The Tealights came to Notre Dame in October for an in-studio acoustic set. Check out some footage at http://www.nd.edu/~wvfi/videos.html and http://www.ilovetealights.blogspot.com. They played “Passport” from their album “Take Us By Sea.”
Get excited for their concert at Legends this December!
Hey guys,
I’m new to this so bear with me. But instead of my first blog post ever being about Music or Art or Literature, its going to be about the antithesis of all this greatness…. NASCAR!!!!!!!
First of all let me get my strong feelings out about Nascar…
It is fast-paced, dramatic action (like watching Grey’s Anatomy during its early seasons(never saw it, but I heard good things)) that is chock full of EXCITEMENT and SPEED. People hate it claiming that the drivers just go in circles, but they do have 2 road tracks that are not purely circles. Furthermore, they are OVALS! WOO! Also they are not merely driving, they have to execute drafting and timing/gas strategies. Its like a chess match between Gary Kasparov and Deep Blue packed into one oval track. Adding to this excitement is the off track tension of what each driver is going to say or do? Is Kyle Busch going to get super angry at Brian Vickers and maybe attack him? Is Tony Stewart going to eat a Whopper and then read Shakespeare? Is Jeremy Mayfield going to do methamphetamines (he would if he weren’t in jail)? So therefore I defend, I offer my apology, to NASCAR on the arts and literary circuit.
My friends, I entreat you, I IMPLORE you to give NASCAR a chance. It may just change your life!
To the mindset staff:
Please send me your articles tomorrow or bring them to Mindset. Thursday at 7:15 as always.
Thanks!
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
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.
Watching this video of an impromptu subway Thriller dance while listening to Architecture in Helskinki and having it sort of match up.
Correct me if I’m wrong, please, but the music scene seems to be taking on a pseudo-early-90s turn. What do I mean by that exactly? Well, remember in the 1990s when there was the “angry chick rock” explosion, led by Alanis Morissette, Liz Phair (before she sold out [Yeah, I said it]), and, to a certain extent, Gwen Stefani in No Doubt? There were many more, of course, but you get the idea. Anyway, chick music seems to be coming back with a vengeance, but it’s no longer angry. Apparently, the angry songstresses of the early 1990s have all gone on Prozac in the last decade, and what is emerging is an entirely new brand of “chick music.”
This new generation of chick music comes in two main breeds. The first is led by Colbie Caillat, Alison Sudol, known to most as A Fine Frenzy, and Ingrid Michaelson. If you’re unfamiliar with any of these ladies, head over to VH1–I realize that’s not the normal place for most of us to find new music, but bear with me–as they can’t seem to stop playing them. These ladies give us chick music that is incredibly chill and relaxing; songs you could probably take a bubble bath to; lyrics from an emo boy’s diary but sang with an actual girl’s voice; and melodies that you can seriously picture floating on the air. (Okay, maybe that last one’s just me…) The other breed of new chick music is represented by Regina Spektor, Amy Winehouse, and (Leslie) Feist: A really energetic, bouncy, quirky sort of music that makes you want to dance, or laugh, or blow bubbles, or do something pretty happy.
Do not misinterpret me–I don’t think this is a bad thing! Sure, this may be an estrogen overload for the men of the music world, but I am personally loving this. I’ll just be sad when the day comes that the Prozac wears off and girls have to be angry again. Personally, I enjoy shaving my legs…
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.
1st listen – Give up halfway through.
2nd listen – Man, that riff was awesome. I’ll just listen to that one part.
3rd listen – I guess I do like this song. I’ll suffer through the whole thing.
4th listen through 8th listen – Repeat
9th listen – This song is the greatest thing ever. I can’t believe I thought this part 6 minutes in was unnecessary.
10th listen – (Person inevitably in the car with you thinks this song is way too long).
