94 items found for your search. If no results were found please broaden your search.
(01/14/10 4:33am)
Michael Mann’s lightly stylized take on ‘30s bank robber John Dillinger is not perfect, but it was the most refreshing and serious of the summer action pack. It’s also a good reminder that Johnny Depp is a well-rounded actor capable of more than just variations on Captain Jack Sparrow. - JP
(01/14/10 4:31am)
While Raekwon never abandoned the grimy street tales that proliferate the original, this long-awaited sequel features his best verses since. With cameos from Wu brethren and top production via the likes of Dr. Dre and RZA, the 14 years of waiting can finally be forgiven. - BW
(12/03/09 5:43am)
Photo illustration by Jordan Lawrence, Benn Wineka and Ashley Bennett
(11/12/09 5:24am)
As the next decade stands impatiently on our doorstep, Dive takes a look at the past 10 years in arts and entertainment. Whether it’s the potential threat of rap’s demise or reality TV’s utter inundation of broadcast and cable, the shifts in popular culture over the new century’s first decade have been profound and far-reaching.In an effort to explore our generation’s place in our first decade of seeming cultural relevance, Dive has decided to take on four of the topics that have indelibly shaped the popular landscape of the American media and arts. So read on with us as we attempt to understand the decade that has made us who we are.
(10/29/09 3:05am)
PelicanWhat We All Come to NeedHard rock4.5 out of 5 starsCraftsmanship isn’t a word you hear a lot when discussing heavy music. What do metal heads care about melodic arrangement anyway? The point of all this distorted shredding is aggression after all.Chicago instrumental rock outfit Pelican would probably disagree with this outlook.Not that there isn’t aggression here. Every one of the group’s striding riffs growls with the power of a confident, laid-back killing machine.But what really stands out about What We All Come To Need is the way the band has constructed its cataclysmic sound into snap shots of hard rock rage that are always invigorating and never lose momentum.Starting out by simply pounding the listener with guitar, bass and drums, “Specks of Light” soon gives way to a shock wave of electric riff and a bass line that sways with confident swagger.As the song contorts and shifts for almost eight minutes, it manages to keep you on your toes while never losing its impact as a cohesive piece.Pelican plays nearly the same game for the first seven tracks, meticulously working its way through cuts of smoldering menace that never drop below four minutes. Though some might not be as enthralling as others, together they form a formidable onslaught that’s impossible to ignore.And while the last song, “Final Breath” does add singing, the grizzly gasps of unintelligible words are just another sonic texture, adding to the wash of ethereal distortion that envelops the listener at the record’s end.It’s a beautiful and appropriate end for this record, proof that well-crafted heavy music can be as relaxing as it is aggressive. But either way Pelican does it, they prove to be masters of the form.-Jordan LawrenceSpiral StairsThe Real FeelIndie Rock3.5 out of 5 starsSince Christopher Scott Kannberg graduated from ’90s supergroup Pavement, he’s been up to something. With its seething guitars and sunny pop influence, The Real Feel translates Pavement’s feedback-heavy, lo-fi style into an equally forceful, if brighter, sound.The songs span numerous sounds and genres. “Call the Ceasefire” and “A Mighty Mighty Fall” integrate unexpected pedal steel, harmonization and an alt-country aesthetic, a far cry from Kannberg’s distorted roots.But the defining characteristic is the constant thrum of writhing guitar. While Kannberg doesn’t shy from experimentation, his roots as a member of a quintessential noise rock band are a constant presence. “Subiaco Shuffle” opens and closes with incendiary licks of guitar, while “Stolen Pills” breathes new life into the distorted, insistent sound of ’90s rock. “Stolen Pills” frenetic, thrashing guitar and eardrum-blasting vocals prove that, regardless of Kannberg’s penchant for branching into new territory, he can still craft a rock song that would melt the faces of ’90s rockers and new fans alike.Though the instrumentation hearkens back to yester-decade, the lyrics are sub par. “Maltese T” describes a nonsensical “Maltese terrier, a viral carrier,” that “spoke to a wall, petals call his reflection.” And while the urgency and grit in the vocals might initially deceive the listener into thinking that the song carries some desperate, hidden meaning, the gibberish Kannberg spews on the tracks ultimately reads like