Square dance emphasizes New York's folk roots

Students and visitors filled the MacVittie College Union Ballroom on Nov. 8 in a celebration of a form of dance that has deep roots in western New York’s history. Led by Geneseo lecturer of music James Kimball, the Geneseo String Band played through classic square dance songs for the eager crowd. A folk dance that reached its peak popularity in the early part of the 20th century, the square dance got its name from the arrangement of the dancers in squares of four couples. Square dancing was embraced widely across the United States––particularly in western New York where many of the songs performed had been written in the past decade.

Some dancers were clearly more experienced than others, as many had come from surrounding counties to take part in the evening’s festivities. Kimball addressed this early on, beginning the night with basic instructional dances to help the beginners along. After starting out with a large circle dance intended to familiarize the dancers with square dance style, Kimball helped to guide the crowd through early missteps and confusion. The dances grew significantly more complex by the evening’s end, but even the inexperienced dancers were able to hold their own.

The bandleader at a square dance is traditionally known as the “caller.” Many of the lyrics to square dance songs come in the form of instructions, similar in that way to modern dances like the “Cha Cha Slide.” As the caller for the evening, Kimball made sure to break down the square dance jargon, taking time to explain terms such as “do-si-do,” “allemande left” and “promenade.”

Still, each new call from Kimball was met with plenty of confused glances as the dancers hurried to keep the traditional square dance shape or remember how to “pass through.” In the flurry of movements, some dancers understandably made a misstep or two and occasionally the square form broke down. Despite beginner mistakes, the dancers still made the most of the learning experience.

Thanks to the good-naturedness of the assembled dancers, Kimball and GSB were able to strip away the initial awkwardness of dancing in a large crowd. While certain dancers began to distinguish themselves as square dance veterans, both rookies and professionals alike were able to enjoy the evening’s events.

Amongst all the dancing and learning, GSB performed a series of traditional songs mostly with ease—they struggled initially in determining what songs Kimball was playing, as many of the songs have very similar sounds and titles. Overall, the band’s performance was strong; they captured the spirit of western New York’s celebrated folk dance tradition.

Twin Peaks return sure to bring new mysteries, same old coffee

Armed with the familiar hashtag “#damngoodcoffee,” co-creator and director of the early 90s TV series “Twin Peaks” David Lynch announced via Twitter on Oct. 6 that the series will be returning to television for a limited run. Nine new episodes are set to air on the Showtime network in 2016. The show was cancelled by ABC in 1991, after a two-season run which lacked steady viewership and the resolution of the show’s central mystery: “Who killed Laura Palmer?”

Lynch’s tweet reads, “Dear Twitter Friends… it is happening again” and was accompanied by a minute-long video starting with a clip from the show’s final scene in which Laura Palmer, depicted as alive in one of the surreal scenes that is characteristic of the series, raises her arm and snaps, turning the screen black.

“25 years later” then appears in the signature font of the series, an unappealing brown outlined in neon green. Afterward comes a still of a sign reading “Welcome to Twin Peaks” is the backdrop for “2016,” followed by “SHOWTIME,” as the beloved theme song “Falling” begins to play.

This short video sent shivers through me, a casual fan, due in no small part to the haunting instrumental from “Falling.”

It may seem redundant to display “25 years later” and “2016” in the same short video, but the time elapsed since the last aired episode is important to the new series. Lynch and his co-creator Mark Frost may have known this even in 1991.

In a move conscious of the pioneering nature of their program they embedded plot points into the final episode that the new series will pick up, 25 years in the future. The “25 years” is also in direct reference to the final scene that the announcement video uses. In another part of the scene Laura Palmer says “I’ll see you in 25 years.”

While Frost and Lynch have to please their fans who have been salivating for this moment since 1991,they also want the new episodes to be accessible to people who have never seen the original series.

Showtime will be airing the original series before the new premiere for those who want to catch up, but with both seasons already on Netflix you could probably knock it out in a weekend or two.

There will also be a book titled The Secret Lives of Twin Peaks, written by Frost, which will explain what all of our favorite characters have been doing with their small town lives for all these years. It’s set to be released in 2015 for those fans who just can’t wait.

