6
thursday, march 20,2008
mvsiqshorts
SCIENCE FOR GIRLS
SCIENCE FOR GIRLS
EIECTRONICA/POP
irkirki:
While listening to Science for
Girls' debut album, expect to feel
morphed and transposed into an
otherworldly alternate reality.
The brainchild of producer and
composer Darren Soloman. the
album completely sucks in the
listener and captivates him fully
with each sparkly beat and prickly
vocal.
Each of Solomon's songs are
delivered by a different singer. But
this doesn’t detract from the con
nectivity of the album, instead creat
ing a smooth flow into the changing
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feelings that each song provokes.
The dark beats of “Violets'
perfectly complement the saucy
voice of Renee Cologne and
leave a craving for more of the
seductive mystery and intrigue
of Soloman's beats. Trevor Exter
follows cleanly with a calming,
meditative perspective in “Pattern
Recognition.'
There is little that goes wrong in
this entertaining and transforma
tive debut
Not all of the lyrics are substan
tive, but with these songs, words
are irrelevant. This album is all
about sound and the feelings asso
ciated with it, as each new song
begins and ends with a uniquely
personal warmth.
-Melissa Brown
VARIOUS ARTISTS
THE SOUND OF
PHILADELPHIA: GAMBLE
AND HUFF’S GREATEST HITS
R&B/SOUl
irtrkinx
Sounding comfortably familiar,
this tribute to Philadelphia taste
makers, owners of Philadelphia
International Records and newly
inducted Rock n' Roll Hall of
www.catscradle.com
: BEST
Diversions
Famers Kenny Gamble and Leon
Huff, is the type of compilation
made up of instantly recognizable
feel-good hits.
Comprised of songs written or
produced by the duo, the collec
tion is heavy on hits from the City
of Brotherly Love’s most famous
group. The O’Jays, taking off with
“Love Train" and rolling all the
way through its 16 tracks, stopping
along the way for classics from the
R&B canon.
None of the tracks really stand
out from the others, each inspiring
its own “Oh yeah." name-that-tune
moment.
While the tracks are classic on
their own. the way they flow seam
lessly throughout the collection
adds considerable cnjoyability to
the listen.
Nothing seems out of place,
essentially functioning as a dream
radio set from a classic '7os sta
tion.
In a world of bump-and-grind
party jams, this collection will
definitely keep everyone dancing
close long into the evening, as well
at your next house party as it would
at the Kiwanis Club. And that is
undeniably a good thing.
-Jamie Williams
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SUSAN TEDESCHI SPOON CAROLINA THE ATRE
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THE OIRTBOMBS
WE HAVE YOU SURROUNDED
ROCK
The Dirtbombs’ new record We
Have You Surrounded is a painful
experience.
Not because it's a terrible record,
but because it squanders so much
potential.
At the record’s high points, The
Dirtbombs blaze with irresistible
rock aggression.
“Ever Lovin' Man’ melds fuzzed
out punk rock and girl-group
backing vocals into electrifying
sing-along magic, and “Wreck
My Flow’ seethes with corrosive
anger.
But The Dirtbombs surround
these gems with travesties such as
a painfully amateurish, eight-min
ute-long noise piece (“Race to the
Bottom’) and a central song that
lacks both a decent groove and
provocative lyrics (“They Have Us
Surrounded).
If We Have You Surrounded was
just subpar. it would only be boring.
But because of its contrasting
brilliance and atrocity, it becomes
infuriating.
-Jordan Lawrence
Murder By Death
head to Wild West
BY EDWIN ARNAUDIN
STAff WRITER
The days of the Old West live on
in Murder By Death’s latest release.
Red of Tooth and Claw.
Serving as an unexpected con
cept album, it’s an engaging escape
with a quartet of highwaymen
moonlighting as the saloon's in
house band.
This is electric cowboy music.
Tunes speak to being an outlaw'
in sound and lyrics, making a life
of whiskey, brothels and soulless
men one to be desired and yet
feared.
The cover art and title depict
a pack of wild wolfmen. and the
songs fittingly feature characters
thoroughly lupine.
Vocalist Adam Turla’s range,
which varies from a low, gravelly
baritone to upper-octave squeal
ing on the opening track “Cornin’
Home,’ is almost comical at first
listen, but the voice quickly turns
endearing and feels increasingly
passionate with each new song on
the record.
On tracks such as the fantasti
cally titled “Rumbrave,” the sun
bums down on Turla’s anti-heroes
in desolate deserts, riding with a
pair of six-shooters and maybe a
little something extra in the guitar
case.
Stints in watering holes are pep
pered with thieving, distant having
coyotes, hard drinks and harder
women. When Turla growls, “Did
I kill anybody? Hell, 1 never fight
fair," on “Spring Break 1899." it’s a
guarantee that he doesn’t keep a
body count.
Cellos drive over active drums.
Come Take
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Honoring Eve
All
Sat. March 22 nd
Chick-Fil-A at Renaissance Village
10% of all sales for Saturday, March 22°d
will be donated by Chick-Fil-A to the
Eve Carson Memorial Fund.
Bring your friends and family out
to honor Eve and support
the UNC family.
* p,"-—Visit our new Chidt-Hl-A
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MUSIC REVIEW
MURDER BY DEATH
RED OF TOOTH MD CLAW
•OCX
.ickkrtrk
piano and bass, then are swapped
out for a range-riding electric gui
tar.
Other moments are filled with
surf-western guitar composed
of wavy strokes with each string
sounding into echo, and solos
stick to the precise, staccato licks
as that of “The Good, the Bad and
the Ugly’ theme.
The addition of “Theme," a
number dedicated to spaghetti
western maestro Ennio Monicone
solidifies the the band's homage to
the sound, look and feel of the Old
West.
The instrumental track is ripe
with canyon-booming guitars and
sustained strings fit for backing up
a tense Clint Eastwood showdown
with tumbleweeds rolling along
a bone-dry landscape and saloon
doors swaying nearby.
The group recruits a trumpet
to complete the tribute, channel
ing a feel equal parts heroic and
nostalgic.
Recorded in Nashville, one of
the few places w'herc this brand of
sound survives. Red of Tooth and
Claw paints a captivating world.
After a while, it becomes so
real that you can’t help but think
that it came straight out of the
movies.
Contact the Diversions Editor
at divetg) unc.edu.