Rating: 3.5/5
For Fans of: Blind Melon, duh. Jane’s Addiction, Nirvana
Directed by: “For My Friends,” “With the Right Set of Eyes,” “Make a Difference”

Thirteen years after the death of singer/songwriter Shannon Hoon, Blind Melon is back with a new singer. Make no mistake: this is definitely still a Blind Melon record. The band did not have to, and has not, died with Hoon, but there is a marked difference between “For My Friends” and their previous albums. Replacing him on vocals was fine because even though new singer Travis Warren’s vocal style is at times unsettlingly similar to that of Hoon’s, the loss of Hoon’s songwriting can be felt throughout the record.

On the day Kurt Cobain was found dead, Blind Melon was the musical guest on David Letterman. They performed the song “Change,” Hoon with a question mark drawn on his forehead. The question mark could be interpreted to mean many things: “How could this have happened?” or perhaps “What am I to do now that he is gone?”

On October 21, 1995, when Hoon was found dead of a cocaine overdose, one can surmise that Hoon’s Blind Melon bandmates likely found themselves asking similar questions.

They decided to not go on without Hoon. Many stayed in music, working on other projects (Unified Theory, Abandon Jalopy, Extra Virgin), but there had never been real reported talks of Blind Melon reuniting.

Last year the remaining members began playing together again, not to reform Blind Melon but to start a new band, and invited 25-year-old singer Travis Warren to lend some vocals. After several sessions they began to feel it was right to reunite as Blind Melon with Warren on vocals, and the rest is history. After posting a few demos on the Internet, they recorded “For My Friends” and embarked on a nationwide tour.

Sounds perfect, right? Well, minus the loss of Hoon’s songwriting, it almost is. However, Blind Melon’s greatest asset was the creativity and sincerity of Hoon’s songwriting.

Even without Hoon, “For My Friends” has its merits. Songs like the title track and “Wishing Well” are single-ready, and could potentially be radio hits. “Harmful Belly” almost sounds like it could have been a progression from Blind Melon’s first album. With Warren sounding especially Hoon-like and guitar hooks abounding, it sounds like it should come from a less psychedelic counterpart to the album which brought them their fame.

All in all, “For My Friends” is a return to Blind Melon’s original alt-rock sound, just with a different singer bringing them back there. Brad Smith, Chris Thorn, Rogers Stevens and Graham were right to resurrect the band made famous by the bee girl and “For My Friends” is a testament to that; however, as everyone, likely including the band, knew, it will never be the same without Shannon.

Ours
Mercy (Dancing for the Death of an Imaginary Enemy)

Rating: 4/5

For fans of: Jeff Buckley, Bends-era Radiohead, the Cure

Tracks to download: “Mercy,” “Willing,” “God Only Wants You,” “Murder”

Ours is that band you should have already heard of. The subject of a bidding war between the major labels prior to the release of their first LP (the beautifully crafted “Distorted Lullabies”), Ours received significant press due in part to singer/songwriter Jimmy Gnecco’s connection to the late Jeff Buckley and to the similarity of their vocals. “Distorted Lullabies” received decent radio and TV play, but not as much as their label, DreamWorks, hoped for.

Thus, after a little more than a year, Ours returned to the studio in a very different fashion. While Gnecco created “Distorted Lullabies” alone over three years, “Precious” was recorded as single takes over a mere few months. The result was a very different album that received even less radio and TV play, and led to a lot of drama with DreamWorks, causing “Mercy['s]” release to be pushed back all the way to March 2008 although it had been recorded in 2005 and 2006 and many of the songs had been written years before.

Ours’ previous works have been most easily defined as melodic goth-rock, and “Mercy” is no exception. In all of their albums, but especially in “Mercy,” the songs’ themes are dark, and are crafted to make that blatantly obvious. Gnecco’s vocal range allows him to sullenly sing lower notes one second and let out a piercing falsetto the next. Many of the drum sections pound through in a tribal-like manner, at levels surprisingly close to the vocals’, while the lead guitar parts primarily work in the realm of long, squealingly high chords and notes that also receive surprisingly high prominence in the mix.