Although only nine episodes are planned, the new series may continue on if it’s well received.

Frost and Lynch have hinted that there are greater mysteries than Laura Palmer’s death in the town of “Twin Peaks.” This new series may solve some of those mysteries which original series was only able to hint at before it was cancelled.

"Walking Dead" premier leaves viewers hopeful for fast-paced season

AMC's “The Walking Dead” has returned for its fifth season this fall and three episodes have already aired. If you’re wondering how the season is going thus far, these episodes are an indication that there is certainly much to look forward to, but there exist some glaring problems that are hard to ignore. The season premiere “No Sanctuary” was certainly a high point, picking up right from last season’s cliffhanger with an intense episode that hit many of the right notes, while still providing many impressive action sequences. “The Walking Dead” has often faced criticism for how slowly it moves with the main plot, so it was refreshing to see the events unfold so quickly.                    The group also has a clear and defined goal: getting to Washington, D.C. so that Eugene can find a cure for whatever causes people to turn into “walkers.” Hopefully, this signifies a faster paced season compared to prior “Walking Dead” storylines. As good as this episode was, Tyreese’s scenes stuck out by being a bit on the nose, highlighting the show’s occasional struggle to implement subtlety when it comes to conveying a message.

The follow up episode, “Strangers,” helped maintain my optimism for the direction of the season. Despite the show's large cast, many characters were still given effective—albeit brief— moments of characterization without it seeming forced or rushed.  Hopefully, this will continue as the season progresses––with so many characters, it runs the risk of being too disjointed and lacking in focus. This episode seemed to be more geared towards setup and character building, which did not bother me following the beginning to end action of the prior episode.

Unfortunately, the third episode, “Four Walls and a Roof,” had some issues. Early in the episode it was quite pleasing to see the ill-fated Bob turn the tables on Gareth and the other cannibals with his transition from crying hysterically to laughing maniacally, revealing that his flesh they consumed was potentially contaminated from a walker bite. His death was even less effective by being stretched out for the entire episode, making it seem melodramatic. It was also disappointing for Gareth and his group to be killed so quickly.

They were becoming increasingly interesting as we learned more and more about their backstory.  Following the buildup for Terminus last season, it makes both these characters and Terminus itself seem increasingly like a plot device in hindsight.

Given that next week’s episode appears to be set chronologically, we’ve yet to see a consistent pace to determine the rest of the season following the events of this week’s episode. Hopefully the plot will continue to move along, while still balancing such a large cast. Personally, I remain optimistic. “The Walking Dead” will continue Sunday Nov. 2 at 9 p.m. on AMC.

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.

Thriller embraces reverse gender roles with strong female lead

Gone Girl is a drama and thriller that reverses the gender roles typically seen in the media. Directed by David Fincher and starring Rosamund Pike, Ben Affleck and Neil Patrick Harris, the film premiered in theaters on Oct. 3. Based on the thriller novel by Gillian Flynn, the film centers on Nick Dunn––played by Affleck––who is framed for the disappearance and possible murder of his wife Amy Dunn––played by Pike––by his wife herself. Gone Girl begins as any romantic film would, sharing the story of how the couple met. Amy is introduced as a New York-bred, successful writer and daughter of two authors who provide her with a trust fund. On the other hand, Nick is laid-back and alluring.

One notable scene is a heated moment of passion unlike any from the other suspense or even romance films I’ve ever seen. As Amy and Nick make love for the first time, the camera takes a delicate—and unique—moment to focus on the pleasure of the female lead. Instead of a typical sex scene, Nick is the one who performs oral sex, adding to the empowerment of this strong female character.

The film soon tumbles into a sequence of events that lead to the disappearance of Amy. Through the perspective of Amy, we see Nick become distant and constantly at edge. Eventually tension builds because of money issues and more, and the love they once had is gone.

Word about Amy’s mysterious disappearance spreads like wildfire and soon all of the town, media and police become involved. Nick is made to look like a careless fool by the media, and the police and town begin to suspect him of murdering his wife.

