To the mindset staff:
Please send me your articles tomorrow or bring them to Mindset. Thursday at 7:15 as always.
Thanks!
Author Archive for jburke16
23
Sep
09
Mindset Articles due tomorrow
21
Sep
09
fun.
My new favorite band features Nate Ruess of The Format (RIP), Andrew Dost of Anathallo, and Jack Antonoff of Steel Train. Their CD, “Aim & Ignite” features the familiar pop sound of The Format, with plenty of room for clapping and tambourines, as well as the brassy instruments frequently featured in Anathallo songs.
Check em out: myspace.com/fun
03
Apr
08
Pretty. Odd. Review
If you want to sing about whores and harlots, go ahead. If you want to insert a random folk song into your pop/alternative rock album, I guess I can live with that. Make up a fantastical world where 9 p.m. is still the afternoon, and I’ll play along. Do what you want, Panic at the Disco, but don’t lie to me.
I’ve stuck with you through the years—all three—and the least you could do is be honest. I watched as the concept album you were working so hard on fell apart. I made it through the disappearing exclamation point in your name. I was even fine with your new sound. It was upbeat, refreshing, and, as most critics are saying, a little reminiscent of The Beatles. Who doesn’t love The Beatles?
Yes, you are bold, brave, experimental, and I respect that. But where-oh-where do you get the nerve promising me, “You don’t have to worry, ‘cause we’re still the same band”? Let me tell you, boys, I sincerely hope this is a joke.
Ever since this new album dropped, I’ve felt like I don’t know you anymore. That fever you said couldn’t be sweated out? Gone. The crazy techno beats of 2006 have been replaced with guitars, trombones, trumpets—instruments I didn’t even know you knew. I know that, in many ways, you are still the same band, so maybe we can still work things out.
And if it was all just a joke, Panic at the Disco, I beg that you please stop toying with my emotions. It’s the least you can do after what we’ve been through together.
On Friday Jack’s Mannequin came to Stepan Center, and between screaming “I love you!” and fanning myself (don’t you wish I was kidding?) I managed to snap a few pictures, which I will get up as soon as possible.
Andrew played hits from Everything In Transit, and a few songs from his up-coming album, which was originally due this spring but has been postponed until the summer.
For an encore, fans were treated to Something Corporate’s “Me and the Moon” and Tom Petty and the Heartbreaker’s “American Girl.” During both, a few visiting high-schoolers and ND students looked slightly puzzled.
Andrew McMahon has been performing with Something Corporate and Jack’s Mannequin for about a decade , and he never fails to provide an incredible concert. His energy, piano skills, and voice never fail, and all Jack’s Mannequin fans left satisfied, though few tag-alongs were converted.
Saturday, Chicagoland’s Lucky Boys Confusion brought punk/reggae to Legends, resulting in the closest thing the club has seen to a mosh pit since Flogging Molly last year. They were preceded by a band who’s name and music I don’t remember, with an f-you attitude that the students returned.
LBC provided a great concert, earning new fans by the end of the hour.
Editor Rich Balling (The Sound of Animals Fighting) continues to fulfill his dream of collecting poems, stories, and essays by Indie artists in the most recent edition of Revolution on Canvas. The book is a great read for those seeking more creative work from their favorite bands. Submitters come from groups such as The Spill Canvas, Chiodos, Cobra Starship, and Balling’s first musical endeavor, Rx Bandits. The quality ranges from poems that are barely readable to insightful literary pieces like Elgin James’ (Dream Weaver) story about an adopted black girl living in fear of the Ku Klux Klan. Pete Wentz (Fall Out Boy) continues to boast his talent with words in a poetic story, and Damon Daw of Nurses provides his explanation for why the music “industry,” or “business,” has become what it is.
It was a fun book to pick up and drop, and, if anything, it makes a good coffee table book.
“We’re The Format Acoustic,” finished lead singer Nate Ruess, half of the band that graced Legends’ stage Saturday night for their final show of the year. Sam Means accompanied on vocals, piano, and guitar.
Though they were only two, the duo from Arizona commanded the audience with up-beat songs and comedic relief. Concert-goers were able to provide percussion (if you call clapping and saying ‘ka!’ percussion) and back-up vocals in addition to singing along to well known hits such as The First Single or The Compromise. New songs featured in the concert included “Swans” and “Faith in Fast Cars.”
The guys left without a signing, promising a new CD soon and a possible return to Indiana, though “not South Bend, guys. Just not South Bend.”
The group’s latest compilation, “B-Sides & Rarities” is available for purchase on iTunes, in any self-respecting music store, and at theformat.com.
24
Nov
07
RIP Casey Calvert
Hawthorne Heights guitarist Casey Calvert died of unknown causes last night. The band’s official website released the news today.
“Today is probably the worst day ever. Its with our deepest regrets that we have to write this. Casey Calvert passed away in his sleep last night. We found out this afternoon before sound-check. We’ve spent the entire day trying to come to grips with this and figure out as much as possible. At this time we’re not sure what exactly happened. Just last night he was joking around with everyone before he went to bed. We can say with absolute certainty that he was not doing anything illegal. Please, out of respect to Casey and his family, don’t contribute or succumb to any gossip you may hear. We don’t want his memory to be tainted in the least. Casey was our best friend. He was quirky and awesome and there will truly be no others like him! His loss is unexplainable. As soon as we know more we will let you know.
