Newspapers / Elon University Student Newspaper / March 14, 2002, edition 1 / Page 15
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March 14, 2002 Arts & Entertainment Page 15 Indie band Plan at Cat’s Cradle Liz Sessoms Reporter Parking was scarce and the lines were long at Cat’s Cradle in Chapel Hill March 11. Indie kids united to see CEX, Death Cab for Cutie and Dis memberment Plan for the Death and Dismemberment Show that is currently tour ing the U.S. Stickers and band fliers covered the walls as the crowd surrounded the stage for the first band of the night. CEX (pronounced “sex”), a one-man show from Balti more, walked onto the stage with music from a laptop, goggles and a pair of Timber- land boots. Pale and blond, CEX ri valed Eminem with fast, funny lyrics and kept every one laughing with jokes about Carson Daly and the TRL generation. CEX con tinued to captivate the crowd with funky beats and songs such as “Pregnant by a Bee Sting.” - Next, Death Cab for Cutie took “emo” to a new level. Illuminated in multi-colored lights, this foursome from Seattle gave the still-growing crowd a lesson in how to be melodic and still rock hard. Heads bobbed, feet moved and people sang, as the sound of guitars, drums and key board intermingled. After a quick set change. photo submitted Lead singer Travis Morrison led indie band Dismemberment Plan at its March 11 performance in Chapel Hill. Dismemberment Plan re ceived a welcome of clap ping, stomping and yelling. “We love you, Travis!” was screamed around the room as lead singer Travis Morrison started the evening at a fast pace. Despite guitar trouble, the room never stopped jumping as Dismemberment Plan played songs from their most recent album “Change” such as “Time Bomb” and old fa vorites from the Washington, D.C. band’s debut, “!”. The highlight of the show came when the band sang “Ice of Boston.” The guys showed everyone that it is possible to bust a move with the dance moves that made Motown’s the Pips famous. The Dismemberment Plan then pulled members of the audience onto the stage to dance and join the festivities. Spirits remained high as the band closed the show with a long jam of “Ok Jokes Over.” The band ended its three- song encore with “First An niversary of Your Last Phone Call,” a song rarely played live. The band exited to the sounds of cheering fans. Recital features faculty musicians Samiha Khanna A&E Editor 1 our faculty mem- bers will be per X. forming at a spe cial recital at 7:30 Wed., March 20 in Yeager Recital Hall The performers are flut ist Linda Cykert, harpist Sally Duran, guitarist Carey Harwood and percussionist and composer Jon Metzger. The musicians will com bine to form several duos while performing pieces that date back to the 17th Cen tury. Cykert and Metzger will conclude the performance by playing “Play Something Pretty,” and “I Could Have Played the Flute,” two origi nal pieces by Metzger. Cykert is a member of the Greensboro Symphony Or chestra, and has played the flute with the Roanoke Sym phony, the Winston-Salem Symphony and the North Carolina Symphony. Duran is a member of the Greensboro and Salisbury symphonies. She has played the harp with a multitude of North Carolina symphonies and has also been a guest on the Lyceum Academic Se ries. She is also the Chapter President of the Ameican Haip Society. Carey Harwood, a guitar professor at Elon, has per formed with Greensboro Symphony, the Greensboro Opera Company and the Triad Guitar Quartet. He also teaches bluegrass mandolin and banjo. Jon Metzger has toured well-known jazz venues on four continents, and has re leased four recordings, which have received wide spread airplay. Metzger has been praised by publictions such as Jazztimes, Cadence and The Washington Post. He is currently the head of jazz studies at Elon. The performance is free and open to all students and community members. [O 'Become You' shows songwriting duo’s return to greatness Samiha Khanna A&E Editor S ingersAmyRayand Emily Saliers of In digo Girls have combined their trademark harmonies and guitar du plicity for their eighth stu**- dio release, "^Become You.” The legendary duo reaches for serenity with the piano-driven piece ‘‘Deconstruction” and the contemporary piece “Col lecting You " which records memorable lyrics: “I could paint you in the dark/ ’cause I’ve studied you with hun ger. like a work of art.” The title track has an un mistakably rougher edge, using a rolling acoustic gui tar riff that leads the ear back to Bob Dylan’s best ballads. The severity of the vocals brings a haunting quality to the song that can also be found in ‘‘Starkville/’ the lOth song on the 12-track ' The fifth track, "Yield;’ uses the same fast pace and a niandoUn to add a bluegrass feeling to the song. ‘‘Bitter Root” also contains a simi lar energy that turns It into a song as jazzy as the French Quarter. “You’ve Got to Show” re verts to the more tranquil In digo Girls style of the past, truly accentuating the way the two singers’ voices REVIEW compleinent each other. “Our Deliverance” standfj out as memorably as “Power of Two” from the duo’s 1994 hit “Swamp Ophelia.” Its beauty slowly creeps up in a slow, smooth guitar part and minor key tTansitions. The album is the best work the Indigo Girls have released since 1994. True Indigo Girls fjms will be impressed by the co hesive power of the album. New listeners will find it hard to stop listening to “Become You” because of the album’s constant change of pace. It never gets old. Each song brings a dif ferent influence to tlie 51 - minute album, making it new to every ear.
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