We’ve moved!

To our readers,

Thank you so much for following The Post Culture for the past few years on our WordPress blog. It is so thrilling to give our writers an opportunity to babble about what they love and to know there are people out there, from countries all over, reading it. We are very appreciative.

We are no longer going to be posting on this WordPress blog. The Post, the student-run newspaper at Ohio University, has a beautiful, new website (click here to check us out!) and our blog is now on our official site. Visit http://www.thepostathens.com/blogs/ or click here to see our reviews, news updates and opinions about the latest happenings on all things pop culture!

Don’t forget to also tune in to our pop culture podcast: Post Pop!

Alternative rock band set to take The Union stage

By Stan O’Neill | sn002310@ohiou.edu

Shilpa Ray will perform at the Union Bar and Grill, 18 W. Union St., with an alternative rock approach that does not fit snugly into the conventional slot allotted to most current bands of this genre.

Various bands, including Style Star and Total Blam Blams, are set to make appearances alongside the main attraction Thursday at 9 p.m.

“Shilpa Ray is always special, they have played here a few times before, it’s always a light hearted and energetic show,” said Scott Winland over a Facebook message.

The band’s style is a haunting onslaught of delicate prog-rock, with the down tempo moments mediated by punk sensibilities and clever instrumentation. The band’s music contains a goofy ferocity and rebellious animosity reminiscent of Warhol-era New York, back when alphabet city’s gritty punk scene still thrived in dive bars like CBGB’s with youthful force.

Shilpa Ray’s enigmatic title is actually the full name of its lead singer and die-hard proprietor, and incidentally the only remaining member of the original lineup. The four-piece group is a convoluted product of the past few years, a revolving door comprised of various members that came and went before the establishment of their current roster.

Evidently this cathartic process of breaking down to build back up fostered some raucous ingenuity. Their music fluidly fuses bruised punk and bluesy movements with entirely original energy. Ray’s howling vocals are a potent mix of Janis Joplin and old soul caught in a choke-hold, refusing to be turned down or stifled, burning down the old conventions and reviving the fire of rock’s idols with scalding emotional vengeance.

The band is based out of New York City and records at Emandee Studios in Brooklyn. The new EP It’s All Self Fellatio was recently released and will be available for purchase at their Union show. I recently reached out to Ray and bassist Will Benton to discuss their music and creative chemistry.

“Well these days it’s Will Benton on bass/guitar, Jon “Catfish” DeLorme on bass/pedal steel, Russ Lemkin on drums and then there’s me,” Shilpa Ray said over Facebook Message. “We all met through mutual friends and other bands.”

She expanded on her own personal musical history.

“I started out playing solo, and then tried being in and running two bands, failed miserably and now I’m back on the horse playing solo and having band mates at the same time,” Ray said.

She went on to list the collective’s primary influences including Lou Reed, New York Dolls, Kevin Ayers, soul, some jazz and old Bollywood movies. Benton chimes in emphatically, emphasizing “especially old Bollywood movies.”

I ask the singer where the distinction lies between her solo and collaborative work. Shilpa speaks with playful sarcasm, poking fun at herself and the egocentric rock-star archetype so common in modern music, diffusing my nervous inquiries with light hearted words.

“The whole universe starts and ends with me,” Ray said. “Basically, I’m the self-absorbed protagonist of my very own American Novel. Hence the band’s name…”

The charge at the Union is unusually high, but it may pay to not judge this booking by its cover, the stories underneath seem deeply cultivated down to their basic elements, with exaggerated humor hanging out for fun’s sake over their true luster, touched with a bit of blushing intelligence.

“Well, it’s storytelling. I tell stories, that’s as American as you can get,” Ray said.

Silent Lions returns to Athens with new EP

By William Hoffman | wh092010@ohiou.edu | @Wilbur_Hoffman

Silent Lions couldn’t be a better name to describe the unexpected explosive and bombastic bass riffs contrasting the at times subdued melodic lines of this duo that is consistently surprising and fresh.

Silent Lions joined The Post in the Fall to show off two tracks on our Athens Sessions video series, and now the full 6-track album, The Compartments, is here and available on the duo’s bandcamp page on a name your own price basis.

