Is iPhone the invention of the year?

Published on Friday, November 30, 2007
The Northern Star

If there is one thing that Apple Computers does better than make computer products, it’s building hype for them.

Their newest gadget, the iPhone, has already sold over one million units. While that does not make it as ubiquitous as the iPod, it has already won the approval of a technologically savvy group of consumers.

But to be frank, that approval is getting out of hand.

Time Magazine recently names the iPhone as the invention of the year. Writer Lev Grossman gives such reasons as, “The iPhone is pretty,” and “It’s touchy-feely.” Somehow people have been stupefied by this feat of design and marketing.

But it can’t be that great.

It’s one of, if not the only cell phone that doesn’t have a removable battery. Like the iPod, if the battery dies, it can be replaced through some form of hoop-jumping, or one could just buy the brand new model that just came out!

This is not meant to sound hypocritical. This writer has owned his fair share of iPods. But notice the plural form. For all its ingenuity, Apple products are not that durable. Sadly, that means when it breaks, it’s better just to buy a new one instead of fixing it.

Of course, the whole glamour behind the iPhone is that it is more than a mere cellular device. One of Grossman’s other praises for it was that “It’s not a phone, it’s a platform.”

Meaning that it’s essentially a portable computer and iPod as well as a trendy looking phone with a touchy-feely screen.

Never mind that the Blackberry and the Palm Pilot came out before Time’s invention of the year. Lord knows that Apple did not come out with the very first MP3 player, they just came out with the most easily identifiable one.

This is not to discredit Apple’s ingenuity, but, for some reason, whenever Apple decides to release something, there is a wave of pre-emptive praise. By golly, they’re revolutionizing technology!

Apple already has the sales and the hype behind them. Do they really need respected news organizations like Time Magazine falling over themselves with praise?

Especially since many of the inventions, “The Best of the Rest,” ,featured in the same issue of TIME, have a wider reach of potential.

One of these inventions is a hybrid steam engine in which, “water is sprayed into a traditional gasoline powered cylinder.” This thing produces enough energy to travel 40% farther than on a gallon of gas.

How is this not above the iPhone? It is not pretty or touchy-feely enough? Is Time saying that the a phone/iPod/portable computer is more important than weaning cars off of gasoline?

The fascination behind Apple products belie the more important technological advances society actually needs. For example, instead of focusing on devices that are more efficient and environmentally friendly, Time put a trendy gadget on the cover, a gadget they say will probably become obsolete in a few years, like a first generation iPod.

Music industry reissues best-sellers during holiday season

Published on Thursday, November 29, 2007
The Northern Star

Every year, around the holidays, music buyers tend to experience a little déjà vu.

That’s because the music industry likes to use this time to repackage, remaster and reissue many of its best-sellers. But are they worth listening to again?

Here is a look at five of the biggest re-releases.

“The Song Remains the Same” by Led Zeppelin.
Original Release: 1976
Why? – This notorious but beloved concert film gets a second edition on DVD, this time with new, remixed 5.1 sound and 40 minutes of bonus concert footage.
Worth the Reissue? - No. It may seem sacrilegious to trash on one of the greatest rock bands of all time, but “The Song Remains the Same” was and still is an indulgent mess. Anybody who just wants to see Zeppelin live without “fantasy sequences” in between should go to their amazing 2003 self-titled DVD.

“MTV Unplugged in New York” by Nirvana
Original Release: 1994
Why? – 13 years after its original release on CD and VHS, Nirvana’s transcendent television performance finally comes to DVD.
Worth the Reissue? – Yes. It’s been too long of a wait. The bonuses are kind of sparse compared to the other big reissues, but the original is still just as worthy of being re-experienced by a new generation.

“FutureSex/LoveSounds” by Justin Timberlake
Original Release: 2006
Why? – In case there’s someone out there who hasn’t already bought this triple platinum album (it’s still hanging around the Billboard top 100), now they can buy it with a bonus DVD of music videos and a making-of documentary.
Worth the reissue? – No. This is major label greed at its finest, an attempt to milk the most money they can out of a popular artist. Why do record companies put out “Deluxe Edition” albums so soon after an initial release? What does this say to the fans who bought it the day it came out? That they have to buy it again to get the full package? For shame.

“The Joshua Tree” by U2
Original Release: 1987
Why? – It’s been 20 years since the release of their best selling, landmark album. In celebration, fans can pick between a newly remastered CD, a deluxe edition with a bonus CD full of B-sides and outtakes, or the box set edition, which comes with an added live concert DVD.
Worth the reissue? – Yes. Even though the Irish group is merely a shadow of what it once was, it’s nice to be reminded why they became one of the biggest groups of all time in the first place. Plus, the tiered packaging helps separate the super fans from the casual admirers.

“Frank” by Amy Winehouse
Original Release: 2003 [UK Only]
Why? – Now that the soulful and self-destructive Winehouse is a household name thanks to her hit, “Rehab,” it only makes sense that her lesser known, Mercury Prize nominated debut album should hit American shores.
Worth the Reissue? – Maybe. Seeing as how it had never been released in the U.S., this will probably be a great gift for the million or so Winehouse fans. However, for those who are already sick of her shallow attempts at deep soul, this record won’t change anyone’s mind.

Track of the day: "1000 Umbrellas" - XTC

Published on Wednesday, November 28, 2007
The Northern Star

Last week I picked an incredibly sad song for this column. In response to that, here is a song that openly mocks sad songs.

The group XTC and its front man Andy Partridge were only second to Morrissey and the Smiths in terms of English bands producing comedic levels of melodrama in their music.

“1000 Umbrellas” is XTC’s finest example of that. Propelled by a lush and beautiful string arrangement, Andy Partridge bemoans the end of a romantic relationship with Shakespearean gusto, using every metaphor he can along the way.

“And just when I thought that my vista was golden in hue,” he sings at the song’s middle. “1000 umbrellas open to spoil the view.”

The word “misery” comes up over and over. When it does, Partridge doesn’t just sing the word – he heaves it like a sobbing lover while an orchestra plays buoyantly behind him.

Of course, it’s all in great fun, since it provides Partridge with a plethora of opportunities to showcase his English wittiness. For all it’s moaning a groaning, there is almost no way to take a line such as “I cried ‘til I floated downstream to a town they call ‘Misery,’” and not smile a little in spite of it.

“1000 Umbrellas” can be found on XTC’s 1986 album “Skylarking,” on Geffen Records.

Track of the day: "Names" - Cat Power

Published on Tuesday, November 20, 2007
The Northern Star

This is one of the saddest songs ever written, though it’s not the kind of sad that only brings tears; it takes the breath away.

Cat Power, also known as Chan Marshall, plays a simple piano line as she gives short histories of five people she knew growing up, all of whom were victims of physical, sexual or drug abuse.

With such sparse musical background, most of the focus is on Marshall’s smoky and frail voice and the devastating lyrics she sings.

Two of her old girlfriends are particularly hard to stomach. The first’s story is laced with shocking specifics: “She taught me how to please a man/After school in the back of the bus/She was doing it every day /She was 11-years-old.”

The second girl’s pain is even worse because of what isn’t said. After Marshall sings, “Her father would come to her in the night,” she is silent for a few measures, letting the weight of the line fall on the listener.

The tales of horror change into tales of deep, regretful memory. It becomes overwhelmingly sad when one begins to remember the names from his or her own childhood.

“Names” can be found on Cat Power’s 2003 album, “You are Free,” on Matador Records.

'Magorium' simply enjoyable

Published on Monday, November 19, 2007
The Northern Star

"Mr. Magorium’s Wonder Emporium"
Rating: 6 / 10

Staring: Dustin Hoffman, Natalie Portman and Jason Bateman.

