Mount Hood

Review: “Electric Light”

Zoë Strickland | Editor-in-Chief

It’s been three years since singer-songwriter James Bay released his debut album, and I’ve been anticipating his second since I finished listening to the first. “Electric Light” is good, but it’s nothing special. In his second album, Bay seems like he’s trying to reinvent his sound, but does so in such a miniscule way that the changes just seem like slightly overproduced missteps. While the album almost succeeds in showing a different side to the artist’s music, an overall lack of continuity is its downfall.

When it comes to music, I love a good connecting storyline — and Bay’s sophomore release seemed like it was going to deliver. “Electric Light,” in a way similar to “Camp” by Childish Gambino, uses interludes of dialogue to introduce the listener to the story that the album is trying to tell.

The first track, aptly named “Intro,” consists of nearly a minute of dialogue between Bay and a woman who’s playing the role of his significant other. The conversation comes back halfway through the album with “Interlude,” another minute-long track. While this framework acts as the set-up for a musical story, the album itself fails to follow through. I was expecting the last track to sum up the record in a similar conversational way, but it ended on a bittersweet musical note that housed Kodaline-levels of sadness. Though the attempted storyline seemed like it was aiming for somewhere great, it failed to get there.

The first single released and fourth tune on the album, “Wild Love,” is destined to be one of the songs of the summer. “Wild Love” relies heavily on autotune, nearly to the point of sounding like Bleachers. However, the majority of the song remains low-energy and squanders the pop potential it appears to be aiming for. It isn’t until the track is almost over that the sound drops into a danceable beat.

Bay’s debut album, “Chaos and the Calm,” was released in 2015 and was a solid record — his powerful vocals and intensely romantic lyrics resulted in three Grammy nominations. While “Electric Light” still houses the same strong sound that was displayed in “Chaos,” the at-times-overproduced quality of the songs took away from how much I enjoyed the album as a whole.

While I dislike Bay’s overall sound reinvention, I do have to commend him on the powerhouse that is “Stand Up.” The song begins with layered vocals, but quickly turns into a softer, choral interlude, eventually building up to a climax of boisterous percussion and violin, ultimately winding down to a calm finish that borders on lackluster.

“Just for Tonight” is the song that’s most reminiscent of the artist’s previous releases; the tune feels like it’s reaching into Bay’s singer-songwriter roots, but ultimately winds up relying too heavily on choral voices.

Though I’ll probably stick to listening to his first album, it seems like “Electric Light” is Bay’s way of coming into his own sound. The album plays more with autotune, voice layering and different genres. However, the failed continuity of the record makes it seem like Bay was throwing pasta at a wall and hoping it would stick — if the organization was better, I think the reinvention would have been more successful.

 

Contact the author at journaleditor@wou.edu

Photo courtesy of: republicrecords.com

Dedication illuminated through dance

Caity Healy | Lifestyle Editor

One by one, the audience shuffled to their seats and waited in anticipation for the art they’d soon witness. After some time, the lights slowly dimmed to full darkness. With a hush that consumed the room and the sweeping of a curtain, it was time for the show to begin.

The 2018 Spring Dance Concert took place from May 10-12 in Rice Auditorium. Showcasing the work and dedication that went into 10 different performances, audience members showed up and supported the art that their friends, family and peers had worked to perfect.

The show displayed the work of students, alumni, and the Rainbow Dance Theatre, as all worked together to put on the two and a half hour production.

From the eyes of a viewer, what was seen was nothing short of phenomenal. Opening with a performance titled “Last Light,” choreographed by senior Andrew De La Paz, audiences saw animalistic forces charging after the dying light presented by soloist senior Alaina Meyer. Ultimately, the piece showed that no matter how hard the force attempted to steal the light from her, she would not surrender.

This piece set the scene for the rest of the concert; from then on, audiences were able to see more dark material, with visuals that would send shivers down one’s spine and had perfectly chosen music to match.

