had enough of indie rock yet? Even if we have, Cloud Nothings has a reputation for freshness, originally invested in their 2012 release Attack on Memory. This was an important album because it employed the often-overlooked concept of sonic journeying, an experiment in sounds both hard rocking and softly scenic, yielding a larger and more interesting span of territory.

Without this concept, bands like Cloud Nothings turn out generic post-punk, but we call it indie because it is played by guys in vests and fake glasses to set them apart from the macho attitude that was once expected in rock music.

Now, on their senior album Here and Nowhere Else released April 1 through Carpark Records, Cloud Nothings hone their unique sonic journey and push it to experiment with paradox. Guitarist/vocalist Dylan Baldi’s noisy strumming and tremolo are explosively percussion-driven and yet movingly melodic. The album’s lyrics are both emotive and upbeat, resulting in a work that is honest, personal and yet wholly disinterested.

Here and Nowhere Else opens with “Now Hear In.” This is the closest this album gets to being normal and straightforward. The riffs are simple throughout, the vocals are clean and the drums are moving – a normalcy only slightly undercut by the emotionally distant proclamation, “I can feel your pain / And I feel alright about it” in the song’s chorus.

“Quieter Today” displays the breadth of the sounds the band is capable of producing, beginning with a melodic strum evocative of pop punk. As the listener is getting used to this, it dissolves into noisy atonal tremolo picking and unintelligibly slurred vocals. In spite of this, the drums and bass keep the song in order, consistent with the album’s levelheaded negativity.

“Psychic Trauma” continues that theme, showing us a negativity that is episodic, and like with a person, some episodes are worse than others. The song begins on a depressive balladic note, as Baldi reflects, “Tried to stop it, tried to feel something / But nothing happens, I stayed the same.” This time, the music does lose complete control, dissolving by the last minute to an all-instrumental tremolo with a rhythmic center too rapid to discern.

The band’s lo-fi punk roots begin to show on “Just See Fear” and stay throughout “Giving Into Seeing” and “No Thoughts,” but they show in a matured form. It’s punk but controlled by adaptive and champion drummer Jayson Gerycz and lead by Baldi’s calloused vocal cords and guitar work that is at any and all times subject to breaking tone and rhythm to hold a single-note tremolo for multiple measures.

The pinnacle of the album is “Pattern Walks,” which begins somewhat muted; it is an awkward melody sung through seemingly clenched teeth, followed by the bass and a basic drumbeat. The chorus of the song is heavier, but the epic feature of the song comes after the third chorus repetition in the form of a bridge so vast it takes up half of the seven-minute track. All instruments lose themselves in the cosmic destination that the album’s sonic journey has brought them; this includes the vocals, which only repeat, “I thought” until the close of the song.

“I’m Not Part of Me” ends the album on an introspective note that returns to the more normal sound and structure of “Now Hear In.” The album culminates with the same negativity that exists throughout but accepts it with full control, equanimity and even choice.

Album Review: New Crown

No band can crank out a healthy dose of throwback like Wolfmother. Despite the last few tumultuous years in the band’s history, there have been rumors of the band’s return. The Australian group, with its ever-changing lineup led by charismatic frontman and axeman Andrew Stockdale, just released a new album much in the manner of Beyoncé: unannounced and taking everyone (or at least the rock community) by surprise. As soon as this record hit the Internet, I scoured for other reviews and was shocked to see the negativity and criticism toward New Crown. There are supposed issues with the production value and the fact that the record feels rushed and the mixing is out of whack. I guess I’ll go ahead and say this now: I really, really like this record.

The riffs on this bad boy are unlike anything since, well, the last Wolfmother record. It’s true that, in places, the vocals are mixed very quietly, but honestly, I don’t care too much. The music is so in-your-face and raw that the album harks back to a band just hanging out in its garage, old school style. And that’s how it’s supposed to be sometimes. In a world where the lo-fi, art-rock, indie sound is king, it’s so refreshing to hear some goddamn kick-your-teeth-in rock ‘n’ roll.

The album screams to life with the first four songs. “How Many Times” wails with Stockdale’s furious and fast fretwork and buzzes with that signature Wolfmother fuzz.

“Enemy Is in Your Mind” is Black Sabbath ferocious. It’s low, gloomy, doomy and crunchy as hell, all over Stockdale’s Robert Plant-esque howls. What would happen if Zeppelin and Sabbath mixed? This song, that’s what.

“New Crown” keeps the riffage going and really breaks it down for an awesome bass interlude in the middle of the song. This is the centerpiece of the album and deservedly so, as it has everything that makes Wolfmother the torchbearers of that classic rock sound: great vocals, dirty instrumentals and a raw texture that shows a band at its core.

The band takes a quick punk break on “Feelings,” which is the most full-force balls-to-the-wall gritty song on the album. “I Ain’t Got No” is another standout on the album with a sound that screams The Rolling Stones meets The White Stripes. “My Tangerine Dream” is a psychedelic rock odyssey that pulls from the greats of the late ‘60s and early ‘70s, and “Radio” is a fuzzy, heavy rock ‘n’ roll dream that finishes the album off with a bang, putting a stamp on a record that defies all conventions of its time.

New Crown isn’t just a surprise; it’s a wonderful, glorious rock ‘n’ roll surprise. Listening to this album will help you remember what came before most of the music we hear on a constant basis in this day and age; in fact, it shows us what’s hiding at the very core.

Wolfmother’s talent, I think, lies in tapping into that primal force and somehow keeping the well wet and the riffs heavy. As long as this band and Stockdale exist, there will be some old-fashioned rock ready to be had in the universe. And that is a beautiful thing.