Listening to the music an observer would never know it’s being made by two people. With frontman Dean Tartaglia playing a heavily distorted bass with his left hand and a sample board on his right alongside drummer Matt Klein’s heavy and grooving beats, this duo is able to make the fullness of a four-piece band.

Where Silent Lion’s previous EP The Parliaments felt intentionally in your face about just how heavy and dark the music was, The Compartments feels more subtle and mature. The album is bright where it needs to be and is always followed with that signature bass drop to create a solid eb and flow throughout the album that always keeps you interested.

“Stolen In The Heart Of The Moment,” can be extraordinarily full and also enticingly minimal with the the sampled piano lines throughout the track. It’s also the albums most energetic and confident track where Tartaglia really shines on the vocals by not holding anything back. “Running Me Down,” the album’s opening track, drags a lot due to the lack of enthusiasm in the vocal line despite some seriously cool beats.

But obviously Silent Lions is still developing its sound. The bass and samples can be overly fuzzy where they could use cleaning up, and Tartaglia’s voice can be muddled in distortion quite frequently. All these things add to the charm of the band and give it a certain quality, but a balance could still be found between the two worlds of grinding bass and melody.

“Everybody Freeze” and “Space In Time” are able to find some of that balance and bring out the same confidence from earlier in the record that really makes this music shine. And the sampled sound solos of squeaky distortion give these songs the edge they need.

The Compartments, along with the rest of the Silent Lions downloadable catalogue, is worth a purchase as Ohioans and Athenians, who fell in love with the pop-outfit Mind Fish, watch this band grow and learn with each successive album. But the real way to experience this group will be live as they come to Athens Saturday for a house show and again at the end of the month at Casa Nueva.

If the Athens Sessions recordings are any indication, Silent Lions is at its best when the passion for the music is visibly there and the high octane bass riffs rattle the room and make your heart race.

Album Review: Daniel Bachman

Daniel Bachman

Jesus I’m A Sinner

Daniel Bachman started making waves in the industry with his critically acclaimed 2012 album Seven Pines for its rhythmic fingerpicking instrumental guitar style which showcased some pretty amazing chops. However his 2013 follow-up Jesus I’m A Sinner doesn’t just stick with what worked on the last album, it’s nearly the exact same album.

Bachman will be playing at Stuart’s Opera House, 52 Public Square, Saturday which will be preceded by a viewing of In Search of Blind Joe Death: The Saga of John Fahey, a documentary about the life and music of one of the greatest guitarists to have ever lived and one who certainly had great influence on Bachman’s work. Stuart’s will also host a record exchange in the lobby throughout the event.

The event is really the best way to see this guitarist, who despite some flaws, has a real majestic, mesmerizing spell over listeners. He plays a self described “psychedelic Appalachian” style of music. But think of psychedelic in the sitar-esq, Sgt. Pepper’s Lonely Hearts Club Band kind of way and replace the sitar with guitar and banjo. And he sticks to that style as every song has that distinct Appalachian feel of simple hillbilly melodies (and I mean that in the best way possible).

Bachman doesn’t make the most complicated rhythms ever heard from finger picking artists (check out Rodrigo y Gabriela for some really mind blowing rhythms), but he is able to combine the background base harmony with some truly spectacular melodies over top and all on one guitar. It’s truly amazing the kind of mood he can set with this style of playing and I can only imagine how all-encompassing that experience would be live.

“Chattanooga really encapsulates that hillbilly style with interwoven banjo, guitar and violin rhythms. And “Leaving Istanbul (4 AM)” is the only song on the record that sounds like it has any direction by conveying the chaos and mysteries of this journey. But the real stand out track is the album’s title track “Jesus I’m A Sinner,” which is just an unbelievable showcase of Bachman’s skill.

The problem is that every song sets the same mood over and over again. There is very little rise and fall throughout the album or even throughout the songs. Everything stays at one fast moving melodic level. “Leaving Istanbul (4 AM)” is the only song on the record that sounds like it has any direction by conveying the chaos and mysteries of this journey.  If you picked up on Seven Pines there’s really very little to latch onto here.