an unintelligible Dadaist poem — he could’ve pulled the words randomly out of a paper bag. The Real Feel is hardly perfect, but with its urgent, diverse set of rock songs, Spiral Stairs proves that a guitar-heavy, well-crafted album isn’t overshadowed by a few strange lyrics. -Linnie GreeneStarmountTyranny of the SphereAmbient3 out of 5 starsSome events in life are better experienced without knowledge of the details, like what’s really in your school cafeteria’s mystery meat. But with the debut album from Raleigh’s Starmount, it’s best to know up front that the main ingredients don’t include singing. But go into the listening experience prepared to concentrate solely on the sound and arrangement, and you won’t go away disappointed.With no lyrics, Starmount instead chooses to focus on creating a rich and evocative mood with pedal steel guitar, drums, upright bass and synthesizers.All are intricately woven together to create a sound that’s both dreamy and light, the compositions never getting too cluttered or experimental to keep it from being accessible to the casual listener.Standout tracks include “The Constable,” a steady, vaguely menacing song that makes it easy to picture a policeman walking a late-night beat, observing dark alleys and shady characters. “The Battle of Brentwood Creek” uses a tight marching beat and computerized noise to suggest sounds associated with war. “Daylight Dies” uses mournful steel guitar to bid farewell to the end of the day, only to build into a crescendo of drums and synthesizers to welcome the night.The biggest problem Starmount has is the emphasis it places on the pedal steel guitar. In the first couple of songs the twangs of the instrument come across as a whimsical novelty.But by the end of the album its overbearing presence makes it hard to be reminded of anything else besides the opening to a vintage country song.While Starmount’s devices might get a bit repetitive, its skill at building them together makes lyrics irrelevant.They might not say anything, but when the band’s hitting on all cylinders, the music is all the storyteller you need.-Anna Norris
(10/29/09 2:52am)
Album from the Vaults:The Spice Girls, Spice: The Beatles weren’t the only ones to invade the states with their cheeky British charm. This 1996 album burned through top-20 charts with its sugary girl-pop like a smoker with a nicotine craving. It’s half women’s empowerment, half exploitation and completely catchy as hell.Movie from the Vaults:“Annie Hall”: Diane Keaton proved that there is such a thing as female pantsuit swagger in this 1977 Woody Allen classic. It’s the ultimate comedy about communication, attraction and love — or sometimes, lack thereof. It’s a must-watch for couples or anyone who gets frustrated by the wily ways of the opposite sex.Events:ThursdayChris PurekaLocal 506 | Chris Pureka parades his gentle Americana picking at Local 506 tonight, displaying his signature Dylan-like twang. With his set of contemplative, backwoods tunes, his pared-down blend of picking and singing will be the ideal end of the week wind-down. Catherine Feeny opens. 8:30 p.m., $10Calico HauntsNightlight | Calico Haunts’ psychedelic throw-back to all things ‘60s and ‘70s hits the Nightlight on Thursday, unleashing a hefty dose of funk on the ears of its audience members. The band’s hazy, slow-burning guitar will get the weekend off to a retro start. Mt. Moriah and Filthybird open. 10 p.m., $5FridayHoly Ghost Tent RevivalLocal 506 | Get to hootin’ and hollerin’ Friday night as Greensboro’s Holy Ghost Tent Revival plays a rollicking show at Local 506. There’s sure to be a little bit of picking, a little bit of singing and a whole lot of energetic alt-country rock. House of Fools and Alcazar Hotel open. 9:30 p.m., $7SaturdayToubab Krewe Cat’s Cradle | Wander over to Carrboro for a spooktacular Toubab Krewe Halloween show. Vibe out to the Asheville-based band’s brand of jam-loving, African-influenced music. It isn’t too spooky, but it’s sure to be fun. Floating Action opens. 9 p.m., $16MondayJoshua JamesLocal 506 | With his quiet croon that settles on your ear like a soft summer breeze, Joshua James will surely lull his audience into a contemplative, gentle reverie. Or at the very least, provide some much-needed relaxation after a crazy Halloween. Birds and Arrows opens. 9:30 p.m., $10
(10/29/09 2:48am)
Where the Wild Things Are
(10/29/09 2:42am)