The almost-seven minute title track is by far the best on the album; it starts strong and intensely, building all the way to the breaking point as Gnecco refrains “Mercy for the meek, I won’t let you go, I won’t leave you now!” Another highlight, “God Only Wants You,” is quite different from the sound that runs throughout most of the album. It is a slow, acoustic waltz that Gnecco sings in his most sugary sweet falsetto.

The album is strong throughout with a single exception. Although “Black” has a lot of fantastic elements to it, the spoken word toward the end of the track slows down the momentum. Gnecco’s vocals are unarguably the best part of the band, and thus a 30-second section of him just talking makes for pretty uninteresting music.

It’s been entirely too long since the release of the last Ours album. After high profile opening spots for Circa Survive and Marilyn Manson, and now the release of “Mercy,” one can hope that it won’t be another six years before we see more music from Ours.

Panic at the Disco
Pretty. Odd.

Rating: 4/5
Tracks to download: “Do You Know What I’m Seeing?,” “She Had the World,” “Mad as Rabbits”
For fans of: The Beatles, music that hearkens back, Pete Wentz

Panic at the Disco may not be terribly inventive with their music, but damn are they business savvy. After contacting Pete Wentz (of Fall Out Boy/ Ashlee Simpson’s boy toy/ cell phone penis picture fame) through his LiveJournal and asking him to check out their band, Wentz actually gave Panic a listen and was so impressed that he flew out to their sinful hometown of Las Vegas and attended a practice in their garage, afterwards signing them to his Fueled by Ramen imprint label, Decaydance.

Around this time, Wentz’s Fall Out Boy released “From Under the Cork Tree,” an unprecedented success that propelled them to tabloid stardom. Thus, when Panic at the Disco recorded and released “A Fever You Can’t Sweat Out,” an album so sonically similar to the one put out by Fall Out Boy only months before that it could have been a B-side disc, Wentz’s endorsement catapulted them to stardom.

Now, here’s when Panic at the Disco get really smart. With full knowledge of the fates of other trend tailgaters (i.e. the Hives, the Vines, Jet and every band that made it big because of the Strokes), they’ve dropped the stupid exclamation point from their name, abandoned Fall Out Boy’s style and picked up the Beatles’ as a replacement.

Given their hometown, it’s easy to see where they got the idea. I can see it now: Panic, wandering aimlessly down the Vegas strip, stumble into a performance of Cirque du Soleil’s “Love.” They all look at each other with a knowing grin. “Hey, people love Cabaret and the Beatles! We’ve got the whole Cabaret thing down, let’s sound like the Beatles!” And the rest is “Pretty. Odd.”

Well, not really. I won’t lie, the album is about as un-odd as an album can be. As a society we’re all pretty used to a sound similar to that of the Beatles’. Nonetheless, “Pretty. Odd.” is surprisingly Pretty. Good. The songs are all familiar on first listen, but in a nice way, like sleeping in your own bed after a long trip.

Some standouts on the album include “Do You Know What I’m Seeing?” a dreamy little number featuring some nice vocals and orchestra parts and “She Had the World,” which features some of the best voice work in their discography, coming from backup vocalist Ryan Ross.

While Panic at the Disco has not put together anything remotely innovative, “Pretty. Odd.” is a surprisingly good sophomore (and, to be honest, sophomoric) effort. With well-used guitar, harmonica and more theatrical arrangements, it is an album that is easy to enjoy. The well-executed classic sound will ensure their careers as musicians.

Crystal Castles
Crystal Castles

Rating: 4/5
Tracks to download: “Alice Practice,” “Untrust Us,” “Air War”
For fans of: Dan Deacon, The DeathSet, Hot Chip, electronic/experimental dance music

After a whole host of indie acclaim for the various singles they’ve released over the past two years, Crystal Castles has released their first LP: a self-titled, 16-track disc containing both brand new tracks and many favorites from their previously released singles.

Crystal Castles was formed as a project by Ethan Kath who was later joined by Alice Glass on vocals. Their sound is distinctly electronic but unique among the genre. The reason for this is their unusual instrumentation: most notably, the placing of an Atari 5200 sound chip inside a keyboard.

Using their strange instrumentation, Crystal Castles have seemingly created two different kinds of songs on the album. One more mild in manner and typical of most electronic acts’ sound, the other ringing with abrasive chimes that truly do sound straight out of a video game and with penetratingly scratchy vocals from Glass.