Plot: The 243-year-old Mr. Magorium (Hoffman) is nearing the end of his life, causing his loyal manager (Portman) and his customers to wonder what will happen to his magical, titular toy store.

The Good: There is plenty of good-hearted and good-humored fun for both kids and adults.

The Bad: What’s with all the name-brand toys in the background? Not to belittle anyone’s nostalgia, but when a store carries dolls that move on their own, do Hot Wheels really cut it?

The Lowdown: Writer and director Zach Helm may be a creative force in film. However, he’s not one for originality. As the writer of 2006’s “Stranger than Fiction,” he played with the meta-comedy formula Charlie Kaufman perfected with “Adaptation.” With “Mr. Magorium’s Wonder Emporium,” he creates a world that is all too reminiscent of Willy Wonka’s. In one scene, a boy in the store finds an inflatable ball the size of the boulder in “Raiders of the Lost Ark.”

As Mr. Magorium finds his body indented into the ball, he laughs and says “I love this ball. It’s impossible to dodge.”

Not that it’s a bad film. There are many aspects to enjoy, including the wide-eyed sense of wonder the film instills, the clever bits of art direction and the cast. Dustin Hoffman does a good job of straddling the fence between an elderly mystic and an overgrown child.

Jason Bateman is in full-on Michael Bluthe mode as Henry, the humorless, workaholic accountant sent to determine the store’s worth in preparation for Magorium’s departure. (To “Stranger than Fiction” fans: What does Helm have against accountants?)

Bateman’s character is refreshing because he doesn’t play him like a shrewd, villainous businessman with no care for children, toys or magic. In one of the film’s best scenes, he explains to a scolding Portman that he is just trying to help, doing what he knows best.

Of course, as a family film, there will undoubtedly be a group of people who find it too cutesy and obvious. Therein lies the difficulty in rating. While “Mr. Magorium’s Wonder Emporium” is certainly flawed, it has its heart in the right place. It’s not looking to win Oscars – it just wants to entertain the family.

Thankfully, instead of a 90-minute toy commercial, the film celebrates the quirks and talents inside everyone.

Blue Cheer to take the stage at Otto's

Published on Friday, November 16, 2007
The Northern Star

Tonight at Otto’s Niteclub and Underground, Blue Cheer will take the stage. Here is what you need to know before you go to the show.

Background:
Blue Cheer formed in the late in 1960s. It became a part of San Francisco’s psychedelic rock scene, playing along side bands like the Grateful Dead.However, unlike many bands from the Bay area, Blue Cheer played heavy blues rock and played it loud.

Selected discography:
“Vincebus Eruptum” (1968): The album that got the band on the pop charts with a cover of Eddie Cochran’s “Summertime Blues.”

“Outsideinside” (1968): Seven months after releasing its debut, Blue Cheer put out what is considered to be its best album.

“What Doesn’t Kill You ... ” (2007): Forty years after the initial lineup formed, the band is reunited and has a new album.

Followers:
Black Sabbath - Ozzy Osbourne has said he wanted to do what Blue Cheer did, but more intense. And thus, heavy metal was born.

Queens of the Stone Age - It’s hard to believe “stoner rock” would have existed if Blue Cheer hadn’t combined its heavy rock sound with the psychedelia of San Francisco.

The Hives deliver with catchy anthems, fall with filler tracks

Published on Thursday, November 15, 2007
The Northern Star

“The Black and White Album” - The Hives
Rating: 6 / 10

Background: After three albums of playing fast and loud garage rock, including the hit, “Hate to Say I Told You So,” the Swedish quintet, led by the “Howlin’” Pelle Almqvist, expand their sound with help from producers Dennis Herring (Modest Mouse, Elvis Costello) and Pharrell Williams of the Neptunes.

The Good: Songs like “Hey Little World,” “Bigger Hole to Fill” and “Return the Favor” are catchy, stadium-sized anthems worthy enough to be played by a band as hell-bent on world domination as the Hives.

The Bad: The album has tedious filler tracks. Also, The Hives are best experienced live – and they’re not due back in America until February or March of 2008.

The Lowdown: When the Hives first broke through in 2002 with “Veni Vedi Vicious,” they were lumped together with the Strokes, the White Stripes and the Vines as garage rock revivalists.

But anyone who saw them live knew they had much bigger ambitions. Not since Oasis began telling people they were the best band in the world had a group so unapologetically declared themselves as “Your new favorite band.”

Five years later, the Hives seem to be getting closer to their goal. In support of “The Black and White Album,” their fourth overall, the band has toured with Maroon 5, slightly changed their sound and worked with some big names, like Pharrell Williams. Earlier this year, they even collaborated with Timbaland on his solo album, “Shock Value.”

Because of this, “The Black and White Album” spends much of its time with New Wave-style dance songs. One of the Pharrell-produced tracks, called “T.H.E.H.I.V.E.S.,” is the most straight-up disco song they’ve put out so far.

“The Black and White Album,” clocks in at 45 minutes, which isn’t long by any means, but still sounds stretched in Hives terms. It causes the band to succumb to the sad cliché of a slow, middle-of-the-album-instrumental song called, “A Stroll Through Hive Manor Corridors.”

While their experiments cause the album to lose focus and momentum, it doesn’t completely ruin it. With their matching black and white suits, The Hives are out to get as many people dancing as possible.

All the added production can’t hide the fact that it’s only rock and roll, and pretty good rock and roll at that.

Track of the Day: 'Harder, Better, Faster, Stronger' - Daft Punk

Published on Tuesday, November 13, 2007
The Northern Star

Recently, I was told about an NIU student saying Daft Punk’s excellent 2001 single was “totally ripping off Kanye West.”

Never mind the fact that Daft Punk’s song came out six years before. Any big fans of the French powerhouse dance group will tell you that hearing “Stronger” by Kanye West only makes them want to hear its source material more.

It’s easy to hear why. The hiccupping beat encourages the most acrobatic break dancing or perhaps an excellent version of “The Robot.” Off the dance floor, the song still delivers, thanks to its deft, layered production.

But the song’s best moment is when the electronically processed vocals speed up into a Guitar Hero worthy solo that’s as catchy as it is mind-blowing.

It’s no wonder Kanye decided to sample this. It’s one of the few songs that lives up to its hype-building title. Of course, Kanye didn’t really improve on his source material. On its own, it’s just too, well, harder, better, faster, stronger.

“Harder, Better, Faster, Stronger,” can be found on Daft Punk’s 2001 album “Discovery” on Virgin Records.

Album you should know: 'The Modern Lovers'

Published on Tuesday, November 13, 2007
The Northern Star

In 1972, epic songs such as “American Pie” by Don Mclean and “Layla” by Derek and the Dominos were topping the charts.

It’s no wonder that Warner Bros. didn’t release an album by The Modern Lovers. They were almost the exact antithesis of the day’s rock stars.

Led by Jonathan Richman, the Modern Lovers stripped down rock to its basic, three-chord origins.

The group formed in the early 1970s and recorded a demo with former Velvet Underground member John Cale.

Heard in the context of the budding punk scene, “The Modern Lovers” is revelatory. It predates the Ramones and the punk explosion, a fact critics say gives Jonathan Richman his “Godfather of Punk” title.

Yet “The Modern Lovers” is different from many punk records. Instead of focusing on rebellion and protest, Richman’s lyrics focus on the pleasures of girls and listening to the radio.

Every guy who ever felt awkward or shy around girls can relate to Jonathan Richman’s unlucky-in-love lyrics and nasally singing voice. To say he sings on this record is a bit inaccurate. Richman instead shouts or chants his tales of doomed love.

As Richman leads the band in singing back-up on “I’m Straight,” it’s the sound of a normal man transcending the mundane with honesty and heart.