These dance performances didn’t shy from tackling controversial topics, such as the stereotypes surrounding different races brought to light in “One,” choreographed by senior Tunya Dhevaphalin.

“Each piece told a story,” explained dancer sophomore Noah Nieves Driver. “Whether it be one of determination, grief, or just for pure entertainment … (each was) full of everyone’s heart and soul.”

Art was exhibited within each performance; the set designs, the lighting that flawlessly reflected the mood of the piece, the film used in choreographer Kristie Lauren’s “Chalk, Chalkboards, and Classroom Covens,” and even the painting produced on the spot by Professor Gregory Poulin in “Men Dancing: the Painter,” choreographed by dance professor Darryl Thomas in collaboration with the dancers — all left the audience in awe.

Behind the curtain, what made the production of this art possible can be seen.

“A lot of preparation went into the Spring Dance Concert,” said dancer sophomore Maria Krueger. “We put five months worth of rehearsal time in, with practices twice a week for two hours each practice.”

Krueger was a part of two performances: “Last Light” and “False Hologram.” She added that, on top of the work she and the rest of the crew put into the pieces, there were also “two previews during that time, where the dance facility overlooked the dances and helped students perfect their pieces.”

With numerous dancers involved, choreographers, costume designers, lighting designers and more, the hours on top of hours and immense passion put into the production was evident.

Following the final piece, “The Garden of Earthly Delights,” choreographed by Valerie Bergman and professor Darryl Thomas, both a part of the Rainbow Dance Theatre, the show came to a close. As the faces of each performer made their way to center stage to take a final bow, much of the audience gave a standing ovation to show their respect and admiration towards everyone involved.

Driver noted that as he was taking his bow, he felt “sadness that the run is over … and happiness to finally have free time again.”

“It felt amazing to perform these pieces, to show off five months of hard work,” added Krueger.

As the lights brightened the room and the audience made their way down the rows and out of the auditorium, those involved in the show were greeted with the smiling faces of all of their supporters, waiting to congratulate them on the work they had done.

Contact the author at chealy16@wou.edu

Photos by: Paul F. Davis

Music from the heartstrings

Zoë Strickland | Editor-in-Chief

Emmaly Basaraba was three-years-old when she discovered that she wanted to learn how to play the violin; “I remember going to the living room and on TV there was a man playing violin and I was like ‘I want to do that.’” Five years later, her parents offered to get her lessons. On May 3, the Bachelor of Music major walked on to the Smith Hall stage to perform her junior music recital.

The recital, titled “Ain’t Misbehavin’” after one of the songs that Basaraba performed, featured jazz music from the ‘20s and ‘30s.

Music students Noah Adams and Justin Kayler accompanied Basaraba on the drums and bass, respectively. Her brother, Wyatt Basaraba, played both the guitar and tenor banjo. Between songs, Basaraba pointed out that certain selections — namely, “Georgia on My Mind” and “Ain’t Misbehavin’” — were chosen because of her association between the songs and her late music teacher, Gene Hall.

She chose the title of her show because of how it represented the era of music she was focusing on in the set, as well as her memory of Hall playing it; “I felt it captured the essence of the time period that I was going for — jazz music from the ‘20s and ‘30s …  I have a lot of fond memories of Gene playing it with his granddaughter, because she would sing it while he would play it. I thought it just captured the essence of the era.”

A Polk County local, Basaraba was raised in Dallas, where she and her brother were homeschooled.

Music is more than just a degree or a pastime for the violinist. Rather, it’s part of her identity.

“Music is kind of the central part of who I am as a person … I love doing a lot of different things for fun but music is my escape,” she said. “Whether it’s listening to or playing music, it’s what I do to feel whole and to express myself.”

For Basaraba, this love of music comes from Hall. The instructor taught both her and her brother music from the time she was eight until he passed away when she was sixteen.

“It’s hard to find a starting point. He was my teacher, but he was a lot more than that. He was kind of a grandpa figure to me,” she said. “Not only was I learning how to play music from him … but he would be interested in what was going on in our lives … he was the person who really impacted me and kind of instilled music into my soul … it’s Gene’s fault that music is what I live and breathe.”