Meanwhile, Pike’s character develops from victim to victimizer––this is where the actress’ strong acting chops are revealed. Both mentally and emotionally unstable, Amy is revealed to be playing games. As the film develops, we learn more about Amy and her past relationships and inconsistent personality. Pike’s impressive and dynamic acting overpowers that of Affleck’s. Perhaps this is meant to contrast with the character of Nick, who becomes a pariah in his own town and all over television.

The film takes a sharp turn of events and the audience is left confused to many extremes. Affleck’s character is at first an easy and culpable target, but interestingly enough becomes the victim of the film. This is a rare occurrence for a male lead, and unlike the usual roles that Affleck himself plays.

Despite the length of Gone Girl—149 minutes total—it is a slow but steady progression that makes sense considering the careful consideration of the complexity of each character and the overall plot of the film itself. What will surprise viewers even more is the peculiar and unexpected ending.

Rating: 4.5/5

Rochester film festival confronts sexuality, racial issues with stirring documentary

Out in the Night is about violence––where it begins, what it looks like, how it happens and the stories that we tell about it. Screened on Oct. 11 at the Little Theater in Rochester as part of the city’s LGBT film and video festival ImageOut, Out in the Night is an incredibly powerful documentary by director and producer Blair Doroshwalther. Out in the Night tells the story of the “New Jersey Four,” a group of young, black lesbian women from New Jersey who were harshly convicted for defending themselves against a targeted attack that took place in New York City in August 2006.

The film deals with the ways in which misogyny, homophobia and racism function together as forces of oppression and emphasizes the necessity of working simultaneously against all three. Labeled a “gang assault” by the justice system and “Attack of the Killer Lesbians” by the media, the story of the “New Jersey Four” challenges the idea of living in a post-racial, colorblind society.

While the media and the trial focused solely on the violence of that one night, the film takes a nuanced look at the various forms of violence within the case. The film examines the violence of gay-bashing and sexual harassment that happens daily even in supposed “gay-friendly” cities and neighborhoods. In addition, it depicts the violence of a culture that routinely criminalizes the bodies and existences of LGBTQ-plus people and people of color and the violence of a legal system that sentenced “New Jersey Four” member Renata Hill to more prison time than the man who serially raped her as a child.

After watching the film, all confidence in the ability of the criminal justice system to sort through all these layers of violence disappears. Instead, the film asks us to consider the possibility of community-based alternatives to policing and incarceration.

Out in the Night also explores the complex terrain of self-defense. It discusses who is granted the right to self-defense and who, as activist and writer Mariame Kaba puts it, is seen as having “no selves to defend.” In the film, activist and scholar Angela Davis argues, “You either ascent to the homophobia of everyday culture, or you figure out a way to speak out, to resist.”

At the ImageOut screening, three out of the four who were convicted—Renata Hill, Terrain Dandridge and Patreese Johnson—were in attendance and fielded questions from the audience. They discussed their lives after prison and possible steps forward in combating the injustices that they and other LGBTQ-plus individuals experience.

Although the film ends with a reduction in their sentences and a release from prison, the fact remains that these women spent several years of their lives behind bars and continue to face difficulty in finding employment because of their criminal records. They may be out of prison, but they are not entirely free.

Awarded with the Special Documentary Jury Prize for Courage in Storytelling by ImageOut, Out in the Night is a moving and essential film. Although difficult and potentially triggering to watch, this film’s story is one that needs to be told.

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.

Movie Review: Captain America

As one of the most eagerly anticipated and ubiquitously praised films of the spring season by both fans and critics alike, my expectations for the new Captain America movie were understandably high. Yet despite what may have seemed like lofty and unrealistic aspirations for this film, directors Anthony and Joe Russo and their entire creative team wholeheartedly deliver on that projected hype – arguably exceeding it.

Captain America: The Winter Soldier is a thoroughly enjoyable two-and-a-half hour ride that captures your interest and attention from the get-go and holds them tightly until the very end; proving to be not only one of the strongest contributions to the Marvel Cinematic Universe to date but also an excellent work of cinematic artistry in its own regard.