It might be difficult to imagine how elements of bluegrass, ragtime, folk, rock and pop can combine to form anything other than pure chaos, but Holy Ghost Tent Revival seem to have a pretty good idea. The six Greensboro natives have a reputation for a genre-defying sound and electrifying live shows. On Friday, they will be playing Local 506 with House of Fools and Alcazar Hotel.Diversions staff writer Anna Norris spoke with guitarist and banjo player Stephen Murray as the band drove through Asheville to discuss Holy Ghost Tent Revival’s upcoming plans.Diversions: You played at the Shakori Hills Grassroots Festival a few weeks ago. How was that, and what draws you to play there?Stephen Murray: Well the actual festival itself has always been really good to us. It’s a place where we made immediate relationships with people — friends and fans alike. We camp out there, so it’s always a good couple of days.This year especially we were able to have our really good friends And The Moneynotes come down from Scranton, Penn. and play with them and share the stage with them along with a group called Now You See Them, and that really meant a lot to us.This being our fourth time playing there, it’s just starting to become a family thing. We recognize the people that run it, and our manager Jamie also helps to put it together. Dive: Have you found that it’s changed since you started playing, in terms of audience makeup or the types of bands playing?SM: I feel like audiences are starting to catch on, just because of word of mouth. People enjoy the music, so they tell friends to come out and buy a day pass. It’s like anywhere, if you keep on going back to a place and you treat it with respect and you love what you’re doing, the audience will love it.Dive: You released an EP last month called Family. You brought in a big group of friends that are also local artists. What drove that decision?SM: A long time ago we were sitting in the living room, and our bass player had recently written a song that a friend of ours sang on, the track “Under Your Fingers,” and we just started talking about bands that we liked.The original purpose was just to be able to play with friends and record something, but it came across in both ways, ultimately in the recording process we wanted to have a great time.We spent three days just losing our minds and laughing our asses off — just really enjoying ourselves and happy to be recording the whole time. Dive: Holy Ghost Tent Revival plus your friends make up The Lovely Hot Starving, the band you compiled for Family. Is there a chance the band has a future outside of Family?SM: Well, ideally that would be something great to do. I feel like it’s kind of impossible because there are people in the Lovely Hot Starving that live in Scranton, and there are people in six other different bands.We definitely have been tossing ideas around for the next EP, whenever that may come out, having The Lovely Hot Starving back, but I think we wanted to give a name to all the people that were participating so it sounds like Holy Ghost Tent Revival with this band. We listed out who everybody is and where they’re from.But I don’t know if we could ever perform live with the entire band. If we can, we’d perform with Eating The Invaders, the songs that we’ve done with them.Dive: If you mention Holy Ghost Tent Revival, often the first thing that fans want to talk about is your high-energy performances. What do you try and bring to each live show?SM: Well I bring my intention of being a performer, and being a performer means you’re going to entertain.It also means you’re as honest as you can be. And you know, sometimes I don’t feel that I’m as honest as I should be.Sometimes I get caught up in dancing too much or not doing something from the heart. But really it all comes down to the way we move and feel songs as a band, because we’re all kind of good at feeling music passionately together.And we love playing music individually, and when we bring it all together, it’s so overwhelming that we just have to move and dance and jump around.And yes, I know that’s entertaining to the audience. All of us being 24, to the older demographic they always give us the comment, “Oh I wish I had your energy!”And for the younger demographic it’s a kind of aerobic workout for them and they can participate that way.Ever since I was a kid music made me dance and jump, and I can’t get rid of that. Even when I’m in a wheelchair one day, I’ll probably be shaking my broken hips or something.Dive: The night after you play at Local 506 is the Halloween show, which includes a Rolling Stones cover band and a Cheap Trick cover band. If Holy Ghost Tent Revival could dress up as any band for Halloween, which cover band would you be?SM: Hold on, let me ask the guys (polls the rest of the band). We have two votes for Gore, two votes for And The Moneynotes, one for Kinky Friedman and one for Yanni. So we’ll make that a superband. We’d dress up as a combination of all those bands.Contact the Diversions Editor at dive@unc.edu.