“When I’m performing especially, that’s where I feel the most open with my music. I’ve been performing for a long time … I don’t really get stage fright,” Basaraba’s love of performing stems, in part, from Hall as well — he would invite her and her brother to play gigs with him.

“I really feed off of being in front of a crowd and showing them what I’ve got,” Basaraba noted.

Hall is one of the the biggest musical inspirations in Basabara’s life. In addition to him, she also finds inspiration from her current music teacher: “Christopher Woitach — he’s really inspired me too,” she said. “Then there’s like greats like Stephane Grappelli and Joe Venuti.”

When she isn’t playing music, Basaraba works on campus at the Wolfstore, watches “The Office” and looks after her two guinea pigs — Wilbur and Orville. But music remains her primary passion.

“Music is my hobby and the thing I study and the thing I love to do,” Basaraba said. “It’s hard to think of other things I love as much as music — both listening and playing.”

The recital ended with “Five Foot Two” by Ray Henderson. As the lights came up, Basaraba’s brother got up and gave his sister a hug.

It’s clear that Basaraba’s own experience as a music student has made a lasting impact.

“My dream would be to have a private studio to teach out of. I love teaching private lessons, I have a few students right now,” she commented. “To be honest, I don’t have a set plan of what I want to do, but I’m very open to whatever comes my way. I’m excited for what the future has.”

Contact the author at journaleditor@wou.edu

Photo by: Paul F. Davis

Review: “Can’t Wake Up”

Zoë Strickland | Editor-in-Chief

Alejandro Rose-Garcia, also known as Shakey Graves, announced his fifth album with a warning: that fans should prepare to sell their suspenders. While Graves set out to release “Can’t Wake Up” as a departure from his previous albums, the record houses the same down-home feel that can be found in his earlier work, with a touch more gloom and a little less fingerpicking.

I was introduced to Graves’s music through an episode of NPR’s Tiny Desk Concerts. The concert emphasized the sort of music that the artist is famous for — a combination of folk and blues, with a touch of rock n’ roll rolled in — the same kind of music that he’s trying to take a departure from in “Can’t Wake Up.”

In “Can’t Wake Up,” Graves has set up a world of mystery, reminiscence and surreal situations. His lyrics are self-analyzing, dark and dreamy, while the music itself is somewhat psychedelic and layered — these things work together to create an audio representation of the world depicted on the cover of the record.

Though the album’s core still houses the warm vocals and strands of guitar-heavy backing that punctuates his previous four albums, Graves has shifted his sound to being more pop- and rock-heavy. Rather than embracing a low-budget, found-on-the-street sound, “Can’t Wake Up” is noticeably different when it comes to production. Each track has a larger and more robust presence.

“Counting Sheep” is possibly the catchiest song on the record. It was one of the first singles released and provides a dose of shock regarding what the album will be like. The track marries the sound that Graves is pushing away from with the one he’s embracing. Rather than focusing on a solo voice, the song employs the use of Graves’s own different pitch backing vocals to fully immerse listeners in the hazy world that’s being created. I challenge you not to sing it at the top of your lungs.

The album then shifts into the ultimate summer dance anthem; “Kids These Days” is an indie-sounding bop that spends time reminiscing about the feeling of indestructible youth.

Though many of the tracks are powerhouse anthems, “Climb on the Cross,” “Neighbor” and “Mansion Door” show a slower side of the album; while the starting tracks are bellowing, the slower songs work to combat some of the more high-energy pieces and bring both the album and the listener back into the the dreamscape.

Though Graves billed “Can’t Wake Up” as a great departure from his earlier music, the album still feels like Shakey Graves — it still feels like the warm country-folk songs that he’s been playing since his first album. Simply put, “Can’t Wake Up” is a great album. Though die-hard fans of Graves’s older work may be discouraged, this album is worth the listen. It embraces a lot of what’s currently being done in popular music, but the record retains a sense of originality.