As expected, the story revolves around the actions of the titular character Steve Rogers and his involvement with S.H.I.E.L.D., the peacekeeping organization responsible for overseeing all superhero-related business. Ultimately, the plot's action boils down to Rogers striking out on his own adventure accompanied by a select few and unearthing some of the dark secrets of S.H.I.E.L.D.’s past all the while going toe-to-toe with one of the most dangerous adversaries introduced thus far: the Winter Soldier.

Chris Evans, Scarlett Johansson and Samuel L. Jackson all reprise their roles from the series and do a pretty decent job expanding each of their character’s depth and motivations, respectively. The newcomers to the film do an impressive job holding their own as memorable characters in their own right, from Anthony Mackie’s seamless transition into the role of Rogers’ loyal friend and sidekick of sorts to Robert Redford’s portrayal of S.H.I.E.L.D. executive Alexander Pierce, a role akin to Iron Man 2’s Justin Hammer but with a bit more gravitas.

Though chronologically speaking, the film takes place not long after the events of The Avengers, this sequel also directly ties into its original predecessor, Captain America: The First Avenger. It does a pretty impressive job incorporating fundamental aspects from both; viewers who have kept up-to-date on the franchise are sure to appreciate the occasional appearance of a familiar face or two alongside scattered references to the established Marvel mythos.

Another significantly positive aspect of the film is its accessibility. This is arguably Marvel’s most accessible film to date and that's largely attributed to the way it handles itself. Some of the biggest issues with past Marvel features have been a reliance on the source material to drive the story along with an overall lack of seriousness or dramatic tension. And that's part of what makes this film so brilliant. The Russos very clearly take this story in their own direction and make it their own. They imbue it with such a driving sense of momentum that you’ll likely find yourself on the edge of your seat for the majority the film.

With a notably darker tone from its other Marvel counterparts, exceptionally well-choreographed fight scenes, explosive action sequences and just the right amount of clever comic relief, this film manages to cover its bases quite well.

Though it clearly follows the standard action film formula (especially in terms of plot structure), it utilizes these cinematic conventions so expertly that it could easily be described as an art. There are a sufficient amount of unexpected twists that are consistently able to keep the story fresh and interesting.

Captain America: The Winter Soldier is by far one of the best movies I have seen in a while. Regardless of your previous experience with Marvel features or any preconceived notions you may have about superhero movies, I implore you to go out and see this film while it’s still in theaters. I solemnly swear that you’ll be kicking yourself in the rear if you miss an opportunity to see a gem like this in its proper form.

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.

Livingston County Museum unveils five-year growth plan

Among the hundreds of local treasures preserved and displayed by the Livingston County Historical Society and Museum, the building that holds them may be the most important artifact of all. It’s easy to forget that Geneseo’s delicate Wadsworth family stagecoach or the collections of arrowheads and war memorabilia are actually positioned in spaces that were once classrooms of the District #5 Union School, a cross-shaped schoolhouse serving local children from 1838-1932.

The schoolhouse has been a historical museum for roughly 80 years. While its ideal location on Center Street makes it easily accessible to the college and the community, the age of the building presents difficulties for day-to-day functioning of the museum space.

Museum Administrator Anna Kowalchuck presented a plan to address these difficulties to the community on Feb. 23 in conjunction with Geneseo historian David Parish and Virginia Searl from Bero Architecture PLLC.

The major goals of Kowalchuck’s Facilities Master Plan include creating an on-site artifact storage facility, improving flow between exhibit spaces, installing environmental controls for object-preservation and visitor comfort and improving handicap accessibility to the museum.

“It’s a project that has been decades in the making,” Kowalchuck said. “They’re big problems and they need big solutions.”

The presenters revealed a rendering of the planned construction, which includes a large addition to the back of the schoolhouse meant to lengthen the lifespan of the artifacts, improve visitor experience and create a new space for museum interns to work.

Kowalchuck estimated that the project will take at least five years to execute, requiring a budget of about $1.8 million. She plans to seek funding from grant-giving organizations, museum foundations, community members and legislators.

The aim of the Museum Planning for the Future presentation was to engage the public in discussion about the museum’s proposed makeover, generating support and understanding for the decision to improve the building. Kowalchuck said she believes the plan was well received by those in attendance and that she hopes they will spread the word to other community members.