On the other hand any John Fahey fans might have a lot to look forward to from this performance.

“Daniel is definitely someone who is in the same vicinity or genre as Fahey,” said Brian Koscho, marketing director at Stuart’s. “For people who are familiar with John Fahey but might not know some of the people who are doing these nowadays in music, it’ll be cool to watch…”

The whole event includes a record sale that runs through the afternoon, the movie and concert for $8 at Stuart’s Opera House. And while the record may be boring to listen to any music fan would do well to have one of his records ready to spin when studying or need some soothing background music.

@Wilbur_Hoffman

Album Review: Angela Perley & The Howlin’ Moons

By William Hoffman | @Wilbur_Hoffman | wh092010@ohio.edu

Angela Perley & The Howlin’ Moons Hey Kid Vital Music USA

She doesn’t have the quirky lovability of Kacey Musgraves or the down and dirty back roads feel of a real country girl, but what she does bring is 100 percent rock ‘n’ roll and 100 percent her.

Angela Perley & The Howlin’ Moons come out with its newest effort and full length album Hey Kid Jan. 21 with high expectations after the single “Hurricane” received great radio play in the Columbus area and was even featured for a short period on ABC for the USC v. UCLA game back in November.

With four EPs/ short LPs before this release, Perley and the Howlin’ Moons had a lot to prove and they pull it off big time. Hey Kid is certainly their finest album yet as it feels fleshed out from beginning to end, flows well and has some rockin’ singles to play off of. However, it feels as though somethings being held back from the guitar as fans might miss out on some of the lengthier roaring guitar solos they have come accustomed to on previous singles such as “18 Feet Under,” or “County Fair.”

But not to fret, because if the group’s performance in Athens this past fall is any indication they have moved the live performance out of the record and to the stage where it belongs and allowed the album to be its own art medium. This change makes Hey Kid sound more like a Rolling Stones or Tom Petty riff based country-rock record, which is certainly a welcome change.

Although the big exception is “Roll On Over” which sounds like “Johnny B. Goode” honkey tonk-ified — in the best way. Guitarist Chris Connor really lets loose on this song and takes you back to rockabilly style modernized.

“Hurricane” is the foot-stomping low bass driven song that has become the group’s biggest single to date and really steals the show off the album. “George Stone” and “Ghost” also have that great guitar driven high energy that “Hurricane” brings to the table.

Although Perley is now based in Columbus, it’s refreshing to hear her sing candidly and heartfelt about Athens, where she graduated from Ohio University. The album actually begins and ends with the track simply titled “Athens,” where she looks back on those life changing years with a great fondness. Splitting up the reprise to close out the song works beautifully but it sure is powerful live when it’s put all together in one song. It’s really the perfect way to start off and end the album.

Hey Kid is about 60 percent country and 40 percent pure rock ‘n’ roll. That’s an interesting combination for a genre that has been largely deteriorated this past year by truck toting, dog loving, dirt road riding garbage on the radio and could use a swift kick in the ass. Perley along with Chris Connor (who I still consider to be one of the finest guitarists in Ohio now), Billy Zehnal on bass and Steve Rupp on drums, are the fresh blood the genre could use and they are coming at quite an opportune time.

You can catch Angela Perley & The Howlin’ Moons with Keesey at Casa Nueva, 6 W. State St., Friday at 10 p.m.

Photo By Kevin James 

The Best Albums of 2013

By William Hoffman | wh092010@ohiou.edu | @Wilbur_Hoffman

It’s that time of year once again where we try and assign numerical value to an artistic art form as if all genres of music from jazz to gangster rap are capable of being compared in this way. OK, that’s a cynical view, but really these lists are just good fun. So here are my picks for favorite albums of 2013. I tried to balance personal preference with an objective view of skill, but if you disagree the great thing about music is that you

10. Kacey Musgraves: Same Trailer Different Park — This cute and innocent country chick came seemingly out of nowhere this year, taking the CMA’s by storm with her fun and quirky lyrics that have far more depth than your average pick-up-truck country song.  Songs like “Merry Go ’Round” and “Silver Lining” show a sophistication in song writing we haven’t seen from the genre in a while and she has a long career to continue and improve from here. Not to mention she had a great performance at Ohio University this year.can go off and listen to your own preferences.