Sincerely,
Hawthorne Heights”
Armor for sleep released it’s new CD “Smile for Them” on October 30, 2007. Fans had been curiously awaiting the band’s next move after the Jersey group created its last concept album, “What to Do When You Are Dead.”
The new songs show a mix of lyrical talent; the single “Williamsburg” contains the line “Too hip to even clean your nose out,” while the lyrics to “Snow Globe” read, “The choir’s in line, belting its soul, over the dying crowd. Singing for love, their voices will soar, and disappear through the floor.”
The continuation of dark themes is contrasted with catchy melodies, e.g. the chorus for “Somebody Else’s Arms.”
AFS fans won’t be let down by the new release, but if you’re looking for lyrical depth or complexity, look elswhere.
Coheed and Cambria is back with a fun-filled album that includes songs accompanied by artistic videos, live performances, and studio footage. Like always, the band’s work contains a combination of dark sounds and sinister lyrics, and upbeat choruses with words like “Radio Bye Bye.” The band continues the use of lyrics and titles from previous albums; the words “What did I do to deserve (all of) this” will sound familiar to C&C fans. There’s No World for Tomorrow is the second half of chapter four of the band’s musical story-telling of The Amory Wars.
When not touring at fabulous venues like our very own Legends, Plain White T’s has been hyping their newest release, Stop. If you’re seeking more of the band’s catchy but bitter choruses, this CD will satisfy. A “Hey There Delilah” is definitely lacking, but the album is still an enjoyable mix of fun story lines and tear-jerking love songs.
26
Oct
07
Better late than never
On September 14, 2007, Legends pulled off another awesome show. Because I’m writing this blog right before November, I honestly don’t remember the two starter acts—only that they were fairly decent and from Chicago.
Anywho, the Chicago-based phenomenon played most of their Every Second Counts CD, and, of course, one or two from All That We Needed (maybe you’ve heard of “Hey There Delilah”?).
Lead-singer Tom Higgenson was energized throughout the show, which was, in my opinion, the perfect length for a Legends concert. I gathered from the crowd’s feedback that previous fans were more than satisfied, and the band collected a few new fans as well. After the show, hottie/guitarist Tim Lopez braved a continuous swarm of girls to take pictures with the fans.
Photo courtesy of Megan S.
Good for you, Amy Winehouse. Good for you.
Unfortunately, summer has not been a time of music festivals and rock concerts for this little Floridian. But between jobs and trips I’ve been racing to my local Best Buy to purchase some tunes. Here’s what I think.
This CD is amazing. All around one of the best sophomore albums I’ve heard. It felt like it took a while for this little group to put out something new, and there are only ten songs, but I feel like they didn’t force anything. Each track is great.
One of my biggest complaints with bands is that they try to overcompensate for their inability to follow up previous hits (ct. Infinity On High). Eisley does add a chorus for “Come Clean,” but they keep their simple piano parts, and even their beloved toy piano at times. You can really feel the band’s growth in this track; the words and melodies are still enchanting and simple, but Eisley’s not afraid to rock out, either.
A+.
I can hardly bring myself to say anything negative about this band. It hurts, it really does. But I have yet to feel the need to listen to The Needles The Space over and over. I love Straylight Run’s originality—and of course you know about my thing with piano-driven music. Sadly, though, this CD’s success will surely fall short of its predecessor, except perhaps with the band’s more loyal following.That said, this is not a bad CD. It’s got some catchy tracks, my favorite being “The Miracle That Never Came.”
One thumbs up.
Ah, The Starting Line. Feels like just yesterday I was a middle-school kid listening to “The Best of Me,” which will probably forever be these guys’ best (and only?) hit.I’ve heard friends say this album is a return to the “good stuff,” as if Based on a True Story was straying from all that was decent TSL music. I hear it as a combination of the past two CDs, and additional maturation at the same time. It’s kind of like watching a little kid grow up: after they’ve grown, it makes sense that they look and act the way they do, but at the same time, you never could’ve predicted it years ago.
Ken, the lead singer, has finally gained full control of his voice. The lyrics are also slightly more mature (i.e. less bitter/full of angst). What amazed me most, though, was the quality of the accompaniment parts, which often take a melody all their own, sometimes better than the vocal line.
One smiley face.
I know you saw this one coming. Yes, Paramore’s sophomore album is out, and in my opinion, a bit misnomer-ed. These guys aren’t trying to start a riot. If anything, they’re consoling emo kids with tracks like, “We Are Broken.”
So now they’re all over MTV and the covers of magazines like Alternative Press. Why? First, their first CD developed a good fan base, and touring with the right bands (see above review) helps, too. In addition, however, this album is much more commercial. The songs are notably more catchy, and I’ve already covered the teen-angst anthem “We Are Broken,” so I won’t say anything more.
More commercial doesn’t necessarily mean bad. I was quite impressed at this young band’s ability to come up with a second CD of such good quality so quickly. Besides, you can’t blame them for knowing their audience.
Three gold stars. Out of what? Oh, I don’t know.
See you soon.