“I think it’s something that people kind of have to digest,” she said. “This is a very open process. We want the whole community to think that this is a great idea and be excited … that people have a buy in.”

Kowalchuck hopes that improvements to the space will also make it more popular among college students, both as a casual learning experience and a professional development opportunity for those interested in pursuing museum work as a career. While the museum currently offers a series of internships to students each semester, the new and remodeled spaces will create new internship experiences for students. Even for those who don’t work as interns, the renovations will improve students’ opportunity to learn about the history of their four-year surrogate home.

“We hope that more college students and their families will come up and learn about their sense of place,” Kowalchuck said.

Album Review: I Was Going to be an Astronaut

It is very rare for an album these days to truly uncover what love means to us as humans, and how torn down we are when we lose it, and how we feel invincible when we find it again. Acoustic singer/songwriter Greg Laswell’s new album I Was Going to be an Astronaut has done just that, and with such simplicity that it’s a skill in itself. I don’t care how cliché it is, because finding and losing love is what brings out the best music in the entire world. The new album, released Tuesday Feb. 11, is actually old – in a certain sense, at least. It’s comprised of mostly redone versions of some of his older and best-known songs and some that he thinks are worth a second chance. But trust me, just because you may have heard them before doesn’t mean you’ve heard them like this.

The album’s rawness and emotion tells us that it’s OK to cry when we lose such a big piece of ourselves and gives us permission to laugh and be joyous when we discover that we can love again.

Laswell’s voice is both gentle and powerful. He articulates every word as if we wrote the songs ourselves and feel what he feels.

From the album’s first notes on “I Don’t Believe It’s Through,” we hear exactly where this album will take us. The song flutters with gentle keyboard, and the melancholy is heavy throughout.

The best is yet to come. His new versions of “Comes and Goes In Waves” and “What A Day” moved me to tears: “What a day to be alive / What a day to realize I’m not dead” are sung with passion and emotion that is so palpable you can reach out and touch it. The piano accompaniment that makes up the majority of these tracks is beautiful and simple, which is all one needs for a great love or loss song.

I have to choose highlights even though the whole album is damn near flawless, so I have to spotlight “High and Low.” This song is just a mirror to me.  I’d never heard it before, and I was stunned at what a beautiful song it is and how much of myself I see within the words.

Another great of “Take Everything,” is one of the less heartbreaking and more bitter lost-love songs on the album, but it still glows as the piano dances throughout the track.

The last track on the album “And Then You” is one of my favorites. When you find love in your life, you have to listen to this song. Then you’ll understand its true power. But you should listen to it anyway. It’s stunning how simple it is, and yet it’s powerful in its expression of when you find someone special and no other problems in life seem to matter at all anymore. I think we can all find some truth in that.

I can’t think of a recent album that has moved me so much in the process of listening. I don’t know many artists who can capture elation and pain and human love as well as Laswell can. The album is universal in scope; it’s a work of art.

"The Walking Dead" returns with deadly dynamism

Returning from a two-month hiatus, the widely anticipated mid-season premiere of AMC’s “The Walking Dead” aired Sunday Feb. 9, with the show moving to complete its fourth season run. Though the show has recently suffered from pacing issues and a lackluster narrative, dwelling a bit too long on the late sociopathic antihero The Governor, developer Frank Darabont has breathed new life into the series by splitting up the core group and examining some of the inner demons that plague the show’s central characters.

Following the calamitous events that transpired in the mid-season finale and the siege of the prison, Rick Grimes and his crew have all been forced apart in their haste to escape the chaos. Rather than trying to skip around and follow the exploits of every main character (a lá “Game of Thrones”), the show opts for a more patient and deliberate approach, focusing solely on the exploits of Michonne and the Grimes family.

A sizable chunk of the episode is dedicated to learning more about AMC’s own “warrior princess,” who, in the absence of the group’s support, is increasingly haunted by memories of her life prior to the zombie apocalypse. The viewer is treated to a rare glimpse of Michonne’s backstory, in which we see that she had had a fairly tight-knit family of her own and even a son to look after.