(10/15/09 4:35am)
It Might Get Loud4 out of 5 starsAcoustic purists sometimes say that electric music is watered down, that there are numerous degrees of separation between what comes out of an amplifier and what genuinely comes out of an instrument, that only these “experts” know what is raw and right about the guitar. “It Might Get Loud” says, in riffs and volts more adequate than words, that acoustic purists can go right to hell. That electric music, far from being watered down, is like a gamma ray burst from deep space that will rip the dome of your skull wide open. That every medium between instrument and amplifier is one less medium between amplifier and brain-child. That rock ‘n’ roll electric guitar is still the rawest, coolest, most bad-ass junk around.To explain these points, director Davis Guggenheim sits down with Jimmy Page (Led Zeppelin), The Edge (U2) and Jack White (The White Stripes, The Raconteurs) to discuss their personal histories with the guitar. In these candid, illuminating interviews, clear patterns emerge about the personalities of the musicians. White becomes rock ’n’ roll’s ironic Luddite poser-philosopher. The Edge becomes its gooey moral conscience. And Page remains, now and forever, its wise old sage of monster riffs. Rockers of all stripes will find satisfaction in the music of “It Might Get Loud.” The brief biographical snippets of the artists are nice, but this is primarily a soundtrack movie, and one of the very first order. Its centerpiece is “the Summit,” where the guitarists sit down, boxed in by amps, to jam on each other’s songs. The Summit pinnacles in a primitive rendition, three guitars deep, of Zeppelin’s earth-shaking “In My Time of Dying.” As Page, White and The Edge face off over those immortal chords, it is obvious that the documentary is witness to some kind of perverse and wonderful rock ’n’ roll Trinity. All disciples of the heavy and the loud should come worship at this amplified alter.-Jonathan PattishallCouples Retreat2.5 out of 5 starsWe all hoped that Vince Vaughn could recapture the glory of “Swingers” and “Wedding Crashers,” but “Couples Retreat” is no comedy classic. But Vaughn, the co-writer, works in too many one-liners and not enough substantial humor, making this a 107-minute sitcom that’s inconsistent at best.The couples, a group of close friends, head to a tropical getaway to revive their marriages and relationships. Insert the new-age “couples’ whisperer,” Marcel (Jean Reno), and the stale comedic ploys become gratingly obvious. Sexual innuendos abound, including but not limited to, a boner during a massage and vulgar thrusting motions from the Fabio-esque yoga instructor.Sure, this prompts a few laughs, but are we really laughing at the jokes, or are we simply mocking how far this film will go to make us laugh?The neurotic PowerPoint-obsessed Jason (Jason Bateman) and his relationship with the cute wife who lacks the guts to tell him to shut up is the main reason the four couples head out on this retreat. After marrying this nut job, I don’t blame Cynthia (Kristen Bell) for needing therapy. Mixed in with the sex-starved Joey (Jon Favreau), and Dave (Vaughn), the laid-back cool guy, the movie becomes funnier because you probably know people a little bit like this.Overall, the film is pleasant and doesn’t induce too many cringes, except when Dave challenges the stingy resort host to a Guitar Hero duel to gain access to the single side of the island.These jabs stick out in sharp contrast to the relationship problems these couples face, and it’s hard to reconcile the crudeness of the jokes with serious marital issues.It’s not as bad as it could’ve been, but with such a talented comedy cast, it’s hard not to expect a lot more.-Rachel Arnett
(10/15/09 3:04am)
Album from the Vaults:Talking Heads, Remain in Light: And you may ask yourself, why did Dive pick this album? And you may ask yourself, how did it get here? 1980’s Remain in Light is a new wave romp through David Byrne’s endearingly awkward vocals. There are several standout tracks, but “Once in a Lifetime” is a classic, forcing a generation of ‘80s yuppies to ask themselves the tough questions.Movie from the Vaults:“The Seven Year Itch”: Believe it or not, that iconic skirt scene where Marilyn Monroe stands over an air vent belongs to this hidden gem. The 1955 film deals with infidelity, lust and the perennial question of whether men and women can ever be “just friends.” Guess we still haven’t quite figured that one out.Events:FridayAtlas SoundLocal 506 | Atlas Sound is the solo vehicle of Deerhunter’s Bradford Cox. Playing alone with guitar and electronics strips away his band’s wall of sound, highlighting the reverb-laden sweetness behind his invigorating sound. 