It’s almost as though this should have been broken up into two different albums. One that is pretty much a compilation of songs previous released as singles and EPs (as these are mostly of the abrasive style) and one of the new tracks (as these are mostly more mild in manner). However, what we have is one single album with two personalities, and while it works better than one might expect it to due to the sheer strengths of the songs of both styles, it could have been executed better.

Crystal Castles’ more abrasive tracks are what made this such an anticipated release in the first place and the versions on the new LP are mostly the same and thus still outstanding. “Alice Practice,” which was made a song by accident (as it’s literally a vocal test they did when Glass first joined Kath) is arguably the best song of the CD as the Atari chimes and screeching vocals propel the song through all two minutes and 41 seconds with a ruthlessness not seen in the rest of the album.

“Xxzcuzx Me” and “Love and Caring,” while not reaching the level of intensity “Alice Practice” achieves, come close and are two other highlights of the album. “1983 1991,” “Air War” and their remix of Health’s “Crimewave” also contain their fair share of Atari chirps and chimes while being a bit more mellow and traditionally danceable (i.e. not hardcore dancing).

“Untrust Us” falls into the second type of song as the Atari noises are less prominent. However, the strange warped vocals and brilliantly catchy beat make it one of the best tracks on the disc by far. “Vanished” is another fantastic track of this variety with a rare addition of male vocals.

There are, unfortunately, a couple tracks that are less fantastic. “Magic Spells” is nice for a bit but doesn’t go very far. Considering how repetitive it is, it certainly shouldn’t be six minutes long. “Good Times” does not have an all too fantastic or distinct sound either and its vocals are some of the worst on the album.

Even with its shortcomings, “Crystal Castles” is a great first LP from what is one of the most interesting and original groups in the current music scene. Whether you’re into electronica, dance music, experimental music or something else, it’s likely you’ll find something enjoyable about this album. At the very least, it’ll make you miss playing your old Atari.

Despite being wildly popular among the younger crowd and generally considered the current “scene,” screamo is one of the most hated genres among college students, especially at Wash. U. The average Greek life clowns, who split their time between Dave Matthews Band while getting stoned and the latest track to feature Akon while rubbing up against their dance partners hoping they’re not too drunk to consent, hate screamo. Your average Eleven reviewer, who enjoys a good fist-pumping and hosts a radio show on KWUR playing everything from Mastodon to Yoko Ono, hates screamo. Virtually everyone you’ve met on this campus hates screamo, and they’re all wrong.

Granted, there’s a lot of bad screamo out there and I don’t suggest you listen to it. However, there’s a lot of bad music in all genres. If you’re into punk I wouldn’t suggest you go rush out and buy the latest Anti-Flag album. Nor would I recommend you go buy the latest by Mike Jones if you’re into hip-hop. Similarly, I would never in good conscience recommend purchasing an album by Hawthorne Heights because while they are definitely a screamo band they are also flat out bad.

I would recommend you go out and purchase any album by Scary Kids Scaring Kids, Chiodos, Pierce the Veil, blessthefall, Saosin or Senses Fail as bands like these incorporate the pop-infused intensity screamo is so incredible at providing. It does this by combining two unbelievably dissimilar genres, emo and metal, into one that harnesses some of the best aspects of each.

Emo, a genre also consistently ridiculed by college students, can easily be considered a specialized variety of pop. It’s generally written to garner repeated radio play and thus has hooks galore. While the lyrics are often trite and stupid, and about teenage relationships and break-ups, so are most pop lyrics and that’s why they are universal. Metal focuses more on instrumentation and is renowned, in particular, for its complex drum and guitar elements. It is also much “harder,” or rather, harsher, in its tone than most rock music and its lyrics focus, stereotypically, on elements of fantasy and science fiction. But really black and brutal fantasy and science fiction.

Screamo takes the harshness and, when at its best, the great instrumentals of metal and the lyrical content and hooks of emo to make an infectious new blend of pop that makes you both want to mosh and sing all while being awed by the skills of its instrument-playing members. It is for this reason that younger people get into it. They’re looking for pop-like anthems with intensity, and you should be as well. Concerts are meant to be an active experience, and I don’t mean that in the way of actively asking your friend to pass you the joint at the next String Cheese concert. Screamo shows are active, practically athletic, and screamo music makes you want to be more active in your listening experience. If you’re turned off by screamo kids’ style (tight clothing, eye make-up, long straight hair), get over it. Remember, college is the last time in your life when you can look any way you want with no repercussions. You probably forgot how fun it was to look strange in between purchasing your first pair of Birkenstocks and your newest North Face fleece.