Of course, it’s impossible to talk about “The Modern Lovers” without bringing up its classic opening track, “Roadrunner,” an ode to driving down the freeway with the radio on. With only two chords and a city’s worth of energy, “Roadrunner” is rock ‘n’ roll, through-and-through.

While the band broke up years before their sole album was released, they did go on to great things. Drummer David Robinson went on to play in the Cars while keyboardist Jerry Harrison joined Talking Heads.

“The Modern Lovers” lives on as an influence for rock music today.

'Lions for Lambs' wastes some potential

Published on Monday, November 12, 2007
The Northern Star

"Lions for Lambs"
Rating: 5 / 10

Staring: Robert Redford, Meryl Streep and Tom Cruise

Plot: As two U.S. Army rangers are put in peril in Afghanistan, their former college professor (Redford) tries to inspire an apathetic student (Andrew Garfield) in California. Meanwhile, a veteran journalist (Streep) interviews a slick, Republican senator (Cruise) about the mission the two soldiers are on.

The Good: In comparison to the several brainless movies that come out each year, it’s nice to see something that at least tries to say something relevant.

The Bad: The message becomes bogged down with heavy-handed rhetoric and statements. It tells more than it shows.

The Lowdown: With Robert Redford in the director’s chair, it almost goes without saying that “Lions for Lambs” would be a grand statement of a film.

That is only half true. In spite of the fighting scenes in Afghanistan, most of the time the focus is given to Cruise, Streep, Redford and Garfield talking in offices. The film relishes in the dramatic potential of watching two smart people have a conversation.

Because of this, the film makes no attempts to hide its obvious statement on America’s War on Terror. It says it loudly for an hour and a half.

One might go into this film with a sense of admiration for its writer, Matthew Michael Carnahan, who already attempted to combine current politics with action in this year’s “The Kingdom.”
While most films aim to sell tickets by pandering to the masses, he and Redford make a bold and admirable attempt toward essaying the country’s current state of affairs.

But it only works up to a point. For the first half, the film is riveting in its intimacy with the dual conversations. The military stuff is kind of distracting.

Then, as soon as the soldiers’ story gets exciting, the conversations become heavy-handed and preachy, with Streep lamenting the fall of journalism, Redford criticizing apathy and Cruise preaching the “whatever it takes to win” agenda.

While its reliance on dialogue is admirable on a technical level, some people will leave this movie with a poor taste in their mouths because of it.

It lacks enough character depth to really drive home its emotionally deep premise. Each character seems to be an archetype more than a real person. By the end, there is not as much to learn about these people as is initially promised.

While it’s certainly not the first film to come out that critiques the Iraq war, it feels the most didactic. A documentary can get away with that and still be compelling, but this is technically fiction. With several other critically acclaimed documentaries on the subject, from Michael Moore to “No End in Sight,” one ponders the usefulness of this film.

Importance of Facebook in our society

Published on Friday, November 9, 2007

The Northern Star

Making fun of Facebook is almost too easy.

While people obsess over their own and others’ profiles, as fellow Northern Star writer Sean Kelly pointed out this week in his column, they miss out on actual social situations with people.

While I don’t necessarily disagree with that criticism, there is no denying Facebook’s importance, not only in terms of pop culture, but in modern and youth-oriented society.

Like most things in the digital world, Facebook is nothing one should depend on. People met and organized their friends before the Internet, after all.

But there is also the great sense of convenience in being able to contact your friends and to gauge their moods and relationships via a Web site. It has become the measuring stick applied to everyone willing enough to make a page for themselves.

Where would budding musicians be today without Myspace and Facebook events? Where would loners be without living vicariously through other people’s pages?

Where would advertisers be without such a wealth of personal information they can use for target promotions? (That last one is not as good for the non-advertising people.)

Of course, as with most pop-culture touchstones, there is a level of absurdity attached to it. There are the groups that solely exist to have a large number of people join for a shallow reason, or no reason. There are the silly applications.

Recently, I was invited to a wedding via a Facebook event. Similarly, I’ve heard of marriages being broken up via Facebook.

But there have been some great advantages to having Facebook. Anyone who spent high school one month behind the gossip amongst friends (“They’re dating? Since when?”) is now in the loop, thanks to the news feed.

Better still are the honest reunion stories. Recently, I received a message from a woman in France who went to grade school with one of my professors. They hadn’t seen or heard from each other in more than 15 years.

As silly as the Web site gets at times, it’s hard to argue with moments like that. While the naysayers give their criticisms, the site will continue in its gloriously absurd way.

Of course, this opinion won’t be official until it gets posted later on my page ...

3 bands pack full 'house' Friday

Published on Monday, November 5, 2007
The Northern Star

While most nights at The House Cafe feature at least one band playing to a small crowd, Friday night’s show was happily different.

Not only did all three bands, Chicago’s Baby Teeth, Sycamore’s The Patience and Naperville’s Sleepy Sleepy Octopus impress musically, they also brought in a sizable group of fans. Each band seemed to have an entirely different group of people crowded at the front of the stage.

The headliners, Baby Teeth, were used to the supportive audience. Having played in DeKalb several times this year, they’ve built a dedicated following. Their fans, as well as members of the opening bands, danced and sang along to the trio’s brand of synth-pop with elements of soul music and glam-rock.

Perhaps no one was more enthusiastic than promoter, John Ugolini of Kickstand Productions, who is responsible for booking the band.

“There’s a reason I keep [booking them],” Ugolini said after the show, “They’re such a fun band.”

Logan Ochoa, drummer of the opening band The Patience, agreed, saying that they were her “favorite band to ever play at the House.”

Baby Teeth was certainly grateful and promised to come back to DeKalb soon.

Before them, the talented indie-rock trio, The Patience, took the stage. With a combination of intricate vocal harmonies and minimal rock arrangements, the trio shows much promise on their debut untitled demo CD.

On stage, they were still impressive and a little taken aback by the enthusiasm of their primarily male audience.

“You boys need to stop drinking,” singer and bells player Angel Pfrommer joked to the loud cheers given to her band.

Opening the night was Sleepy Sleepy Octopus from Naperville. With a name like that and a look similar to several other punk and indie-rock bands, people unknown to the band were surprised to hear the Byrds-like country rock on stage.

Led by singer-songwriter, Jack Kolacz, the band’s sound might be described as monotonous by some, but it is certainly a welcomed change of pace from other young bands coming through DeKalb.

'Wolf Like Me' provides great energy for Halloween

Published on Wednesday, October 31, 2007
The Northern Star

“Wolf Like Me” is perhaps the most apt representation of Halloween in the past five years.

The song is essentially about sex, but through the lens of a man turning into a werewolf. In the movies, this process often looks painful, but TV on the Radio, the Brooklyn-based art-rock group, seems to revel in its wicked kinetic energy.

The band barrels through the song with enough forward momentum to rival a pack of wild dogs. Singer Tunde Adebimpe half-chants his lycanthrope-themed come-ons: “When the moon is round and full/Gonna teach you tricks that will blow your mongrel mind.”

The song also features one of the great rock formulas of slowing the tempo down for the bridge, as though it was the eye of a hurricane. When it comes back to full speed in the final verse, it’s exhilarating.

This song’s real strength lies in its boundless energy. It evokes the sugar-high adrenaline rush of young trick-or-treaters as well as older, costumed partiers.
Though it only came out last year, it has the potential to become a track on your costume party’s mixed CD for years to come.

“Wolf Like Me” can be found on TV on the Radio’s 2006 album, “Return to Cookie Mountain,” out now on Interscope Records.

Best Horror Movie

Published on Tuesday, October 30, 2007
The Northern Star

“Jaws”

It may not be the goriest or most psychologically twisted film on this list. Some might not even regard it as a horror movie. Still, Steven Spielberg’s first blockbuster strikes fear into the hearts of swimmers everywhere. Thanks to his Hitchcock-informed direction style that favors restraint and suspense over spectacle, “Jaws” is a true horror movie. Plus, it has that immortal, ominous theme music.