9. Head And The Heart: Let’s Be Still — Combining a wide range of instrumentation and versatile songwriting, this band was able to wade through an oversaturated genre that could have well buried them this year. Let’s Be Still is one of the more energetic Americana albums in 2013 and has a lot to say about a society that never seems to slow down and look around. And the best part is that they are able to convey that message by appealing to a modern sensibility and without coming off as pretentious.

8. Daft Punk: Random Access Memories — Disco never died, and no group proves that concept more than Daft Punk. “Get Lucky” is the dance tune of the summer but the whole album is filled with dance gems such as “Give Life Back To Music” and “Lose Yourself To Dance.” And the group’s nine minute epic tribute to European disco tech Giorgio Moroder is masterfully crafted down to every beat and instrumental solo.

7. Kings Of Leon: Mechanical Bull — I never thought Kings of Leon could make a comeback but this album did it for me. It’s a straight no nonsense rock record that tickles my fancy for both killer guitar and bass licks as well as full epic songs that sound more like an orchestra than a four-piece rock group. Songs such as “Don’t Matter” and “Rock City” provide that classic rock feel to the album while “Wait For Me” and “Tonight” give it the 2000’s grandiose epic feel. It’s just a good easy listen from beginning to end with some seriously tasty riffs.

6. Elvis Costello and The Roots: Wise Up Ghost — I really don’t think I’ve ever heard anything quite like Wise Up Ghost. It’s definitely hip-hop influenced with ?uestlove behind the kit but Costello’s vocals and general oddball nature just brings a beautifully strange twist to this album. Each song is a new adventure and experimentation with samples hip-hop beats and vocal rhythms from beginning to end. This collaboration proved that music can be interesting and experimental without following the industrial, noisy and depressing trend that has permeated the greater part of critically acclaimed albums this year.

5. Arctic Monkeys: AM — I wasn’t a big fan of the group before this year’s release as a lot of their work tinged on the punk side for me. But this album is nothing but fantastic gritty blues rock. They seem to have really found an American audience with this album in part due to what I perceive as a Black Keys influence. “Arabella” is the finest track off the album bringing me back to the days I would rock out to riffy Led Zeppelin blues in my room. Even as I write this now I can’t help but air drum to the powerful and technical fills or head bang to the infectious energy they are able to bring forward on this record.

4. Iron & Wine: Ghost On Ghost — For people who may know Samuel Beam as the slow and melodic singer songwriter this album may come as a bit of a twist. The best way to describe it is Jazz Folk and it combines beautiful voices and song writing with some far more complicated rhythms, keys and sonic elements than the genre is used to. The bass and drums are locked in for an incredibly infectious and melodic rhythm section and Beam’s voice is just a majestic as ever. This may be one of the most overlooked albums of the year that could really attract a different audience to the group for one of Beam’s finest works to date.

3. Eminem: The Marshall Mathers LP 2 — In a year of record all-star rap releases Eminem comes on top. Eminem proves that no one can touch his technical ability or his lyrical rhyming skill on this massive 21 song, 1 hour and 42 minute LP. Nearly every song from start to finish is new and original from the last with massive verses that consistently show of Eminem’s ability. Not to mention some damn catchy beats and choruses. This one also floats to the top because of Eminem’s brutal honesty with his fans both in interviews and lyrically.

2. Queens of the Stone Age: …Like Clockwork — This album takes you deep into Josh Homme’s depression and near death experience back in 2010 with its grinding bass, driving drums and sonic ethos. The whole record is a stoner rock fan’s dream. Jon Theodore, former drummer for Mars Volta, really makes the album pop with complicated and bright drum fills and Homme is at the top of his game here. The group needed to push through some big struggles and to continue playing together and they’ve done just that for one of if not their best album ever.