9 p.m., $14SaturdayLuego Local 506 | Durham’s Luego polish good-natured rock ‘n’ roll into a pop sensation centered around Patrich Phelan’s old-school, whiskey-hewn vocals. Saturday the band celebrates the release of its new record Taped-Together Stories with The Tomahawks and The Huguenots. 9 p.m., $5TuesdayDent May and his Magnificent UkuleleLocal 506 | As fall descends on Chapel Hill, Mississippi’s Dent May and his ukulele will bring a little dose of summer to Local 506. Just nerdy enough to be trendy, May and his elegant pop tunes are the perfect antidote for the chilly weather, especially in the cozy confines of Local 506. The Drowning Lovers opens. 9:30 p.m., $8WednesdayJacquelyn LeeJack Sprat | UNC troubadour Jacquelyn Lee brings her quirky, off-kilter songwriting sensibilities to Jack Sprat. Grab a coffee and cozy up to Lee’s expressive vocals and lone guitar. It’s a simple, contemplative set, perfect for a Wednesday night. 10 p.m., $3Sea WolfNightlight | Sea Wolf brings its spare, melodic pop to the Nightlight, and though the band borrows its name from a Jack London short story, the set is sure to be as warm and inviting as the band’s native L.A. Port O’Brien and Sarah Lov, two other acts receiving a hefty amount of buzz in the indie world, open. 9 p.m., $10
(10/15/09 2:59am)
Squirrel Nut ZippersLost at SeaBig band
(10/08/09 3:51am)
Album from the Vaults:
(10/08/09 3:35am)
Birds and ArrowsStarmaker
(10/08/09 3:26am)
Whip It
(10/01/09 3:36am)
Surrogates2.5 of 5 starsBruce Willis is human. In fact, his blood, his scars, his sweat and his tears stir the undercurrents of this rare sci-fi exploration of what it means to be human, but in “Surrogates,” you barely notice.In a future where technology questions humanity with a clichéd, frenetic story, such questions are lost to stereotypical gimmicks.In a foreboding series of documentary-style opening credits, “Surrogates” acquaints the audience with a reality in which people live their lives through indestructible robots. They can experience all that their cosmetically enhanced cybernetic proxies encounter, free from hazards as they sit in “Matrix”-esque control chairs. It’s a triumph of shallow artificiality.And so, when a hokey weapon is created that penetrates the fail-safes of surrogates and kills their human operators, FBI Agent Tom Greer (Willis) investigates his first murder case in years. As Greer chases leads through his doppelganger (Willis a la cheesy toupee), he, like the audience, becomes disgruntled with the inherent misrepresentation of surrogacy, conversing, for instance, with a 13-year-old who turns out to be an 80-year-old.Throughout the film, Greer yearns for genuine connection, such as his wish to streak his fingers through his wife’s hair. However, the audience is distracted by doomsday clocks and plot twists that only inspire stagnancy.As Greer abandons his surrogate in a symbolic embrace of his humanity, the ambiguous identities of the characters drive the plot into oblivion. The climax appears out of nowhere, a meaningless attempt to reconcile a dizzying plot.It doesn’t have time to breathe. This future world of robotic puppets is rich with potential, but the acting is the only element of “Surrogates” which has real life.Rocco Giamatteo
(10/01/09 3:28am)
Album from the Vaults:The Avett Brothers, The Gleam: To cure our heartache over the disappointing new Avetts full-length, Dive will likely be spending time with this 2006 gem. Five songs of heartbreaking melody and endlessly romantic lyrics, The Gleam makes stripped-back seem lush and bruised hearts look like the most heroic things in the world. If only the new Avetts album took more cues from it.Movie from the Vaults:“O Brother, Where Art Thou”: Speaking of good stripped-back music, the soundtrack to this 2000 Coen brothers classic sports a fantastic bluegrass lineup. And with a charismatically dim-witted performance from George Clooney and a fantastic story arch that makes a farce of “The Odyssey,” it’s also one of Ethan and Joel’s best.Events:FridayDjango Haskins and Stuart McLambDeep Dish Theater | University Mall’s “little theater that could” has a great lineup for its “Words to Music: Songwriters Up Close.” Django Haskins will strip back the orchestration from the evocative chamber pop of his The Old Ceremony, and The Love Language’s Stuart McLamb will deliver his heartache with aching soul. Soft Company’s Missy Thangs also plays. 8 p.m., $12WavvesLocal 506 | Sporting a pop-rock sound that’s been banged around in the garage until it buzzes with distorted glory, San Diego’s Wavves is tons of fun. In addition you’ll also get the picture-perfect Chapel Hill rock of Embarrassing Fruits. Ganglians also play. 9:30 p.m., $12SaturdayThe TravestiesThe Cave | Raging garage rock played with the swagger of true rock ‘n’ roll bad boys, that’s what Durham’s The Travesties serve up each time out. Fellow Durham loud rockers Free Electric State will help them fill The Cave with as much volume as it can stand.10 p.m., $5Rural Alberta AdvantageDuke Coffeehouse | Big, expressive and impeccably rhythmic, Canada’s Advantage should prove an all-encompassing force in the Coffeehouse. Lovely Feathers also play. 9 p.m., $7TuesdayA Place To Bury StrangersLocal 506 | Combining roaring shoegaze distortion with industrial rhythms and a disorienting light show, a show by Brooklyn’s Place is a hard-edged psychedelic experience that lovers of music on the heavier side should have no problem getting in to. Darker My Love and All The Saints also play. 9 p.m., $8