We are further privy to the more human side of the two members of Michonne’s family who eventually ended up becoming Michonne’s pet walkers, initially accompanying her when first introduced to the series. But most of all, this episode demonstrates an utter breakdown of the character, showing the previously well-kept façade of indifference crumble.

A majority of this episode concentrates on Rick and Carl Grimes and the nature of their skewed father-son relationship. Weak from his near-death skirmish with The Governor in the previous episode, Rick Grimes still tries to maintain a position of authority as Carl Grimes’ guardian, yet his condition betrays him on multiple occasions. Carl Grimes, on the other hand, grows increasingly impatient with his father and indignant at being treated like a child.

In an attempt to demonstrate his independence, Carl Grimes tries searching for supplies in a vacant neighborhood on his own, yet only narrowly escapes certain death in two separate instances. Though quick to blame his father for the problems at the prison and the death of a handful of their friends, Carl Grimes finally comes to terms with his own weakness and need of a father figure.

The episode ends on a decidedly positive note, with what appears to be a reunion of the two separate parties. And though the theme of the episode seems to be admitting one’s personal shortcomings, the outcome of this acknowledgement is most likely personal growth.

Despite the disappointing showing from the first half of the season, the season definitely seems set to finish stronger than its onset, with less jump scares and stock whodunit plotlines and more socially dynamic, character-driven action.

Album Review: Cavalier Youth

English post-hardcore rock band You Me at Six has started to mellow out a bit on its newest record titled Cavalier Youth. But mellow does not necessarily mean great, or even very good for that matter. This record has a few bright points, but most of it loses its charm very quickly with mediocrity in vocals and instrument structure that blend together from song to song. Where the record shines, it shines. Where it does not, it falls flat on its face and tries really hard to get back up again, only to repeat the process until the album finishes.

I must have a thing for opening tracks, because the opening track on this record is probably one of the best. “Too Young To Feel This Old” is a hard hitting, standout performance with a soaring, catchy melody and shining guitar work. If any track is worth a download, it’s this one.

“Lived a Lie” is nothing really special, and it didn’t really jump out to me. The next track “Fresh Start Fever” sounds like a cut from Fall Out Boy’s Infinity on High. Loud thumping drums and a manic beat really add some liveliness to the record, and the song did stay with me after listening. These tracks are short-lived, however, as this is where the album begins to quickly fall into routine and languish.

The main problem with the rest of the tracks is the vocals. Front man Josh Franceschi’s vocal style lends itself to this type of issue, but it’s not solely his fault. Perhaps the band didn’t arrange the songs well enough on the album, or maybe they wrote too many that had similar notes, sounds and structure. Even if this was the case, they didn’t write them to the best of their ability. The songs sound very similar and the vocals all hover in one specific area and never quite leave it.

I can tell Franceschi is passionate about what he’s singing, but the writing fails him here. Out of the following few tracks, the one that stands out is “Hope For The Best.” The chorus is catchy enough to warrant a notice on my mental list, and the harmony is well done. The instruments here sound pretty strong as well, but there’s certainly room for improvement.

The last track “Wild Ones” is another track that really stands out for me. I guess the bookends of the album really are the best, as this track has a fantastic chorus and is slow and ballad-like in structure. It’s a very nice farewell and is the longest song on the record, to really let listeners savor one of the few good moments of the album.

You Me At Six is known for its post-hardcore sound, but after deciding to lighten up a bit on its newest release, the effort falls somewhat flat. If the band can take the pieces of the record that work and combine that with previous efforts that are much better – like 2008’s Take Off Your Colours – then we’ll have a great record on our hands. For now, though, the members of You Me At Six will have to lick their wounds and re-evaluate where to go from here.

Movie Review: Her

Nominated for five Oscars, Her proves to be a visually stunning, brilliant, quirky and wryly comedic film. Spike Jonze has traded in his Jack-Ass-style absurdist humor and created a sweet melancholy tale, reminiscent in the tone of his recent film adaption of Where the Wild Things Are. In the Jonze-created not-so-hard-to-believe future, we are introduced to the withdrawn and wonderfully mustachioed writer Theodore Twombly, performed subtly yet stunningly by Joaquin Phoenix. Having a hard time coping with his recent break up, Twombly finds himself alone, alternating between work and video games. A once-popular man, the audience watches as friends reach out to Twombly. He rejects most of their gestures and his only active human connection is found in his long-time friend Amy, played by a blonde Amy Adams.