1. Dawes: Stories Don’t End— This may be a radical choice for No. 1 but I think it’s well deserved. Dawes has been blowing me away for years with their ability to craft a story through metaphor and simile and this album is the best yet. The band has really found their stride and have a winning formula for crafting musical lines to support the always stellar lyrics. Songwriter and frontman Simon Dawes might be one of the finest lyricists of this generation — a statement backed by the fact that the group opened for Bob Dylan on a number of dates earlier this year. Stories Don’t End also appeals to a modern post adolescence phase. His words resonate to a generation of 20-somethings searching for love, purpose and meaning in this world. And it sounds like Dawes may still be searching for the same as well.

Ridges show brings community together

By William Hoffman | wh092010@ohio.edu | @Wilbur_Hoffman

There are many quirks and oddities that make Athens a place we all love: Debating what’s in the special sauce on a chicken and waffle, hiking up to radar hill with your best friends or studying in Donkey Coffee with a steaming cup by your side is just the tip of that iceberg. But from the hype heard around Court Street and the giddy excitement from every music fan in town, it’s clear that seeing a performance from The Ridges ranks up there with any of the other must-do unique activities that Athens has to offer in our short four-year experience.

 It’s a sight many of us have seen before but Saturday’s Ridges show at Casa Nueva is still just as bafflingly magical no matter how many times you’ve seen them perform. The entire community seems to come out to see the band, screaming every lyric at the top of their lungs, which is unheard of for a band that has a relatively small following. For anyone who may not know, The Ridges could best be described as an orchestral Americana band, but that title seems to mellow for the bombastic, stomping and screaming that took place Saturday. The group combines rock, folk and indie but more and more so have put a greater emphasis on the rock portion.

 The Ridges experiment a lot with song order during shows from starting in an acoustic circle in the middle of the crowd before plugging in, to the noisy chaotic orchestral screams on the beginning of “Not A Ghost.” This time the group went right into “When The Bell Tolls,” which is arguably one of their best and most energetic songs. However, Victor Rasgaitis’ voice never reached the level of screaming nirvana during the lyric “you should know” that puts the special kick to the song. It’s like going to an Avett Brothers concert and not hearing Seth Avett’s scream blood curdling scream — disappointing but still overwhelmingly fulfilling.

Transitions between songs are flowing and never skip a beat as the band brings the energy down with some simple strokes of a cello to evoke chills throughout your body. Talor Smith is incredible as she shreds standing behind her cello while providing backup vocals and organizing the entire string section. And the organization and practice on those string parts paid of Saturday, especially on “The Insomniac’s Song” which had intensely subtle cello and violin parts throughout the whole song.

Hearing “Invented Love” is always a treat. It’s nice to have the complex string parts and noisy background noise but “Invented Love” is just straight to the punch. This love song reminds you of why love is the most overused subject matter in song writing. Rasgaitis’ voice is so genuine that you can’t help but be drawn into the song.

 And of course no Ridges performance would be complete without a cover of Sufjan Stevens’ “Chicago” to make everyone feel warm and closer to your fellow Athens friends.

Indigo Wild was not to be overlooked Saturday night either. With the group’s high energy indie rock style and flowing melodic guitar licks, the band should be headlining its own show in Athens soon.

“Rowboats” is a great poetic song that continually builds and falls with each passing chorus. And “Eager Times” is made into a full on rock song with almost metal-like drumming to support the indie guitar melodies and harmonized vocals.

A dysfunctional life hidden in lyrics

William Hoffman

Staff Writer | wh092010@ohiou.edu | @Wilbur_Hoffman

———

Having been in the Athens rap scene for over 10 years, Hil Hackworth has gained some major respect all across Ohio, and his new solo project, Hidden In Lyrics, is one of the most ambitious and infectious projects to date.

Following last years album, Dysfunctional Family Reunion, which required a great deal of collaboration among artists, Hidden in Lyrics is written, produced and mastered exclusively by Hackworth and focuses on his recent struggles in his love life.

Hackworth said he broke up with his girlfriend of two years and almost instantly started writing about the loneliness he felt, and that emotion certainly comes out in the album.

Hackworth doesn’t hold anything back, sharing a great deal of his personal life with fans — loss, betrayal, anger, violence, love and hate.

What’s even better is that Hackworth puts a hook to all of his songs. I found myself going back and listening to songs such as “Natural,” “What Am I Doing Here” and “Jolene” over and over again because I couldn’t get the song out of my head.