(10/01/09 3:25am)
Rural Alberta AdvantageHometownsIndie pop4 of 5 starsLike Arcade Fire, Canada’s latest export The Rural Alberta Advantage is familiar with the art of epic pop songs. Utilizing the same multi-instrumental aesthetic of their countrymen, the group adds a hefty dose of drums and gravelly vocals, crafting melodic pop with the grit and intensity of punk rock.One of the main things that separates Hometowns from other pop records is vocalist Paul Banwatt’s voice. Unlike the airy vocals found in so much modern music, Banwatt brings ferocity to the album without sacrificing contemplation and depth. It isn’t flawless, but that’s part of the appeal — the occasional, barely detectable falters in pitch or tone imbue songs with a sense of urgency and sincerity.And while vocals play a large role in distinguishing the album from others, the instrumentation is most original. From the synth-infused intro in “The Ballad of RAA” to the violins that permeate the record, the arrangements never grow stale. Each song juxtaposes an unexpected mix of furious drums and guitar with strings and sing-song xylophones, melding two distinct genres into one appealing package.The group might differ from other bands that hail from America’s colder neighbor, but its innovative mix of gritty rock and sweet pop makes The Rural Alberta Advantage the most exciting northern export since hockey and maple syrup.Linnie GreeneLakeLet’s Build a RoofVintage pop3.5 of 5 starsOn Let’s Build a Roof, Olympia, Wash.’s LAKE creates an album that warms the heart like a burst of springtime on a cold day.LAKE, a six-member ensemble that collaborates with a number of other artists, has created an album full of sounds that address themes of memory and family. The record reeks of current indie-pop convention, with piano-infused songs and warm vocals. Ashley Eriksson and Eli Moore share singing duties. Each bring delicacy to the tracks, which vary drastically.And while many songs on the album achieve a balance of cheerfulness and depth, songs like “Don’t Give Up” are saccharine and disingenuous. With Eriksson singing “I don’t wanna give up, don’t give up,” repeatedly, the heartwarming message becomes a source of encouragement that’s cheesy at best.It is only expected that similarities to Sufjan Stevens, a proclaimed fan and notable influence, appear on “Collapsing Homes,” where the band utilizes a background choir.It’s with this incorporation of unconventional devices, such as trumpet, cornet and organ, that the album becomes a whimsical merry-go-round of sound. The multi-layered music and balanced vocals create a feel good collection of songs that remains comfortably familiar without sacrificing originality.It may be too sweet for some, but sometimes everyone needs a little extra warmth in their day, and LAKE’s happy pop sunshine has the goods to do the trick.Elizabeth ByrumKarl BlauZebraFolk/electronic3 of 5 starsThere’s a fine line between knowing what works for you as a musician and beating your audience over the head with it. Karl Blau toes this line on Zebra.The songs are carefully crafted, layering bright, clear piano over an abundance of electronic effects as Blau’s mellow voice floats a relaxing lullaby over the top. The formula works, but not as well as Blau seems to think it does. He doesn’t give the listener enough variety to stay interested, and the result is an album that blends together into one giant, repetitious song.Things pick up about halfway through with “Free the Bird,” where Blau forgoes the piano and sporadic blips and bleeps for a more focused sound with strong acoustic strumming and drums as he finally starts singing with a purpose.Blau keeps it moving with a couple of other tunes. “Dark Sedan,” a slice of up-tempo pop that approaches disco with a peppering of horns and synthesizers. It’s an interesting contrast as he sings about “digging up the past to reveal some old crow bones.” And “Tha’ Ole Moon Smi” pairs jazz-infused drums and piano with soaring falsetto harmony.But it’s not enough to save the album from tumbling back into a murky mess of looping electronica and piano. Blau has the ability to produce a solid song, but until he adds some variation to his themes, he’ll stay more suited to background music than a compelling front-and-center listen. Anna Norris