Loction: Pop’s in Sauget, IL
Date: Wednesday, February 27, 2008

Sound: 5/5
Energy: 5/5
Crowd Response: 4.5/5

It’s hard having a five-band show on a Wednesday night. Even putting noise-permit constraints aside, when the primary fan bases of all five acts hover around the age of 16, the show ends up having to start early so that the kiddos can still get a good night’s sleep for school the next day.

Thus, Cry of the Afflicted, the first of four bands opening for Emery, went on at 6:00 p.m., only playing to about 75 people, all of whom, including myself, seemed very much unimpressed.

At about 6:45 p.m., still incredibly early for a band to be going on, Pierce the Veil took the stage to a decidedly uninterested crowd. They opened with the first track from their debut as Pierce the Veil (the band has called themselves Before Today and prior to that the Early Times), “Chemical Kids and Mechanical Brides,” which began to get the crowd going.

With each song the crowd progressively became more receptive to Pierce the Veil, although it appeared most had never listened to them prior to the show. About halfway through their set of songs from their first album, “A Flair for the Dramatic,” Pierce the Veil busted out a completely un-ironic cover of Michael Jackson’s “Beat It.”

With “Beat It” everything changed. The crowd of 16-year-old scenesters seemingly threw away all prior inhibitions, singing and dancing along with their twist on a familiar track. A small pit broke out and the crowd finally let loose, allowing themselves to enjoy the incredible performance.

The standout song of the night was “I’d Rather Die Than Be Famous,” which highlighted Pierce the Veil’s onstage energy. Lead vocalist Vic Fuentes and backup vocalist Jaime Preciado were spot on the entire night. Lead guitarist Tony Perry added to their intensity by singing along to every word of every song, despite the fact that he was not miked. Synchronized body/guitar movements between Fuentes, Perry and Preciado also added an extra bit of (albeit corny) energy to the show. Finally, Mike Fuentes’s (yes, they’re brothers) pounding ferocity on drums guided the band throughout the entire night.

After seeing Pierce the Veil for the first time, I am absolutely convinced they are only shooting further and further into stardom. They have now toured with Emery, Scary Kids Scaring Kids, Chiodos and other screamo-scene superstars, which has surely helped gain them a fanbase. It’s nothing compared to what Warped Tour is about to do for them. If they put on the kind of performance they did at Pop’s in every major city in America, there’s no telling how far they’ll go.

Rating: 5/5
Tracks to download: “American Dream,” “Wet Diamonds,” Golden Shackles”

Derek Presnall, guitarist and vocalist for Tilly and the Wall, has never confined himself to just one band. Having performed in the Flamboyant Gods and Dead Bird, Pressnall’s talents extend beyond those that he exhibits in Tilly and the Wall.

What is somewhat surprising is that this talent could be used in a way that might be even better than his work with the Tillys and while I’m not advocating that Pressnall go Sting on their asses, this is most definitely a work to be recognized.

As Flowers Forever’s video biography (which can be found at http://flowersforevermusic.com/videos) explains, “Flowers Forever is a project that surfaced a few months back in a string of strange events that occurred in [Pressnall's] life.”

It’s an outlet of performance, music, painting, video and spirituality. It’s about self expression and freeing yourself from the start/stop, beginning/end, A/B, morning/night of everything.” Pressnall’s lyrics in Flowers Forever drip with these themes. The performance aspect of the project seems to lend to more impassioned execution than one might expect from a studio recording.

“American Dream” is unquestionably the album’s standout track. Beginning with Spanish-styled horns and guitars, the song sets a strange tone only to abandon it for a more traditional one.

The lyrics are anthemic throughout, but no more so than in the outro when Pressnall and his female accompaniment chant “Flowers, flowers you will save us / cover our eyelids you will save us” until the Spanish motif is brought back to close the song.