“Natural” is easily one of the more uplifting songs from the album, seemingly about Hackworth’s recovery from his previous relationship and being a natural at getting back to chasing women. The chorus has a catchy hook and it’s supported by a cocky swagger in his verses. I actually had to look up the chorus to make sure it wasn’t a sample from another song — it’s that catchy.

But it’s songs like this that are in stark contrast to his more serious songs such as “The Opposite Of Love,” which talks about the duality of his two-year-relationship. “I’m sleeping on the couch wonder what just happened,” Hackworth raps on the song. “I started with the yelling she started with the slapping, I started with the shut the fuck up she started crying. I’ll never understand this girl there’s no denying.”

“Jolene” is another emotional song that samples Dolly Parton’s hit song of the same title. The guitar part is cleverly taken from the song and set to a hip-hop drum beat and sick bass lick. And Dolly Parton’s vocals add an oddly ominous feel to the story of the song.

The album is one of the most emotional and personal albums to come out of Athens in recent years and anyone from hardcore rap enthusiasts to rock and roll die hards can appreciate the story it tells.

All of this is not to mention that it’s a quick 10 song listen and a free download off of bandcamp. Hackworth has made a record from the emotional anguish he felt and this album will surely come to connect with others who feel the same.

Music: Top 10 albums of 2012

By William Hoffman | wh092010@ohiou.edu | @Wilbur_Hoffman

2012 has been a defining year in music. Many new artists have come out of the wood works as listeners focused on guitar-centered music from folk and rock and roll to the infectious riffs of boy band One Direction.

1.  Frank Ocean, Channel ORANGE
A month before his Saturday Night Live appearance, I started hearing rumors of a new R&B artist with an amazing vocal range who can throw down some sexy beats and my love for Frank grew. Channel ORANGE has a familiar old school R&B sound but is distinctly original in a way that stops you in your tracks and forces you to think. His songs are filled with undertones of sexuality that are only personified by his smooth voice that pulls you into the music. Furthermore, he opened up to his friends, family and fans by coming out, proclaiming his bisexuality very publicly on Tumblr and explaining the true meaning behind his lyrics and his attraction to another man. No other R&B artist has captured my attention and the attention of the world as prolifically as Frank Ocean has with Channel ORANGE. He has changed a genre of music forever with this album, which is why it takes the No. 1 on my list, as well as No. 2 in Rolling Stones‘ end of the year list. Many great things are yet to come from this all-around artist.

2. Jack White, Blunderbuss
The egotism of Jack White could rival that of Kanye West. White has always been bursting with talent but continues to form band after band only to subsequently get bored with the project and move on to the next bust. This album, however, is the culmination of all of White’s talents and one of the best albums he has ever released. It is oddly reminiscent of The White Stripes 2003 record Elephant — with a more modern sound. Jack White continues to surprise me with roots rock that is award-winning and progressive.

3. The Avett Brothers, The Carpenter
Anyone who knows me knows that I am a huge fan of The Avett Brothers. But despite my obvious bias for this band, The Carpenter is not only a better follow-up to their award-winning album I and Love and You, but possibly their best album yet. The musicality of their songwriting is astonishing and gets stuck in your head like nothing else I’ve heard this year. One listen to “Live and Die” and I’m singing it for a week. Not to mention the heartfelt songs dealing with loss of life, love and friendship, as well as  bassist Bob Crawford’s experiences with his daughter’s cancer.

4. Alabama Shakes, Boys and Girls
One look at lead singer Brittany Howard would not scream rock star, but Alabama Shakes has combined rock riffs, a soulful voice and punk elements in an infectious combination that is sure to garner them a great amount of attention in the months and years to come.

 

5. Mumford & Sons, Babel
Mumford & Sons simply captures the Americana folk style that has been so popular in recent years and hits this one out of the park with more solid songs and a great cover of “The Boxer” by Simon & Garfunkel.

 

 

6. Bruce Springsteen, Wrecking Ball
This year was also characterized by older classic rock artists producing some new great music, and Bruce’s album surely shined above the rest. Wrecking Ball is easily one of his best in quite a few years and does a good job of incorporating new trends in music with the classic working man lyrics Bruce is known for.