(10/01/09 3:24am)
Baltimore’s Dan Deacon is hard to pin down. Using break-neck beats and choruses of cartoonish voices, he creates a colorful funhouse of sound. Tonight Deacon plays Cat’s Cradle. In advance of the show, Diversions Editor Jordan Lawrence caught up with him to talk about live shows and the emotions of music journalism.Diversions: Why start the tour in Chapel Hill?Dan Deacon: It’s pretty close to Baltimore. It’s just a day’s drive. We play North Carolina at least once a tour. I didn’t play Chapel Hill on the last tour, so we thought it made sense.Dive: How have you liked playing Chapel Hill in the past?DD: Good. I’ve played there for a while. I used to play at the Nightlight quite a bit, used to play there a bunch with Future Islands. Is that place still there?Dive: Yeah, it’s still there.DD: Cool. I played at the (Local) 506 a few times, and I’ve always enjoyed it. Chapel Hill tends to be one of the places where I play early in the tour. Sometimes they get the rougher sort. I feel like North Carolina has a really optimistic mindset, and they are down for cool and weird s--t.Dive: Your music is all over the place. What inspires you to make your amalgamation?DD: I don’t know. I don’t ever sit down and say ‘I’m going to make this kind of music.’ It kind of flows out, and I take it from there.I can tell pretty quickly in the early stages of a piece if it’s going to be a piece I’m going to record or just play live or keep just for me. Once I get that in my head, the piece takes on a more defined shape. But at first it’s just jamming or just experimenting.Dive: Would you say the way you make music is more random experiments or a strict process?DD: I’d say it’s sort of a process. I try to stray from it as much as possible unless I’m trying to make a group of pieces with cohesion. I don’t take as much of a process now as with my older works.Dive: I read the review of Bromst on AllMusic.com. It said that you’d progressed from dance-oriented music to a more indie-rock sound. How do you think your music has changed over the years?DD: I’ve never really listened to indie rock. I’ve listened to Built To Spill and Modest Mouse, but I don’t know how much influence that’s had. I think the biggest difference between my earlier work and like Spiderman of the Rings and Bromst is they’re vocal-based.Dive: Why add vocals?DD: I wanted to perform it live. Those early albums I never performed live. It was mostly just straight-up computer music made only to be enjoyed in an album setting. It was the way that I saw best to translate the music to a live context. I would love to hear what this writer is referring to.Dive: Specifically he compared you to Animal Collective.DD: That’s interesting.Dive: Do you take any offense to these comparisons?DD: No. No offense to you, but I think that’s more the role of journalism. I think that’s the role the media plays: trying to find a way to write about them. Animal Collective is certainly a darling for the media. I don’t mind being compared to anyone or anything. But I do think the classification is more done from the media’s perspective to grasp to something. A lot of reviews don’t really talk about the music. They talk more about fashion or trend. They don’t really break down the musical process or timber or do musical analysis. It’s more just the emotion.Dive: What would you prefer to see reviewers talk about?DD: I would rather people write more about the music than the way it feels. I try to stay away from music journalism as much as possible because I just don’t see any reason for people to be reading reviews of themselves and their peers. It just creates a weird feedback cycle.Dive: So how do you judge your success?DD: I don’t know. I mainly want to make something I’m happy with and that I’ll enjoy showing to my friends and family. If people like it, that’s great, but I’ve been making music for a long time. And I don’t really care about it in the critical sense. Of course I like it when people like it and come to my shows and are into it. But I really just want to write music that I feel attached to.Dive: You’ve been known to get very involved in your live shows. What do you enjoy about it?DD: It’s just an energy behind it when there’s that many people in the room, and the majority of people are excited and want to get behind it. If you can facilitate that, and the PA sounds good, and the room is good, it has an energy. That’s what the art form is about. That’s what music is about. It’s existed for millennia, the live performance. It has that energy and that kinetic energy that spreads throughout the room and is very unique to the art form.