Worst Horror Films + Monster Madness

Published on Monday, October 29, 2007
The Northern Star

“Manos: The Hands of Fate”
Known primarily by fans of “Mystery Science Theater 3000,” this movie is so inept, it should come as no surprise that is was written and directed by a fertilizer salesman. The catatonic plot focuses on a young family who makes a wrong turn down a dirt road. They end up spending the night in the home of a creep named Torgo and the satanic cult he serves. It’d be better for people to sell their souls before thinking about renting this without the “MST3K” commentary.

Monster Madness – The Creeping Terrors

First and only appearance: “The Creeping Terror” (1964)

Appearance: Imagine a giant slug made with sewn-together bed sheets, carpet samples and joke-shop knick-knacks.

Origin: Vague. Apparently it traveled from a far-off galaxy to crash-land its space ship in Lake Tahoe, Calif.

Abilities: Its attack pattern is remarkably consistent and surprisingly effective. Starting by awkwardly stalking the outdoors in search of tourists, townspeople and necking teenagers, it lumbers along until it finds victims. The victims, in complete shock of seeing such a feat of poor production design, are stunned into lying still, screaming and holding their hands up in fear. The terror sloooowly (can’t emphasize this enough) gets close enough so that the victim can helpfully climb into its mouth and be devoured, head first.

Purpose: Allegedly, it eats earthlings and sends information about their chemical structure to its home planet, possibly in preparation for a full-scale invasion.

Halloween creeps into Otto's Saturday night

Published on Monday, October 22, 2007
The Northern Star

Saturday night at Otto’s Main Room, Halloween got started early with three rock bands reveling in the twisted.

The showcase featured headliners Gabba Gabba Hey, a Ramones tribute band. Dressed in black leather jackets and wigs, they sped through a greatest hits version of the punk legends, including “Blitzkrieg Bop,” “Sheena is a Punk Rocker” and “I Wanna Be Sedated.”

A small crowd of about 20 enthusiastically danced and pumped their fists in the air to their favorites.

Still, one might agree that The Ramones are one of the easier bands to cover with their timeless three-chord, ‘in-and-out in two minutes’ formula.

Gabba Gabba Hey reached a meta-level of cover bands when they covered “California Sun,” and “Let’s Dance,” two early ’60s rock ’n’ roll songs The Ramones covered in their career. Thus, they are a cover band playing another band’s covers.

Gabba Gabba Hey’s performance was not bad but could have been better.
During “California Sun,” pseudo-Johnny Ramone (Billy Ramone) botched a signature lick, and pseudo Joey Ramone (Donny Ramone), didn’t follow through on the melody to the chorus of “Sheena is a Punk Rocker.”

Originally, Iron Horse, a Motorhead tribute band was scheduled to play but had to cancel at the last minute. In their place, the Gruesomes of Hammond, Ind. played.

Not to be confused with the Canadian garage rock band of the ’80s, the Gruesomes played a blend of goth-metal with the spirit of punk.

One song called “She’s in My Room” began with a frightening reading of the comparably nicer Beach Boys song, “In My Room” before piling through a tune about various forms of sex.

Starting things off after 10 p.m., The Aquaholics adorned the stage with cardboard cut-outs of nightmare-like cartoon monsters. Between their mainly instrumental set of rockabilly and surf guitar songs, they bantered in a low, guttural, affected voice.

With Halloween more than a week away, all three bands helped set the scene for several other metal, goth, punk and cover band acts coming to DeKalb in the coming days.

New album from Jimmy Eat World fails to impress

Published on Friday, October 19, 2007
The Northern Star

"Chase This Light" - Jimmy Eat World
Rating: 4 / 10

Jimmy Eat World’s sudden rise to fame is the kind of story that both the music industry and the press love.

Essentially, four remarkably average looking guys from Arizona caught lightning in a bottle with a catchy single that promised its listeners, “Everything, everything will be all right, all right.”

But since “The Middle” became a radio and movie trailer staple in 2001, the band has yet to recapture the magic found in their much-loved 1999 album “Clarity” or their pop-rock hits from the early decade.

If their fifth album, “Chase the Light” is any indication, there is still a long way to go before that magic is rediscovered.

Jimmy Eat World’s best songs combine big, arena-sized rock sound with angst, earnestness and most importantly, big, catchy hooks that stay in your head for weeks.

Unfortunately, most of the songs fail to live up in the catchiness department.
Instead, they sound unimaginative. By the end of the record, each song becomes boring on a good day, annoying on a bad day and formulaic everyday.

One thing Jimmy Eat World can’t be faulted with is a lack of sincerity, but in the years since “Clarity,” the group hasn’t come up with a compelling way to mature.

The closest they come is during the bridge of the album’s moody centerpiece, “Gotta Be Somebody’s Blues.” The string arrangement changes its pace and layers melodies together into something interesting.

Unfortunately, that moment is too short and the strings go back to being wallpaper for a hook-less ballad.

The band gets a little closer to reclaiming their glory with the brief and breezy rocker “Feeling Lucky,” as well as the disco-infused “Here it Goes,” but much of the record is still cheesy and banal.

The track “Big Casino” doesn’t even produce a chorus catchy enough to hum. It’s amazing they managed to cram such clumsy prose into a melody in the first place.

With production help from Butch Vig, the man who produced Nirvana’s “Nevermind,” “Chase the Light” sounds like any number of arena-rock bands that are overplayed on the radio.

But what the production can’t take care of is the songs, which lack distinction, making Jimmy Eat World sound mediocre at best.

Things heat up in 'The Office'

Published on Friday, October 19, 2007
The Northern Star

This season, the best part of Thursday nights has been going through some changes.

Going on their fourth season, the ensemble of “The Office” has endured the threat of downsizing, a merger and their former temp being promoted as Michael Scott’s (Steve Carrell) new boss.

Dunder-Mifflin is a strange office where everyone is hooking up with someone else. It’s like the employees never even looked at the ethics handbook. The latest episode made that all the more apparent. Trying to list all of the couples makes the comedy series sound like a soap opera.

Also strange this season is the number of hour-long episodes. Usually those were regulated to big events like season premieres, finales and Christmas specials. But so far the first four episodes have been twice their usual length and when it’s not stretching the show’s momentum, it’s turning the beloved comedy into a strange kind of dramedy.

This episode especially focused on Michael’s money troubles with Jan. He takes a night job as a telemarketer because he “likes sales so much,” and learns that simply shouting that you are bankrupt is not the same thing as actually declaring bankruptcy.

This episode really brought home what makes “The Office” such a well-loved show, because for all the awkwardness, for all the cringe-inducing laughter, there is a clear emotional investment in these characters.

For all of Michael’s unbearable qualities, the writers and Carrell’s performance always remind us that he isn’t evil, he’s just very misguided.

In fact, Michael’s attempts to cover up his insurmountable debt brought him much sympathy as does his unhealthy relationship with control freak Jan.

Also getting an unexpected dose of sympathy was overachiever Dwight. In an ironic plot development, as Jim and Pam revealed that they were dating, Dwight and office shrew Angela ended their not-so-secret relationship, and while Angela has moved on, Dwight hasn’t.

The show usually makes Dwight’s darwinist ambitions and gullibility a hilarious combination and the butt of Jim and Pam’s pranks.

Now that Jim sees him depressed, he do what he can to cheer him up by staying at his farm for the weekend and congratulating him for beating the company’s Web site in sales last week.

It’s a remarkable feat for a comedy show to successfully steer into heartfelt drama and come out with its sense of mischief still intact.