“Wet Diamonds” is another clear attempt at an anthem and works equally well with more of a punk feeling than the rest of the album provides. In the chorus, Pressnall commands, “Look at your feet look down!” and sounds eerily like Tom Petty in his delivery. “Golden Shackles” keeps the tempo fast while sounding less punky. The way he delivers the vocals this time is reminiscent of another legend, Bob Dylan; that is until he begins the breakdown chanting “Some change better come! Yeah, change better come!” Nonetheless, throughout all sections of the song, both when noticeably channeling those who preceded him and when not, “Golden Shackles” is fantastic.

“Flowers Forever” isn’t perfect. Tracks like “Happy New Year” are more silly than they are actually good. However, when listening to the album as a whole it doesn’t seem to matter. The best this album has to offer more than makes up for the worst. “Flowers Forever” refuses to languish as just another side project.

With its anthemic lyrics, inventive instrumentals, and an undeniable passion for the material, “Flowers Forever” serves as a beautiful new stage in a great artist’s career.

1. Dave Matthews Band – “Crash” (First 30 seconds or so)

I know what you’re thinking. This is a sexy song. I suppose you could easily find that to be true. But what I find most fitting about it is the way in which it helps draw the comparison between the first time you had sex and the first time you took the family car out for a spin after getting your license.”crash.” And you thought you were so prepared.

2. Radiohead – “Everything in its Right Place”

While the lyrics don’t actually mean anything, this song is compelling to the point of being mesmerizing. This is a great track for the really romantic as it reminds those engaged in the sexual act that truly “everything is in its right place.”

3. Ratatat – “Wildcat”

Feeling frisky? This is the track for you. “Wildcat” features a sound sample of an actual, well.wildcat, mixed in with the electronic-instrumentals with which Ratatat creates its groove. This is one in which you can get into the rhythm without having to lose that extra intensity.

4. The Early November – “I Want to Hear You Sad”

“I Want to Hear You Sad” is emo at its best. Poppy and catchy as can be while being intensely bitter. Thus, it’s perfect for hate sex. For best effect use strangulation as your kink of choice during this sex session and add force during the chorus as singer Ace Enders belts out, “For all of this, I’m better off without you.”

5. The Faint – “Worked Up So Sexual”

A pulsing electronic beat with grotesquely sexual lyrics. This one works in any situation.

6. Her Space Holiday – “The Luxury of Loneliness”

The Postal Service-style electronic beats with more sullen vocals. This one’s perfect for a lonely, wistful boning, as the whole time it reminds you to ask yourself why you’re even having sex with that person in the first place. The empty feeling you’ll have inside before having sex to this song will not compare to that which you’ll have after.

7. Justice – “D.A.N.C.E.”

If sex for you is a party then this is a great one. Sync to the beat in your thrusting/bouncing to truly get into the groove.

8. Glen Hansard & Marketa Irglova – “Falling Slowly”

This sweet sentimental little ditty sung by two lovers (with a 20-year age difference between them, kind of gross, I know) is one to set the mood after the next date at the movies seeing a romantic comedy.

9. Stars – “Heart”

Somewhat sad and somewhat sweet all at the same time, “Heart” is a good one for more calm occasions as well as, in particular, for make-up sex. Take comfort as the duo of Torquil Campbell and Amy Milan sing to you in the chorus, “I’m still in love with you.” Now that’s nice.

10. TV on the Radio – “I Was a Lover”

“I Was a Lover” has a fantastic electronic drumbeat that one can sync to. That combined with the spacey feeling of the horn parts make it a good song to jive to when trying to get that special feeling.

Charles Barkley is famous for saying, “I am not a role model,” but Michael Jackson has really taken that phrase to new heights, or depths. He has seemingly no concern for how he is perceived by the press, whether he is being charged for sexual misconduct with minors, waving around his baby over a balcony or converting his face from that of an attractive black boy/man to that of a surprised alienoid. That said, Michael Jackson made music history over and over again and will forever be remembered for his fantastic pop music.

This week, we’re taking pause to look specifically at Michael’s biggest hit “Thriller.” Released on Nov. 30, 1982, “Thriller” was Michael’s sixth solo album and the follow-up to his career-making smash “Off the Wall.” With 104 million sales to date, “Thriller” is the best-selling album ever. It was ranked third on the 2007 National Association of Recording Merchandisers/Rock and Roll Hall of Fame’s “Definitive 200″ albums list.

