6A - Monday, October 4, 2010

The Michigan Daily - michigandaily.com

Things get weird
at Sub Terrain'

Young brings 'Le Noise'

By BRAD SANDERS
Daily Arts Writer
If "Inception" made you question the
meaning of reality, the University may
have something to
blow your mind. At the Sub Terrain
School of Art & Design's
gallery Work - Ann Tomorrow,12
Arbor, an exhibit titled p.m.tolTp.m.
"Sub Terrain" explores Work - Ann Arbor
different levels of con-
sciousness through
various forms of media - from paintings
and sculptures to an interactive mask
projection.
These levels of consciousness range
from examining sleeping patterns -
either peaceful or troubled - in a pho-
tography piece by Mira Burack, to a
fantastical and surreal state, shown in a
projection piece of the islands over which
Amelia Earhart reportedly disappeared
and commenting on her intriguing image
in today's world.
"Some of the pieces seem literal, like
The Burrow by Melissa Jones," said
Andrew Thompson, the show's cura-
tor and a lecturer in the School of Art
& Design. "It's referencing this human
child that is feral, living in an under-
ground dwelling in an iron suitcase, so
it's kind of an underground space you can
fold up and take with you."
Inspiration for "Sub Terrain" came
from Thompson's previous work with
independent artist Audrey Russell.
"Audrey had a solo show a few years
ago in her hometown, Greenville, Ten-
nessee, and she hired me to write her
exhibition essay," Thompson explained.
"I liked the thoughts I put down so I
thought this could be a show. I called her
and I was like, 'Audrey I have an idea for
a show and you have to be in it because
you're the foundation for it."'
Russell commonly works with land-
scapes and parts of the body.
"It's all kind of a mystery where
things feel familiar, but there's a lot of
unexplained elements going on, and you

wonder how much is weird psychologi-
cal baggage and how much is free asso-
ciation," Thompson said. "That's the idea
behind the show, finding other artists
that have work that has an element of
mystery to it."
With an idea in mind, Thompson had
to find a space to house the "Sub Terrain"
exhibit. One of his top two choices was
Work . Ann Arbor. The gallery allows
anyone in the Art & Design at the Uni-
versity to propose a show, including stu-
dents, lecturers and faculty members.
The pieces in the exhibit have widely
varying backgrounds and contexts to
them, with influences from literature,
history and medicine. Some of the piec-
es are frightening and shocking, such as
Sleep of Reason by Rachel Frank, which
features photography of three figures in a
room wearing donkey costumes.
"She references Francisco Goya, who
has pieces about death and people as
demons," Thompson said. "So these don-
key people are like monsters in this state
of being."
Your mind is the
scene of the art
exhibit.
There is one piece in "Sub Terrain"
by the University's own Scott Wagner
and Morgan Morel, both Performing
Arts Technology majors in the School of
Music, Theatre & Dance. Their interac-
tive project, titled Face Lift, gives one
person the opportunity to look into a
camera that projects his or her face into
the openings of a mask. Another person
looks through the mask and sees that pro-
jection.
"It was a combination of our mutual
interests," Wagner said. "Morgan was
doing a lot of video-on-video work,
See SUB TERRAIN, Page 7A

Veteran rocker harnesses
power of the full moon
in latest release
By EMMA GASE
DailyArts Writer
Le Noise is the most recent of Neil Young's
34 solo albums. Yep, this is his 34th - and
that isn't even including
his material with Buffalo
Springfield and Crosby,
Stills, Nash and Young. NeilY
Damn. This guy is also
64 years old, though Le Noise
one would never know Reprise
that from his live shows,
where he rocks harder
than 99 percent of our current crop of
rock'n'rollers. Not to mention he has influ-
enced basically every respectable modern
guitar-savvy band today (we're looking
at you, Built to Spill and Wilco). So what
does this veteran have left to prove? Isn't
he cool enough already?
Le Noise is simply Neil and his guitar.
To add a little mystique, he recorded only
during a full moon. The name Le Noise is
a tongue-in-cheek nod to Young's famous
brainchild producer, Daniel Lanois (U2,
Bob Dylan). Recording took place entirely
at the producer's home studio, where he
laid down the underlying space-scape son-
ics that permeate the entire album, filling
the traditional songs with odd echoes and
Yankee Hotel Foxtrot-esque white noise.
In an interview with the Chicago Tri-
bune, Young described his guitar's tone on
Le Noise as sounding "like God." And he's
correct. This behemoth of a tone could
easily level a building. "Sign of Love"
treats listeners to the chunkiest guitar
sound Young has used since "Hey Hey My
My-(Into the Black)" - a sound so deep
and thundering that you can practically
feel it, like a bass in your stomach.
Young's trademark plodding rhythm
and palm-muting strum style are present
throughout the record. He also busted out
the big gun to record the majority of tracks:
his trademark Gretsch White Falcon, the
Bentley of guitars, quite possibly the most
ostentatiously stunning instrument (visu-

I was told there would be Le Funk."
ally and aurally) in his collection.
The theme of loss hangs heavy on Le
Noise. Young is getting older, and recent-
ly lost two of his closest colleagues, one
being his band's steel guitarist and close
friend, Ben Keith. On opener "Walk with
Me," despite a kick-ass guitar riff and
optimistic."oohs" and "aahs" in the mid-
dle-eight, Young takes on a more melan-
choly disposition: "I lost some people I
was traveling with / I missed a soul in the
old friendship."
But fans looking for the simple lyrical
genius and poetic beauty of the songs circa
Rust Never Sleeps or After the Goldrush
will have to look elsewhere. The lyrics in
Le Noise, while straightforward, are often
bland and overly sentimental. A prime
example is from acoustic ballad "Love and
War": "The saddest thing in the whole wide
world / Is to break the heart of your lover."
Not exactly world-shaking stuff, but hey,
Young's allowed to get a little soft in his old

COURTESY OF REPRISE
age. Nevertheless, the echo-y Spanish-style
acoustic finger-picking saves the song.
Le Noise proves that Neil Young is rel-
evant in the year 2010 and showcases his
boldness and risk-taking. On the other
hand, as much as Young continues to
evolve and try new sounds, this is not an
album that fans will think to revisit after
the initial few listens. Le Noise really is
just another arguably failed grand experi-
ment from an artist who had a prime so
enduring and so expansive that few things
ever measure up. The songs on the album
are almost too personal to relate to, and
contain little actual enjoyment in the
song craftsmanship. It is easy to become
absorbed in the musical intrigue of the
sonics created by Lanois that you forget
that the songs themselves, when absent
from modern tweaking, are simply aver-
age. Young is still cool, but not cool enough
to rescue this peculiar record from gather-
ing figurative dust in your iTunes library.

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RELEASE DATE- Monday, October 4, 2010
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Edited by Rich Norris and Joyce Nichols Lewis
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10/04/10


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