That being said, hopefully “The Office” will stay sharp when it returns to half-hour long episodes next week.

James plays loudly, warmly at House show

Published on Tuesday, October 16, 2008
The Northern Star

Despite a small audience, the quintet Georgie James played loudly and warmly at the House Cafe on Sunday. Sundays are inherently not good days for a rock shows, especially in a college town.

A good number of students are either recovering from the previous two days or catching up on homework.

Georgie James is a collaboration between singer-songwriters Laura Burhenn and John Davis, formerly of the Washington D.C. band, Q And Not U.

On stage, the two harmonize over full band arrangements. Their songs are melodic and comfortable sounding pop/rock. It’s catchy without sounding too ambitious or above itself.

The band members also proved to be charming on-stage. Starting their set by joking, the band made reference that when everyone sits at a show, it as a “special night” with Georgie James.

Then the band asked the small crowd of around 30 to come to the front of the stage and stand. The band that played before them, Villains of Verona, asked the same thing, but were ignored. Yet, Georgie James got what they asked for.

This is not a slight against Villains of Verona. The Elmhurst natives played enthusiastically with plenty of style and pinache.

The group is currently wrapping a new record. They came out playing sharper and more confidently, with vocalist Rachel Verona bopping her hips to each track.

The band has clear ambitions of making it big, and it sounds like they’re getting closer.

Opening up the show was Chicago’s Yeni Raki, a fast-paced rock quartet who combine three part vocal harmonies with punk rock energy.

The group shows a lot of promise, but still need work toward being great. While their sound was infectious for the first three or four songs, at the set’s end, it was clear they needed more variety so their songs didn’t blend together.

Still, for a few handfuls of people, each band played with good grace and enthusiasm.

Photo by Lenny Gilmore

'Marry Me' protrays a timeless sentiment

Published on Tuesday, October 16, 2007
The Northern Star

The title track of St. Vincent’s (nee Annie Clark’s) debut album from this year is both utterly sweet and utterly twisted.

It starts with Clark’s pleading voice, singing “Marry me John / I’ll be so good to you,” and it’s hard not to fall for it.

Then, she follows that up with a strange turn: “You won’t realize I’m gone.”

The verses further illustrate that she’s “as fickle as a paper doll / being kicked by the wind / when it comes down again / [she’ll] be in somebody else’s arms.”

Essentially, she’s telling John they should get married or else she’ll just start cheating.

But the greatness of this song is that it doesn’t sound nearly as warped as the lyrics would suggest. In actually sounds quite romantic.

It’s the timeless sentiment that’s been sung about forever.

But it’s all a rouse. No matter how pleasant the melody is, there’s just no way to ignore the song’s best line, “We’ll do what Mary and Joseph did without the kid.”

“Marry Me” can be found on St. Vincent’s debut album of the same name on Beggars Banquet Records.

Radiohead releases album to the masses

Published on Monday, October 15, 2007
The Northern Star

"In Rainbows" - Radiohead
Rating: 8 /10

As easy as it is to love and admire Radiohead, it’s very difficult to envy them.

For more than a decade, the Oxford-based art-rock band has made a career of exceeding expectations, both commercially and artistically. There isn’t a name in all of popular music today that invokes as much reverence and respect.

For their seventh album, “In Rainbows,” Radiohead makes a statement through marketing. Instead of announcing a release date months in advance and waiting for the album to leak on the Internet, the band leaked it themselves and asked its listeners to pay whatever they felt like paying.

But does the music live up to the hype?

“In Rainbows” is indeed worth it. For much of this decade, Radiohead has embraced computerized music, adding electronic textures and beats to their own work.

“In Rainbows” is surprising because of how understated it is. Instead of a hook-filled sprawl like “Hail to the Thief,” Radiohead gives us a comparatively stripped-down and organic-sounding album.

Among the surprises is the notion that Thom Yorke fancies himself a bit of an R&B singer. Obviously, he hasn’t turned into R. Kelly, but his performance on “Nude,” along with Colin Greenwood’s jumping bass line, emphasize a soulful rhythmic groove that hasn’t been explored by the band until now.

“15 Step” kicks the album off in a similar way, juxtaposing a jittery 5-4 beat with Yorke’s croon and soft guitar line. Later in the record, “Reckoner” showcases the falsetto range of Yorke’s effervescent voice, which amazingly has not weakened with age.

Throughout all of “In Rainbows,” the band’s arrangements show a tasteful sense of restraint and poise.

Drummer Phil Selway doesn’t get enough credit for keeping the band together during live shows, recreating the complex beats live. That might change with “In Rainbows,” as his percussion fits each song without drawing attention.

In fact, most of the arrangement and instrument playing on the album can be described in that way. From the subtle strings and guitars of “House of Cards,” the mantra-like piano line from “Videotape” and the finger-picked acoustic guitar on “Faust ARP.”

There is of course one exception to this rule, a song called “Bodysnatchers.” With its heavy guitars, Rolling Stones-esque beat, and Yorke’s banshee wail, the song feels looser than anything the band has produced in this decade.

The problem that comes with reviewing Radiohead is the inevitable comparisons to their back catalog. Fans constantly argue whether “The Bends,” “OK Computer,” or “Kid A,” defines the group’s crowning achievement.

“In Rainbows” is a different beast all together. Like their 2001 album “Amnesiac,” it doesn’t try to sound monolithic or epic.

Anyone who says they were “wowed” by this album would probably be wowed by anything Radiohead does. It’s worth pointing out that this is not “OK Computer 2” or the return to “The Bends” style bombast.

“In Rainbows” scales Radiohead back, giving them a more human sound.

Their body of work shifts styles and sensibilities from album to album, but each piece always sounds remarkably like Radiohead. “In Rainbows” may not “wow” audiences, but it will fascinate and intrigue fans.

Clooney is best of 'Clayton'

Published on Monday, October 15, 2007
The Northern Star

"Michael Clayton"
Rating: 8 / 10

For ten years, George Clooney has been one of Hollywood’s most fascinating leading men.

He’s the kind of movie star who can carry big-budget capers like the “Ocean’s Eleven” series and then be just as convincing in meatier, Oscar-worthy movies, like “Syriana,” “Three Kings” and “Good Night, and Good Luck.”

Fans of the latter will find much to admire in “Michael Clayton.” This intelligently crafted thriller impresses through subtlety and character development as opposed to big explosions and car chases.

Clooney plays Michael Clayton, an attorney who works as an in-house “fixer” for a powerful New York law firm. (For anyone who has seen “Pulp Fiction,” his job is not unlike The Wolf’s.) His firm sends him to top clients to “clean up” legal messes (like hitting a jogger with their car).

It’s a job Clayton does almost begrudgingly. “I’m not a miracle worker,” he tells one of his clients, “I’m a janitor.” Despite the suits he wears and the car he drives, his job is hardly lucrative.

One of the film’s most interesting aspects is showing how, despite his professional appearance, Clayton is in debt and desperately trying to find money.

The plot centers around a giant class-action lawsuit filed against an agricultural company’s deadly product.

Clayton is sent out to clean up the mess left by a brilliant but mentally unstable colleague played by Tom Wilkinson.

Wilkinson is supposed to be defending the corporation, but has a mental breakdown after he finds some damning evidence in the case.

While cynics may point out a familiarity with a David and Goliath-esque story, “Michael Clayton” proves to be more. Thanks to its great script that pays special attention to making its characters realistic, this film does not disappoint.

Along with Clooney, Tilda Swinton is excellent as a lawyer working for the corrupt corporation. Instead of making her a shrewd villain, the film takes time to show her getting ready for her day, rehearsing her speech to the board, showing the pressure she is under to win.

It’s a remarkable juxtaposition with Clayton, who seems to be falling into a rut while she rises in power.