In this world, which seems to be an almost satirical version of the iWorld in which we live today, Jonze invents brilliant new technologies and explores the idea of true human connection. One of the most telling glimpses into Jonze’s idea of the future is the company for which Theodore works: beautifulhandwrittenletters.com. Hallmark on steroids, this company hires writers to create personal letters for people’s loved ones – birthdays, anniversaries, you name it.

Through exploration and invention, the film heats up, introducing the latest piece of technology, an intuitive operating system – “a consciousness,” OS1. Twombly buys the OS, and shortly after starting her up, finds himself developing a peculiar connection to this super-computer, who goes by the name Samantha, voiced by Scarlett Johansson.

It doesn’t take long to predict where the film is headed – a lonely man desperately searching for interaction, connection, a humorous, spunky, female character – the film quickly becomes a unique 21st-century love story.

As this romance blossoms, Twombly finds himself opening up and beginning to rekindle and revisit other relationships in his life. After double dates with his co-workers and a closing lunch with his ex-wife, Twombly becomes less and less withdrawn. It could be argued that Samantha, a piece of technology, teaches him to accept the people in his life who love him and open up to the world again.

As an audience, we are completely submerged in this world. Through subtle yet intimate dialogue, breathtaking cinematography and a sweetly melancholy soundtrack, we begin to feel we live in this world alongside Twombly and Samantha. The raw emotion, not thrown in our faces but scattered carefully throughout the movie, is left for us to discover and interpret and leaves little room for dry eyes.

We feel the emptiness in not only Twombly but also the extreme technology-ridden world. We feel the emptiness in our own lives, and we wonder if Jonze is just giving us a glimpse into our own future. Once we get past the disbelief that a human-computer relationship could ever exist, and more absurdly that human-computer sex could exist – yes, it happens, we begin to feel overwhelmed with deep emotion.

Some scenes are a little boring, with long drawn out dialogue and complete silence. While artistically beautiful, these scenes become sleepers pretty quickly. They are balanced by other exceptionally well-written and at times mind-boggling concepts that Jonze depicts on screen.

Tumbling through the almost sci-fi, colorful and soulful film that Jonze has created, we leave the theater with some insight into one view of human connection and relationships as well as the limits of human understanding, consciousness, soul and, through all the complication, the simplicity of heartbreak. Jonze explores the juxtaposition of human interaction and technology. A beautifully crafted work of art, it’s impossible not to be consumed by this quirky romance.

Movie Review: Lone Survivor

Peter Berg is no stranger to action films, having directed Dwayne “The Rock” Johnson in The Rundown (2003) and Will Smith in Hancock (2008), among others. His latest film Lone Survivor tells the true story of Operation Red Wings, a mission in Afghanistan in which a small team of Navy SEALs was severely compromised. The film is one hell of a ride for the first half, packed with intense shootouts and high-stakes survival, yet it goes somewhat downhill during its latter half, suffering from clichéd baddies and a rather lacking performance from Mark Wahlberg.

The fatal flaw in this team’s mission is Wahlberg’s character, corpsman Marcus Luttrell, and his orders to set the goatherds free. It’s evident that the townspeople are hostile toward American soldiers, which should have steered the SEALs’ decision about killing them off and proceeding with their mission. While this may sound relentless toward the unarmed civilians and insensitive toward Wahlberg’s characher, keep in mind that not just the three other men in the team die but also many soldiers that arrive later on to save them.

But looking at the film itself, Wahlberg does little to give our lone survivor humanity or even remote likability. The factual detail of his compromising orders aside, his dramatic portrayal of Luttrell is very callous and not on par with his co-stars. I am a fan of Wahlberg, but here, he struggles to grasp the ruggedness and desperation of the character.