 

7. Maroon 5, Overexposed
In a stark contrast to its 2010 release, Hands All Over, Maroon 5 comes back with a hard-hitting dance album that embraces the EDM sensation. And like all of the band’s albums, there are better songs in between the multimillion dollar singles that tend to define the band.

 

8. John Mayer, Born And Raised
Born And Raised is another album this year that made me think “I’ve never heard something quite like this.” It’s pop, it’s country, it’s Americana and it’s country western, but in the end it’s everything I’ve wanted from a modern country album and it came from the most unlikely source.

 

9. Fun., Some Nights
Despite my initial disdain for Fun., I’ve grown to like the band and all its electronic rock songs. It’s become impossible not to want to sing along to the album’s title track, and the rest of the album is filled with an epic electronic anthem.

 

10. Green Day, Dos!
Just when I had given up on Green Day they come back with three albums of hard hitting punk music with no over arching story, just solid, fast-paced, three-minute tunes. Dos! in particular is reminiscent of the old school Green Day with supercharged bass and guitar solos.

Best Local Album
1. Mind Fish, Watchout!
Nearly every track off the album sounds like a song I could hear on the radio. The band uses its odd antics and distinct music style to produce an amazingly solid album with pop elements and some lyrics that give the finger to the music industry and others in the “indie” music scene.

Music: Latest EGT album is everything we’ve come to expect

By William Hoffman | wh092010@ohiou.edu | @Wilbur_Hoffman

Clocking in well over an hour of music on their newest 12-track album Metamorphosis, Elemental Groove Theory is proving that there is still a place for improvisation, creativity and long instrumental solos in modern music.

The variety of styles on this album is astonishing, combining folky acoustic guitar strumming, funky bass lines, killer rock drum fills and even metal licks.

The band is spot-on when they say in their description that they are a new genre of music. The closest definition I could give the album is acid rock, but by definition that genre is pretty vague. Though whatever the style, it seems to bring back elements of rock, blues and funk to a modern electronic era in a very original way.

Every instrument supports the other with great use of empty space. In fact, the breaks in the music might be my favorite part of the album (not on a bad way). Everything stops for a brief moment and I think, “who do I get to hear solo next and in what style will it be playing?”

The album seems to be structured oddly, with the best songs filling up the end of the album and some of the weaker songs being pushed to the front, and long songs could really turn some people off when it takes 20 minutes to get to the best tracks on the album.

The single released earlier this year and second song on the album, “Disguise,” is actually one of the less impressive songs on the album, although certainly an ambitious song mixing a lot of divergent styles.

I’m a sucker for funk and long organ and bass guitar solos (sue me), so the song “The First Street Heat,” caught my attention when halfway through synth organ comes screaming overtop the drum break.

From that point on the album just kicks in a funk feel that the band is more well known for and they are quite frankly better at writing and producing that style of music. Even the last three songs get more electronic but still have that funk feel with long instrumental solos.

Unfortunately this is likely the last album we will see from EGT as the band is splitting up after this final week long tour promoting the album. So Athens residence can jam out to this groups unique style on last time at The Union Saturday at 9 p.m.

Music seem to be moving in a direction slightly away from rap and teen pop that has characterized the mid ‘2000s. Folk rock groups like Mumford and Sons are coming up in prominence as well as singles from bands like Foster The People, Neon Trees and even American Idol winner Philip Philips, producing more socially conscious music that used to only be in the underground now making it on the Billboard charts.

EGT’s style of music is more prominent in underground styles of music now especially in nationally popular bands like Tame Impala from Australia. So we’ll see where this trend leads the music industry in the upcoming years and only then will we know if EGT was on the cutting edge of something big.

You can listen to Metamorphosis on Bandcamp for a number of free listens and purchase the album digitally for $10 or at EGT’s Saturday show for a physical copy. A lot of time had to go into producing and writing this complicated music and it speaks volumes about the talent of the members. I’m sad to see EGT go but I’m sure future projects will prove just as fruitful and engaging as this band has and I wish them the best of luck in their future endeavors.