Contact the author at journaleditor@wou.edu

Photo by: shakeygraves.bandcamp.com

Campus pianists take the stage

Zoë Strickland | Editor-in-Chief

The sound of music filled Smith Hall as music students and professors alike played through piano performances. On May 2, “An Elegant Evening of Piano Music” was held as part of the 2017-2018 Smith Concert Series.

The two-hour event consisted of pianists playing the compositions of Chopin, Rachmaninoff and Debussy, among others. Professors Diane Baxter and Jackie Morelli opened the evening by performing “Celebration” by Rollin. The duo played two other songs throughout the night; “Fantasy Op. 5 ‘Larmes’” by Rachmaninoff was also played in the first half of the night, while “Jubilation” by Vandall opened the show after intermission.

Junior music major Levi Polasek played two songs in the latter half of the evening. The first performed was a short, lively piece by Kapustin, titled “Prelude Op. 53 No. 17” and the second was “Nocturne Op. 27 No. 2” by Chopin.

“The great part about performing is audience reaction, which honors both the performer and the composer,” said Polasek. “My favorites are the beautiful and timeless piano compositions from Liszt, Beethoven, Prokofiev and Chopin.”

Senior Bachelor of Music major Jessica McCutchen enjoys performances like these because of the moment after she reaches the end of a song; “There’s this moment of silence afterwards before people clap, and it’s when you exhale all the air you’ve been building up the entire time you’ve been playing — it’s the most relaxing moment.”

Also included in the setlist were performances by Leo McLean, a sophomore from Sprague High School in Salem, Oregon and Li Jing, a visiting scholar from Guangxi Arts University in China. McLean performed Chopin’s “G minor Ballade Op. 23” while Jing played Liszt’s “Harmonies du Soir.”

The evening of piano music ended with the only composition of the night, “Antumbra,” which was composed and played by McCutchen.

“(Antumbra) came from a place of transition in my life … I went through this huge writing block and I couldn’t write any music for two months, anything substantial,” said McCutchen. “So I went back to my old approach of writing music, which is just sitting down at the piano and playing until I figure out what I like … it’s not an effective use of time, but it really changed how I write music now. It got me back on track.”

“Antumbra” will be making an appearance at McCutchen’s senior recital on June 1.

Other student performers for the night included seniors Xia Yun and Xudong Yang, first year masters students Julia Harrington and Yuzhou Huang and second year masters student Lingyu Zhu.

The next performances hosted by the music program include the joint junior recital of Cole Johnston, Jacob Marsh and Keagan Wall on May 9, and the junior recital of Adam Hyland on May 17. Both events are at 7:30 p.m.

Contact the author at journaleditor@wou.edu.

Photo by: Zoë Strickland

Review: “KOD”

Simson Garcia | Sports Editor

J. Cole’s “KOD” arrived on April 20 and, while he’s progressed and improved as an artist, his new project regressed towards the end.

While varying styles of instrumentals are constructed, ranging from newly stylized modern trap beats to old-school hip-hop influences, Cole’s narrative is what keeps “KOD” afloat. “KOD,” or “Kill Our Addiction,” is based around Cole learning to cope with some of the problems his current generation is also dealing with. For instance, in the album’s trailer, Cole revealed part of how the album developed, “If I turn on the TV right now, it’s not going to be long before an advertisement pops up that says ‘are you feeling down? Have you been having lonely thoughts?’”

Cole tries to grasp the listener consciously. He touches on multiple addictions his generation has been afflicted by and how they might cope with each: technology, drugs, sex and alcohol. But the messages are deeper and, at times, have a double meaning. Cole engages the listener to closely analyze the problems they may also have faced.

For example, “ATM” is a track about the obsession of money and the American dream, and how the dream consumes people. In the refrain he repeats, “Count it up, count it up, count it up, count it,” then responds sarcastically with “Can’t take it when you die, but you can’t live without it.”

“Photograph,” too, deals with obsession as it’s about a boy’s strong interest toward a girl’s social media account — though he’s never met her in reality.

