10 - The Michigan Daily - Wednesday, September 21, 2005
Brits take light-hearted view on 'Invasion'
By Jerry Gordinier
Daily Arts Writer
The Coral, six neighborhood boys
from England, know one of the gold-
en rules of music:
Never take your-
self too seriously.
Their latest state-
side release, The
sion, shows that I _ _
they know both
laughs and longing. The album is
psychedelic-pop in its freest form,
taking the listener on a jaunt through
the rolling English hills of the band's
James Skelly and Lee Southall
lament childhood desires in lyrics
such as "I'll just say heads or tails /
Bicycles for sale it's time to go / But
now it seems so long ago." The sigh-
ing acoustic melodies and upbeat
percussion are bittersweet against
the subtle, melancholy timbre of
Skelly and Southall's resonating
This nostalgic theme is a unit-
ing force in the album, which, full
of ironic, light-hearted flair, would
otherwise fail. Masterful production
furthers this end. Haunting lines
seem to echo infinitely though long
halls on "A Warning to the Curi-
ous." Rising samples are intricately
woven against fuzzed-out guitar in
a creepy, psychedelic sound-scape.
The sparse layering builds, rising to
an intimidating wave of sound. Just
as the weight seems too heavy, how-
ever, The Coral step back.
From this trippy experience the
listener can return to the bouncy
pop sounds of "Something Inside
of Me," a light-hearted love ballad
promising, "There'll never be anoth-
er century / There's no time to think
about the weather." There is nothing
too complicated here, only simple
percussion that demands the listener
tap is foot and smile at images of Everest or bust!
the boys playing the local pub with
bottles in hand. own good. On d
Though these transitions keep the "Far from the(
album surprisingly fresh and allow Southall become
the listeners to pause for breath, the with their acous
one sad aspect is that The Coral seem like a depressed
to take this freedom for granted, delv- Moving throu
ing into areas too shadowy for their sion and plights,'
Courtesy of Warner Bros.
"Don't worry, the walls are closing in and soon we'll be crushed to death."
in mundane rock
'ourtesy 01 uolumoia
arker tracks such as
Crowd," Skelly and
e a little too serious
stic guitar, sounding
gh all sorts of pas-
bringing the listener
up and sending him down, Invisible
Invasion raids minds, hearts and
maybe even the dance floor. The
boys are a welcome import. Don't
expect anything profound; it's no
image of Jesus in a pancake, but feel
free to trip out.
By Caitlin Cowan
For the Daily
As if there weren't enough bands
aiming their sound at the miserable
hellions of America's suburbs, Trapt
has returned with Someone In Con-
trol, an album that is equal parts
Frou Frou vocalist
formulaic on 'Speak
hate and hook.
After the success
of their 2002 hit
Trapt has all but
passed out of the
By Joey Lipps
For the Daily
With "Garden State's" release
last year, teenagers clung to Frou
Frou's "Let Go" off the soundtrack
their collective Imogen Heap
The voice behind Speak for Yourself
this sensation, Megaphonic
did it again with
"Hide and Seek," a song off her
new album, Speak for Yourself,
that snuck its way onto the always
sugary, always trendy "The O.C."
soundtrack. Her soothingly emo-
tional voice serves the purpose of
"The O.C." well as it drifts between
anxiety and relief.
The album's duality lies in the
tension between the drum machine's
thumping dance beats and the light
ambiance created by piano, harps
and looped vocal harmonies. Heap's
voice waxes and wanes as it floats
above the grounded bass. .
The album's trademark is the
mixture of her computer-altered,
resonating voice and the falsetto that
fills in the songs' gaps of pounding
rhythms. She pays close attention to
the background sounds - she bangs
jewel cases against carpet tubes on
"Closing In" and uses guest Jeff
Beck on "Goodnight and Go" for
chaotic runs on the guitar.
Although the complexity can be
greatly appreciated, the constant
jolting from the dappling strokes
of harp to the gut-vibrating beats
on "Headlock" leaves the listener
unsettled. This becomes a formula
for most of her songs. Heap rarely
reaches a peak, constantly falling
back upon trite melodies and shrill
moans and ultimately creates noth-
ing more than a collection of slightly "That headline sucks"
catchy and complex songs.
urated nu-metal scene.
However, the Los Gatos, Califor-
nia quartet showcases more of the
same on Control. The band flies
through pissed-off post-grunge rock
spattered with spaced-out, intro-
spective whining that could only
pass for substance if listened to in
an adrenaline-infused ire.
The 40 minutes of predictable
punch that make up Trapt's latest
are, at best, refrigerator poetry set to
the dark fuzz of guitar squall. Lead
singer Chris Brown sings himself
raw on the album's single, "Stand
Up," a thin threat fraught with end
rhyme that hits hard but seems
likely to end up on a "Tony Hawk's
Underground" soundtrack. After
four minutes of Brown's bellowing
"Why don't you let me be / Leave me
alone," his cliched hooks aren't even
worth the headache.
A moment of musical clarity
comes midway through the album;
the self-consciously titled "Lost
Realist" is a slower, more even-
handed tune that includes guitar-
ist Simon Ormandy on an acoustic.
Still, the lyrics lapse into the banal
when Brown begs, "Carve me from
stone / Right to the bone." By the
time their most attractive song hits,
they already have everyone reaching
for some aspirin.
The band's message couldn't be
clearer. They are stuck in the abomi-
nation of the middle class, con-
stricted by the system and all of its
ills. Unfortunately it's all been done
before and a lot better.
on past success i n latest
Courtesy of Megaphonic
By Chris Gaerig
Daily Arts Writer
YOUR NAME IN
Shaggy claimed "It Wasn't Me"
when he finally got his big break onto
music scene and
his "Angel" in an
he's been non-
existent outside of dance halls and
frat parties across the nation. After
following his hit record Hot Shot
with the flop Lucky Day, he returns
once again with the lackluster reg-
Meet with the admission deans from these law
schools to learn more about legal education and the
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gae/pop release, Clothes Drop.
Shaggy relies heavily on guest
appearances on his latest album
- eight of the 17 tracks include
some special guest. "Shut Up and
Dance," featuring will.i.am of the
Black Eyed Peas, fails pathetically,
despite its best efforts when try-
ing to produce a catchy chorus and
dance beat. Instead it comes off as
a Neptunes-cum-Justin Timberlake
pop track minus the sleek produc-
tion and catchy melodies.
Other guest appearances include
G-Unit's Olivia ("Wild 2nite") and
two tracks ("Supa Hypnotic" and
"Don't Ask Her That") with the pop-
degenerate Pussycat Dolls' Nicole
Scherzinger. While "Wild 2nite" has
a great beat of handclaps and string
bursts, it is destroyed by Olivia's
horrible chorus and Shaggy's inde-
cipherable, machine-gun vocals.
"Don't Ask Her That" is possi-
bly the most embarrassing moment
in recent music history. Having to
listen to a member of the Pussycat
Dolls - who sounds strangely like
Scandinavian dance princess Annie
- quote the famous line from "A
Few Good Men": "You want the
truth? You can't handle the truth," is
painful at best.
Clothes Drop is another misstep
in Shaggy's fast musical decline.
Without an obvious hit single, every
track begins to melt together into a
pile of lukewarm reggae crossover.
It's about time Mr. Lover sticks to
just doing whatever he sings about,
and leave the music to those who
have something to say.
Faculty, Staff & Students
FREE to all MCARE, HAP, & Care
Choices members, & students with
UHS referral. All Others $100.
If you want more information, call:
or visit: ww.med.mich.edu/mfit/tobacco
September 21, 2005
University of Michigan
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