The redemption of the SEALs comes from the three alongside the lead actor. Into the Wild’s Emile Hirsch does a fantastic job as Danny Dietz, getting shot maybe a dozen times and breaking his bones while falling down cliffs in gut-wrenching slow motion sequences. Ben Foster plays a soft-spoken, smooth-operating Matthew “Axe” Axelson going out in a slightly overdramatic but awesome death scene. Taylor Kitsch, who played the titular role in box-office bomb John Carter, portrays the last member of the team, Michael P. “Murph” Murphy. This “voice of reason” goes out in a glorious fashion as well, becoming a martyr while calling in reinforcements.

Additionally, Alexander Ludwig from The Hunger Games and Eric Bana from Star Trek get little screen time as support personnel back at the base.

Now, aside from the strong supporting players, the aspect that makes Lone Survivor a more-than-decent war film is its intensely realistic action. From the moment the SEALs are dropped off to pursue their objective to the climactic deaths of all but Luttrell, we are deep in a cat-and-mouse survival game, as hordes of Taliban insurgents hunt down four SEALs through dense, mountainous woodland.

Bullets pierce flesh with spurts of sanguine mist and explosions send the protagonists flying down jagged, bolder-riddled slopes for what seems to be a good hour of the movie – and what an intense hour it is. It’s as engaging as classics like Saving Private Ryan.

But here’s what bogs the film down: Its second half deals solely with the last man standing, who is sadly the least compelling character in the main cast. Also, the oppositional focus is eventually shifted to a particular Taliban higher-up rather than hordes of unidentifiable enemies. This could have been a good move if the new “villain” was at all menacing. Instead, he’s made a joke through clichéd motives and dialogue, making him more of a Middle Eastern Bond villain than a realistic obstacle.

Berg’s latest is, for an interval, one of the most intense war films in a while, with epic firefights and badassery from the supporting cast. Despite this, it falls apart with clichés and a less-than-intriguing focus toward its conclusion. Regardless, knowing Berg’s previous feature – the insufferable Battleship – it’s surprising that Lone Survivor is as good as it is.

Album Review: Mind Over Matter

Young the Giant has certainly picked up the pace on its new album Mind over Matter but seems to have lost a bit of its charm in the process. On the whole, it is a very well constructed and produced record. It sounds wonderful, thanks to producer Justin Meldal-Johnsen’s work and the band’s lovely new exploration in a multitude of new textures and experimental sounds. Very few songs stick out in particular, but the album is definitely worth a closer look.

The album’s strongest section is the beginning, and this is demonstrated by possibly the best song on the album, “Anagram.” It’s a jangly, fun track that really shows how far the band has come since its last release.

The next three tracks, which are the three singles that were released for the album, are also strong. Each explores a different musical facet, with “It’s About Time” focusing on heavy rock riffs and “Crystallized” being a vocal showcase for frontman Sameer Gadhia. “Mind over Matter” plays with new electronic sounds and creates a great atmosphere for the track, although vocally and instrumentally, it doesn’t really stand out.

The songs “Firelight” and “Camera” are very attention grabbing. They’re both haunting ballad-like songs that are completely driven by the force of Gadhia’s voice, which is in top form throughout this entire album. “Firelight” in particular is somewhat reminiscent of “Cough Syrup” from the band’s first album, as the guitar tone is almost exactly the same.

While listening to “Camera,” I was immediately drawn in by how powerful the vocals are. It also has quite an interesting sound to it, and the only way I can think to describe it is “electric tribal.” These songs are all must-listens of the album and make up its better first half.

The second half of the album leaves something to be desired. Songs like “Daydreamer,” “Teachers” and “In My Home” are fast and frenetic, but don’t catch me by any means. The last couple of songs in particular sort of meander, relying more on their new electric textures and soundscapes than on quality songwriting and instrumentation.

All in all, despite its flaws, this is a strong record. The vocals are a sure highlight, and the band still plays well together for most of the album. The album also shows the group not being afraid to branch out and experiment, which almost always signifies good things for an up-and-coming band. It shows they don’t want just to be known as the band that sang “Cough Syrup.”

Signing to Fueled by Ramen is probably one of the best choices the band made to foster its sound. Though I’m giving the album a modest review, I still think, for the most part, that it’s a very well constructed album. It might just take a different ear to fully appreciate it and really take in all it has to offer.