This is also the first film directed by screenwriter Tony Gilroy, whose previous credits include work on each of “The Bourne Identity” movies. It makes sense that a man who helped make the brainiest action movie series of all time would make a film like this.

“Michael Clayton” is a smart and mature film aimed at an intelligent audience. It neither panders to the masses nor insults with pretentiousness.

Thanks to its strong performances and sharp directions, the film is engrossingly natural, instead of sensational and heavy-handed.

PJ Harvey goes from rock to creepy in latest release

Published on Tuesday, October 9, 2007
The Northern Star

"White Chalk" - PJ Harvey
Rating: 7 / 10

PJ Harvey belongs with an elite group of musicians.

Like The Beastie Boys and Beck, she’s considered an influential and original artist who has sustained a lengthy career without repeating herself.

But even her hardcore following will be checking their speakers upon the first listen of her latest and seventh album. “White Chalk” is not rough blues and punk guitars – this album is led almost entirely with piano. Instead of Harvey’s unique banshee wail of a voice, she has transformed into a high, wilting tone.

None of this is unheard of for Harvey, but rarely has it been heard so prominently on one of her albums.

The album’s unusual sound makes for a difficult first listen. I was almost ready to give up on one of my favorite artists by the time it was over. But to say this is an experiment gone awry undersells a unique entry in Harvey’s already remarkable catalog.

Returning to the producer Flood, who helped make her critically and commercially successful album, “To Bring You My Love,” as well as albums by the Smashing Pumpkins and U2, “White Chalk” is far and away one of the creepiest and eeriest sounding records of the year.

Harvey’s falsetto voice sounds like it’s coming from a ghostly little girl on “Grow Grow Grow,” asking her mommy to teach her “how to catch someone’s fancy.” Over the reverb-soaked piano, the effect is enjoyably unsettling. It’s the aural equivalent of an old horror movie.

Then, there’s the moment where she croons, “Oh, grandmother, I’m so lonely,” during “To Talk to You.” It sounds as if she’s a ghost from beyond the grave.

The album is not Harvey’s best. While the sonic textures certainly get more interesting the more they’re dug into and replayed, this record is slightly monotonous. Harvey usually hits more emotional tones, but here seems stuck in this gothic mode of thinking.

There are also some days – warm, sunny, carefree days – where this album probably will be far from the top of the CD pile. Anyone who has felt that reverb is the death of pop music should steer away.

But despite this, Harvey creates an interesting and startlingly resonant album. While I appreciate and admire this effort now, it’s very possible that when Halloween comes and goes and we experience our annual week of deathly cold, “White Chalk” will slip itself further under my skin and onto my year-end list of great albums.

The key to fully appreciating this album comes from repeat listens.

“White Chalk” doesn’t amaze so much as it gets under the skin.

Track of the Day: “Androgynous” - The Replacements

Published on Tuesday, October 9, 2007
The Northern Star

It’s easy to act mature when writing songs. It’s even easier to be juvenile and silly. But few groups could manage to be both quite like The Replacements.

Most of the album “Let it Be” can be divided into two groups of songs. There are the raucous punk songs from a band that refuses to be taken seriously, including “Tommy Gets His Tonsils Out,” “Seen Your Video” and the KISS cover “Black Diamond.” Then, there are the true steps into mature, heartfelt song writing, such as “I Will Dare,” “Sixteen Blue” and “Answering Machine.”

To this day, I’m not sure which category “Androgynous” belongs to, but I love it more for this reason.

It’s full of contradictions. The song’s arrangement is sparse and loose, like most of the Replacements’s best songs. Primarily, it’s just singer/songwriter Paul Westerberg playing some rudimentary piano chords and singing about a couple who fall in love wearing each other’s clothes. You’d think it’s one of the funny songs.

Then, consider how The Replacements never really used piano primarily on their albums before. It would be a new direction for the band, focusing more on playing a pop song instead of rushing through a punk song.

And then there are lyrics. I still chuckle at Westerberg’s first line, “Here comes Dick/He’s wearing a skirt.” Again, you’d think it was one of their joke songs. But that’s not entirely true.

By the end of the song, before the third chorus when Westerberg labels Dick and Jane as “future outcasts” when they dress like their gender, he’s saying something about the nature of fads and the stereotypes that come with them.

He’s looking down at people who would judge them for looking the way they do when all that matters is that they love each other. It’s subtly one of Westerberg’s deepest songs.

Above all else, “Androgynous” is one of the catchiest tunes Westerberg ever penned. Putting it on with a group of friends seems to magically encourage people to put their arms around each other and sing along, “Closer than you know/Love each other so/Androgynous.”

At that point, whether or not the song is joke or a statement doesn’t seem to matter. That’s probably the song’s best quality – it can be exactly what you want it to be.

'Popes' smoke crowd at House Café

Published on Monday, October 8, 2007
The Northern Star

What’s remarkable about Smoking Popes is how enjoyable they are without any kind of pyrotechnics, theatrics or stage antics.

In fact all four members, brothers Josh, Eli and Matt Caterer on vocals, guitar and bass respectively, and drummer Ryan Chavez, look like relatively normal guys, not one of the most respected pop-punk bands from Chicago. That is a compliment, because any other embellishment wouldn’t be needed for their songs, and the crowd at the House Café this past Thursday would agree.

Their timeless songwriting is what got fans to crowd the stage, dancing and singing along with their favorites like “Rubella,” and “Let’s Hear it For Love.” The band played up their fans enjoyment by going into a medley of “Rehab” by Amy Winehouse and “Do You Feel Like We Do” during the breakdown of one song.

Originally formed in the early 90’s, Smoking Popes built a following with classic sounding pop songs performed with the urgency of a punk band. It’s like like Tony Bennett standards being performed by the MC5. The Popes even scored a hit in 1995 with the song “Need You Around.”

Though Smoking Popes scored highest with their back catalog, the band is hardly a nostalgia act. Since reuniting in 2005 after a seven year hiatus, the band finished recording an album of new material. Singer and guitarist Josh Caterer announced before his encore the album might be made available online.

Also working on finishing a new album was the opening band, Wax on Radio, also from Chicago. A frequent visitor to the House, drummer Sammy Del Real informed me that this was their last show for awhile because they were taking time off to finish writing songs for their forthcoming full-length album.

In the meantime, they played a set that showed why they came around the House so often. The band played their set with very little stage banter, preferring to segue each of their songs into one another.

While I would have liked a little more audience interaction, there is no denying the band’s talent for crafting epic sounding rock music that draws comparisons to bands like Tool and Appleseed Cast. Singer and guitarist, Mikey Russell’s soaring tenor voice was well supported by his band’s animated performance.

Opening things up for the evening was a solo set from Mark Rose of the band Spitalfield. Playing just a Fender electric guitar, Rose serenaded the crowd with pop-punk songs similar to Jimmy Eat World.

In addition to playing songs from his band’s repertoire, he premiered a few new ones and covered a couple of pop songs from the 80’s. His “Tears for Fears” cover early in his set deservedly drew some attention, but his later cover of “PYT” by Michael Jackson was a little lacking.

Still, the crowd there for Rose had to be one of the biggest for an opening act so far this year, and the entire show was well worth attending.

Photo by Lenny Gilmore

Director of 'Eastern Promises' makes film exceptional due to unique direction and style

Published on Tuesday, September 25, 2007
The Northern Star

"Eastern Promises"
Rating: 7 / 10

In 2005, David Cronenburg directed one of the best films of that year called “A History of Violence,” a story about a seemingly ordinary man confronting the brutality that enters his life.

Cronenburg’s latest film, “Eastern Promises,” is sure to get compared to his last one; they both touch on similar themes and they both star Viggo Mortensen, best known for his role in “The Lord of the Rings” trilogy.