“Thriller” is one of only three albums to remain in the top 10 of the Billboard 200 for a full year and the first of only three albums to have seven Billboard Hot 100 top-ten singles. Even more impressively, it is the only album to date to be a best-seller for two years (1983 and 1984) in the United States.

Enough with statistics though; Michael Jackson had even more of a cultural impact. At the album’s release, MTV was still just a baby. Jackson’s first video from “Thriller,” “Billie Jean,” was promptly refused by MTV, which rarely aired videos by black performers. When CBS Records President Walter Yetnikoff heard this, he threatened that he’d be, “pulling everything off the air, all [their] product” if MTV continued this practice.

This was enough to turn MTV’s act around, and they started giving “Billie Jean” heavy coverage. When the 14-minute long “Thriller” video came out, it was running as often as twice an hour at its height. Videos from “Thriller” put MTV on the map and thus MTV shifted its musical focus as time went on, going from rock videos to more pop and R&B acts. MTV found, as so many do, that not being blatantly racist can also be financially profitable.

The 14-minute “Thriller” music video was revolutionary as well. It was the first popular video ever to be significantly longer than the song itself. This trend has continued today, with most recent wide success attained by 30 Seconds to Mars’ video for “From Yesterday.” Additionally, it started the motif of having the artist dancing during a video with an entourage of other no-name, good-looking dancers following suit behind.

This week, Thriller’s legacy started a new chapter with the release of a 25th Anniversary Edition. This new edition features the original tracks, a voice-over session by Vincent Price, a previously unreleased “Thriller”-era track and remixes that feature Will.i.am, Kanye West, Fergie and Akon.

After extensive listening, it is safe to say that Michael Jackson’s original conception of the album is as fantastic as ever. However, the added material is a more interesting sidebar than it is great pop.

Will.i.am’s remix of “The Girl is Mine” is likely the best of the remixes. Fergie ruins “Beat It” as her vocals are significantly worse than Michael’s. Kanye West does some good work on “Billie Jean” that will definitely appeal to his fans but likely not Michael’s. Finally, Akon proves how incredible he is at making even other artists’ songs sound exactly like every song he’s ever produced. I don’t understand how he sounds the same on literally every song.

In the end, this 25th Anniversary Edition will neither hurt nor help any of the artists involved. Jackson’s and “Thriller’s” legacies will remain intact. While Will.i.am has once again shown his talent, he will still be overshadowed by the no-talent, trailer-trash, pop tart he shares the stage with in the Black Eyed Peas. Lastly, while Akon is still nothing more than a terrible fad who will soon die out, his legacy is significantly enhanced by having now been associated with Michael Jackson.

After decomposing on a couch in western England for more than eight years, local authorities recently discovered a corpse after responding to complaints of a bad smell coming from the apartment. The apartment in Bristol, England had been inhabited the entire time that the body was present. Police ruled that the man’s death was not suspicious and that he had been about 70 years old at time of death; the apartment’s other inhabitant was taken into custody by police, though it appears that he did not report the death because he suffers from mental problems.

Well dressed men targeted by flirtatious thieves

At Dallas hotels and bars, well-dressed men have been warned to be on the lookout for a ring of women who flirt with their victims before drugging them and stealing their personal effects. One man reported being beaten with a high-heeled shoe before losing his wallet to a perpetrator. Several Rolex watches have been reported stolen, with modes that are similar to the suspected band of thieves. A Dallas police detective told the Associated Press that in some cases the victims were business travelers and that it seems in most cases the women were forcing themselves upon the men.

Turtle sets record for longest swim

A leatherback turtle has been tracked swimming from the coast of the Papua province in Indonesia to the coast of Oregon. According to marine biologists, this is the longest recorded swim for a marine vertebrate between breeding and feeding sites. The journey from Indonesia to the west coast is nearly 13,000 miles. The previous record holding turtle swam to Hawaii in a journey that lasted more than 600 days before the animal’s transmitter wore out.

In place of students, chickens roam school

When workers arrived to open Northeast High School in Philadelphia on Monday, they found 50 roosters and hens wandering the hallways. According to a school district spokesperson, the fowl arrived over the weekend and likely belong to a local poultry farmer. The school was closed for the day because it was necessary to clean up the droppings and chicken feed that had accumulated over the weekend. Police are currently reviewing the school’s surveillance footage, looking for leads on pranksters who may have caused the infestation.