(10/01/09 3:21am)
Baltimore’s Dan Deacon is hard to pin down. Using break-neck beats and choruses of cartoonish voices, he creates a colorful funhouse of sound. Tonight Deacon plays Cat’s Cradle. In advance of the show, Diversions Editor Jordan Lawrence caught up with him to talk about live shows and the emotions of music journalism.Diversions: Why start the tour in Chapel Hill?Dan Deacon: It’s pretty close to Baltimore. It’s just a day’s drive. We play North Carolina at least once a tour. I didn’t play Chapel Hill on the last tour, so we thought it made sense.Dive: How have you liked playing Chapel Hill in the past?DD: Good. I’ve played there for a while. I used to play at the Nightlight quite a bit, used to play there a bunch with Future Islands. Is that place still there?Dive: Yeah, it’s still there.DD: Cool. I played at the (Local) 506 a few times, and I’ve always enjoyed it. Chapel Hill tends to be one of the places where I play early in the tour. Sometimes they get the rougher sort. I feel like North Carolina has a really optimistic mindset, and they are down for cool and weird s--t.Dive: Your music is all over the place. What inspires you to make your amalgamation?DD: I don’t know. I don’t ever sit down and say ‘I’m going to make this kind of music.’ It kind of flows out, and I take it from there.I can tell pretty quickly in the early stages of a piece if it’s going to be a piece I’m going to record or just play live or keep just for me. Once I get that in my head, the piece takes on a more defined shape. But at first it’s just jamming or just experimenting.Dive: Would you say the way you make music is more random experiments or a strict process?DD: I’d say it’s sort of a process. I try to stray from it as much as possible unless I’m trying to make a group of pieces with cohesion. I don’t take as much of a process now as with my older works.Dive: I read the review of Bromst on AllMusic.com. It said that you’d progressed from dance-oriented music to a more indie-rock sound. How do you think your music has changed over the years?DD: I’ve never really listened to indie rock. I’ve listened to Built To Spill and Modest Mouse, but I don’t know how much influence that’s had. I think the biggest difference between my earlier work and like Spiderman of the Rings and Bromst is they’re vocal-based.Dive: Why add vocals?DD: I wanted to perform it live. Those early albums I never performed live. It was mostly just straight-up computer music made only to be enjoyed in an album setting. It was the way that I saw best to translate the music to a live context. I would love to hear what this writer is referring to.Dive: Specifically he compared you to Animal Collective.DD: That’s interesting.Dive: Do you take any offense to these comparisons?DD: No. No offense to you, but I think that’s more the role of journalism. I think that’s the role the media plays: trying to find a way to write about them. Animal Collective is certainly a darling for the media. I don’t mind being compared to anyone or anything. But I do think the classification is more done from the media’s perspective to grasp to something. A lot of reviews don’t really talk about the music. They talk more about fashion or trend. They don’t really break down the musical process or timber or do musical analysis. It’s more just the emotion.Dive: What would you prefer to see reviewers talk about?DD: I would rather people write more about the music than the way it feels. I try to stay away from music journalism as much as possible because I just don’t see any reason for people to be reading reviews of themselves and their peers. It just creates a weird feedback cycle.Dive: So how do you judge your success?DD: I don’t know. I mainly want to make something I’m happy with and that I’ll enjoy showing to my friends and family. If people like it, that’s great, but I’ve been making music for a long time. And I don’t really care about it in the critical sense. Of course I like it when people like it and come to my shows and are into it. But I really just want to write music that I feel attached to.Dive: You’ve been known to get very involved in your live shows. What do you enjoy about it?DD: It’s just an energy behind it when there’s that many people in the room, and the majority of people are excited and want to get behind it. If you can facilitate that, and the PA sounds good, and the room is good, it has an energy. That’s what the art form is about. That’s what music is about. It’s existed for millennia, the live performance. It has that energy and that kinetic energy that spreads throughout the room and is very unique to the art form.
(09/24/09 3:48am)
The Minus 5KillingsworthRock