Naomi Watts co-stars as Anna, a British midwife working in a London hospital. When a Russian teenage girl comes into her ward and dies while giving birth, Anna takes it upon herself to seek out the girl’s identity by translating her diary.

On her search, she goes to the help of an elderly Eastern European restaurant owner who agrees to translate for her. But Anna slowly discovers that underneath his warm and grandfatherly exterior, he is linked to a brutal organized crime syndicate, and the diary contains some pretty unflattering secrets about him and his business.

Mortensen plays Nikolai, a Russian-born crime soldier. His role in the syndicate is an underling to his boss’s hotheaded son, played by Vincent Cassel.

The hotheaded-son-of-a-mob-boss role is something that’s been around in gangster movies as recent as “Road to Perdition,” and as early as “The Godfather,” so its inclusion here slightly underscores the rest of the film’s scope.

As Anna and Nikolai meet throughout the film over the matter of the dead girl’s diary and her child, they form an unusual bond. The film is driven primarily by its two lead actors, and Watts and Mortensen are up to the task.

They have chemistry not in the way of a romantic comedy couple. Nikolai plays his emotions like a master poker player, always suggesting something more without ever saying what it is.

Anna is clearly motivated to keep the baby safe, which shows her sentimentality and tenderness, but she is also capable of strength in scenes where she stands up to Nikolai.

Of course, you can’t have a mob movie without scenes of graphic violence, which Cronenburg showed a particular gift for two years ago. However, unlike most gangster films, “Eastern Promises” trades gun battles and head shots for knife fights and slit throats.

This gives a particular scene in a bathhouse added tension and brutality. Cronenburg doesn’t glorify or dumb down the violence in any way, making the viewer wince with every slash and cut.

I think one thing which may turn viewers off is the lack of a typical mafia story complete with wall-to-wall shoot-outs. Instead, this is a thoughtful and patient story of an outsider confronting the violent men. It doesn’t pace itself like an action movie, but as a psychological drama.

While shadows and drained-out colors of London in the winter aided to the film’s overall tone, I still felt as though I was being kept at arm’s length during certain parts when I wanted to be drawn in. I actually thought that it was set somewhere in Russia as opposed to London.

Still, “Eastern Promises” is an exceptional film because of David Cronenburg’s direction and style. He knows how to craft a film that can shock with brutality but keep its focus on the characters and on the story, which may sound less exciting on paper, but overall is more satisfying to view.

House Café features politically-conscious local hip-hop groups

Published on Tuesday, September 18, 2007
The Northern Star

As young children, most of us were probably told not to bang on pots and pans. Good thing the band Hackage didn’t listen.

The group, comprising of four high school friends, banged their way into the hearts of the audience at the House Café Saturday night, capping off an evening of politically-conscious local hip-hop.

One of the members, nicknamed TNT, joked before they started, “We’re a little different from the other bands. Same lyrics though.”

He and his three friends, who were nicknamed County, Knowledge and Kill Will, traded garbage cans, pots and pans while playing fast paced, high energy drum line music, similar to the Broadway show “Stomp.” The band even performed using empty water cooler jugs as bongos.

The crowd received the quartet very well, cheering them on to an improvised encore, because they had quickly run out of composed material. TNT and County kept the audience involved by having them clap along the rhythm.

The sight of a completely engaged audience was a welcome surprise after the lukewarm reception of the two hip-hop acts preceding it, but then again, someone playing a garbage can like a drum would probably draw more attention than a rapper no matter what.

Nonetheless, the acts preceding showcased their talents admirably. The hip-hop trio Diagram of Truth played through their latest and “final” EP, aptly named “The D.O.T. EP v. iii,” which the group was giving away at the show in honor of its release.

With lyrics far away from the stereotypical hip-hop topics, the group came across as earnest and forward-thinking. However, their engagement with the audience left something to be desired.

They were able to grab attention by performing their song “Yeeeeeeeeeeeeeeee,” off the new EP three times in a row, each time getting faster to show off their vocal dexterity.

Yet by the end of their set, most of the audience seemed to be spending more time chatting amongst themselves, not clapping until the group said, “Thank you” after each song.

The group before them, a like-minded hip-hop duo from Elmhurst called Civill Artists , experienced similar troubles with the audience but soldiered on in spite of it.

Like Diagram of Truth, the group focused less on rap stereotypes, even going so far as to dis them on one of their songs. Instead of bragging about money and street credibility, they rapped about their artistic credibility, closing out one song with the mantra, “We’ll be artists ‘til infinity.”

Originally, the night had advertised the performance of Dynamite Trio and the Poetic Justice League 4 America.

But after both of those groups canceled, the most poetry the audience heard, not counting from rap lyrics, came from a young lady introduced as Allison. She performed her own slam poetry compositions in between each of the acts.

Surprisingly, the crowd warmed up to her more so than to the rappers, giving the loudest applause to her last piece about love.

Otto's hosts benefit for local woman

Published on Monday, September 17, 2007
The Northern Star

With a black T-shirt reading, “Cancer is stupid,” Nikki Williams was all smiles as she watched several people come into Otto’s for an event put together entirely for her.

“I’m overwhelmed at the amazing job they’ve done,” she said, sitting at the downstairs bar at Otto’s Underground.

Nikki, who worked for NIU’s media services, was diagnosed with choriocarcinoma, a form of germ cell tumors, in June of this year.

While she was going through chemotherapy, her boyfriend Tom Chennell, rhythm guitarist for the band The New Times Romans began organizing a benefit show for her with his brother, and The New Times Romans bass player, Brian Chennell.

They began putting together the “Rock Out 2 Knock Out Cancer” benefit show, which happened Friday, Sept. 14 at Otto’s Underground, soon after learning of Nikki’s diagnosis.

“We really wanted to do something [for Nikki],” said Brian, also wearing his “Cancer is stupid” T-shirt. “But there wasn’t much we could do medically.”

So instead, they called up as many of their friends as they could and booked a night at Otto’s.

“I used to work here,” said Tom. “And I’m good friends with the owner’s family.”

According to him, the benefit show was a good way for “everyone to come together and get behind Nikki.”

The evening had a very communal vibe throughout, partially due to the music selection. “We’re friends with at least one or two of the members of every group playing here tonight,” said Brian.

The seven acts on the bill gave the night a real variety, featuring the Christian, solo acoustic singer-songwriter styling of Dacia, the hardcore rock group, They Found Me, They Named Me, the quirky synth-pop of the Midnight Snax, and the garage rock of The Mersey Buckets, Exponential Social Group, SuperCrush, and of course, The New Times Romans.

Perhaps the most enthused group at the entire event was Chicago’s Mersey Buckets. Their loud, raucous energy inspired some of the attendees to start a moshpit in front of them.

Keith Gabler, the group’s singer, was also the most vocal about supporting Williams, second only to the Chennell brothers, repeating in between songs to the audience, “Spend some f---ing money on Nikki!”

A raffle sponsored by the event was the best way to donate. Among the prizes were Jaeger shirts and hats.

A bake sale and several silent auctions for a guitar from Poc’s Music store in DeKalb, season tickets to men’s and women’s NIU basketball season, football game tickets, and one was the offer of a free home-cooked dinner from Brian Chennell himself were all used to raise money.

Williams herself was often seen behind the bake sale table, enjoying the Friday night crowd’s enthusiasm for the bands and the cause they supported.

Photo by Lenny Gilmore

'Strawberry Jam' solidifies band's stance as creative, innovative

Published on Thursday, September 13, 2007
The Northern Star

"Strawberry Jam" - Animal Collective
Rating: 9 / 10

The New York based psychedelic, indie-rock quartet known as Animal Collective have been steadily building their fan base since they formed at the beginning of the decade.

First playing an arty combination of folk and noise, the group didn’t start to turn heads until 2004, with their acoustic guitar, campfire-freak-out album, “Sung Tongs.”

The following year, they released a more fleshed out effort called “Feels,” which sounded like the Beach Boys if Brian Wilson had decided to go tribal, melding together polyrhythmic drums and ecstatic shouting with soaring vocal harmonies.

Now they’ve come out with their seventh album overall, entitled “Strawberry Jam,” and it is not only one of the year’s best; it also further solidifies Animal Collective’s stance as one of the most creative and innovative bands of the decade.

On this album, the group has traded in their guitars for electronics and samplers. This switch in instrumentation may lack the organic feel of their previous albums, but the group makes up for it with the energy of children playing with their Christmas presents.

Take the album’s first single and lead-off track, “Peacebone,” which starts with a spastic mess of keyboard noise that slows down to reveal a sugar-high pop song that sounds like it’s coming from a strange carnival.

Yet, the weird arrangements of their music would mean nothing if it wasn’t for the melodies that the band’s two singers Dave Portner and Noah Lennox (who record under the stage names Avey Tare and Panda Bear, respectively), craft over them.

In comparison with the rest of their discography, "Strawberry’s Jam" greatest accomplishment is that it pushes their inventive and catchy melodies higher in the mix.

“Peacebone,” succeeds as much as it does because of Avey Tare’s octave jumping vocal performance as well as the bouncy music underneath.

On Panda Bear’s songs, like “Chores,” and “Derek,” he contrasts his bandmate’s vocal acrobatics with his warm sounding tone, which sounds as much in place in the context of the band’s work as it did on his extraordinary solo album, "Person Pitch," released earlier this year.

Perhaps the best song on the album to exemplify the group’s overall talent is “For Reverend Green.” As one of the album’s more raucous sounding songs, with its abrasive guitars, 7/4 timing and Avey Tare’s own rhythmic screaming, it never wavers away from its excellent melodic foundation.

It’s hard for me to decide which of the three last albums I like the best, but it is clear that "Strawberry Jam" is the band’s most accessible. By beefing up the vocal melodies, the songs sound more muscular.

The album lacks many of the ambient, slow-building moments on previous records in place of pure, ecstatic and emotional pop.

Even though it was released the same day at Kanye West’s, 50 Cent’s, and Kenny Chesney’s latest albums, it would be incredibly naïve to predict this album will make a huge dent on the Billboard charts. In fact, I am sure the band is too weird for many listeners.

That being said, “Strawberry Jam” has the potential to bring the band even more fans, including those who admired them from a distance and those who may have never even heard music like this before.

Pleaseeasaur, though strange, still hosts a good show

Published on Wednesday, September 5, 2007
The Northern Star

On Thursday, August 30, The House Café, 263 E. Lincoln Highway, hosted a strange but enjoyable evening of music that went from rock and roll to techno to comedy.

The headliner was perhaps the strangest act, Pleaseeasaur. Hailing from Seattle, the duo, consisting of performer/musician JP Hasson and projectionist Thomas Hurley III, they performed a set of short, surreal comedy songs.

The songs themselves were like a lounge singer’s version of TV show and advertisement jingles. The subject ranged from TV news, robots, stranger danger and chauffer service called, “No Prob Limo.”

Hasson dressed in several silly costumes and performed in front of two white screens on which Hurley projected slides of scenery and cartoon characters to complement Hasson’s comedic act.

Prior to Pleaseeasaur, DeKalb’s own Son of Starkiller, also known as NIU student Matthew Zingale, played his video game inspired techno.

Zingale’s set was delayed to a malfunctioning MP3 player, but with a laptop, a Korg keyboard, a smoke machine and colored lights, Zingale turned the coffee shop stage into dance club.

Dressed in black with sunglasses and a red cape, Zingale played up his stage persona by clapping along to his music and encouraging the audience to get up and dance.

He also promoted his upcoming CD release show on Friday, October 12, at Otto’s Underground, 118, E. Lincoln Highway.

Also wearing black suits was the band that opened, the Chicago rock quintet, the Sapiens. The band recently signed with HEYOU records, the label started by another DeKalb favorite, the Rikters.

It is clear to see what they saw in each other. Both bands play passionate rock music that constantly sounds like it’s on the verge of breaking into the mainstream.

The band’s manic energy recalled bits of the Hives and Hot Hot Heat. The band played through their latest EP, "Vs. The Hornet," as well as playing some new songs, which according to the lead singer were premiered in Indianapolis, “to a sold-out crowd … of eight people.”

The joke was in good fun; the Sapiens strike one as a band who would play like they mean it even if no one came to the show.

'Balls' Furiously Bad

Published on Wednesday, September 5, 2007
The Northern Star

"Balls of Fury"
Rating: 3 / 10

Before I am assigned to review something, I try not to make any preconceived judgments before actually watching/reading/listening to whatever the subject is, no matter how ridiculous the concept.

At first, “Balls of Fury” immensely challenged that idea for me. However, I remembered movies like “Dodgeball” had a (why pull punches?) similarly stupid premise. I let my prior critiques slide and gave this movie a shot.

Unfortunately, “Balls of Fury” misses the mark thanks to an unfunny formulaic script and a cast of thinly fleshed out characters who have no chemistry.

Written and directed by Robert Ben Garant, who co-wrote it with Thomas Lennon, this comedy features the same creative force behind TV’s Reno 911.

The film stars Dan Fogler as fallen table tennis champion, Randy Daytona. Randy is pulled out of retirement by an FBI agent played by TV’s George Lopez. Randy is supposed to get into a secret tournament held by a crime lord named Feng, the man who murdered Randy’s father.

But first Randy needs training, so they go seek help from an old, blind Chinese man and his sexy niece. Randy and her fall in love of course, but their relationship is solely the result of him being the lead character and her being the best looking girl on the screen.

Then there is the villain Feng, played by Christopher Walken. Now, before Walken is revealed, the movie tries to create an air of mystery by not showing his face or letting him speak. But the joke is pretty much dead on arrival for anyone who has seen the trailer, a TV commercial or the movie poster.

Sadly, not much else is really done with Walken’s character other than dressing him in silly costumes and having him talk in his well-known, mannered dialect. Most people who see this movie are probably going solely for Walken, but even they will probably be disappointed in his weak performance.

For most of the film, Walken seems to be just going through the motions rather than subverting them.

“Balls of Fury” is not an offensively bad movie; there are a few chuckles scattered here and there. A parody film like this should have a giddy sense of irreverence, which is just not there.

The film takes dramatic moments too seriously, especially the love story
between Randy and his master’s niece.

“Balls of Fury” may briefly entertain some, but is ultimately a pointless endeavor.

Summer Music Recap '07

Published on Tuesday, August 28, 2007
The Northern Star

"Boxer" - The National

Upon first listen, The National do not feel like a large-sounding band, but on their fourth and most accomplished album, they defy that notion amazingly through restraint and refinement.

This is one of the best grower albums of the year, one that reveals itself a little bit more with every listen. I’ve listened to it so many times that the weight and repetition of “Start a War” is almost overwhelming.

With a propulsive but never bombastic rhythm section, intricately arranged guitars, horns and strings and singer Matt Berninger’s distinctive baritone croon, Boxer became a staple for warm, late-night drives.

"Kala" - M.I.A.

After “Arular” made her a household name for hipsters in 2005, M.I.A. proves she’s more than a one-album fluke thanks to her ambitious, experimental and dangerous sounding sophomore album, “Kala”.

Listening to the rhythmic assaults of “Bird Flu” and “Boyz” should further establish the London-by-way-of-Sri-Lanka singer/rapper/producer as the leader in making dance music for anarchists.

As a summer album, it makes for a great soundtrack to the oppressive heat and humidity.