While I get the many interplaying themes, and completely appreciate the diversity KOD strings together, because hip-hop truly needs an army of poets to talk about different issues — they’re simply outnumbered by the invaders of trap music — at KOD’s core is the current generation’s endless addiction to things. Technology is one “Photograph” spoken of as well as drug addiction that’s layered throughout several tracks.

But “KOD” struggles to hold together until the very end. Cole is so invested in topics related to addiction and unwillingness to heal, it’s not something you can re-listen to, and nod your head until the end. Upon finishing, I found it to be a sad case of an endless cycle of our society’s problem with addiction, especially with drugs and alcohol. It’s only right since Cole displays through the songs what he’s undergoing and how hard it is to overcome. I understand that aspect. But it’s not together because there’s an unfulfilling resolution to “KOD,” which could be due to Cole supposedly crafting the album in short time.

Just as important, the instrumentals became too melancholic for my liking. Even though I dig jazz samples and classic hip-hop rhythms, the beats encoded with the messages didn’t keep me vibing. “KOD” is listenable, attention grabbing through the first seven tracks, but towards the end kept me questioning and hopeless.

Only two tracks I can say are completely catching me by the ear and will get more than a few replays.

The piano sounds from “The Cutoff” are reminiscent of Jay-Z’s “Dead Presidents,” an all-time favorite of mine. In the song, he talks about friends he’s cutoff and the stages they went through until their relationship eventually split, something I’ve come to face with recently.

Second, “ATM” has this message and tempo I was hoping the latter half of “KOD” would include more of. As I mentioned earlier, the lyrics are about the sad affair we have with money, but Cole’s beat and flow carries the song. Even though he states things like “without it I’m miserable,” he comes in with a force vocally. I love how he’ll say something like “I’m stacking this paper, it’s sort of habitual,” but while doing, there’s a sense that he’s basically insisting to be conscious about the idea of money, as he states with “proceed with caution, I heard if you chase it only results in, a hole in your heart.”      

I’ve only listened to “KOD” two times over. While a step up from his previous release, “4 Your Eyez Only,” “KOD” was a complete miss when compared to his penultimate “2014 Forest Hills Drive” album, but, like Cole says in “The Cutoff,” time will only tell who is on his side, or “KOD”’s side.

Contact the author at journalsports@wou.edu

Photo by: dreamville.com

Take a break from midterms

Zoë Strickland | Editor-in-Chief

As it gets to be the middle of term, it’s important to hit the books and study for midterms. However it’s also important to take some time and explore all of Western has to offer. Here are some events on and off campus that can provide you with a reprieve from studying.

The Wooden Shoe Tulip Festival has been extended by one week — rather than closing on April 30 as planned, the festival’s last day is now slated for May 6. For those who want to get out of the Monmouth-Independence area, the festival can provide a break from studying. In addition to roaming the tulips, festival-goers can pick up food and purchase their own flowers. For people who choose to go specifically on the weekends, they can also take advantage of hot air balloon rides and a craft marketplace. Admission for the festival is $5 per person or $20 per full car.

There are a myriad of different on-campus music events happening this week. All of the events are free for Western students and offer a wide variety of tunes to listen to. On Wednesday, May 2 at 7:30 p.m., the music department is holding a showcase of current piano students and their work. The following day on May 3, junior Emmaly Basabara will be performing her junior violin recital. The event begins at 7:30 p.m. Rounding out the week of music events is a Friday night performance by the Salem String Quartet. The show is on May 4 at 7:30 p.m. as well. For those who are interested in seeing the string quartet, prices vary: $8 general admission, $5 for students and senior citizens, or free with a Western student ID.

From May 10 to May 12 Western’s dance department will be hosting the 10th annual Spring Dance Concert. The concert will feature numbers choreographed by students, faculty and Rainbow Dance Theatre. Tickets are $8 for students with a Western ID, $10 for senior citizens and $14 for general admission. Those who are interested in attending the dance concert can purchase tickets at the box office in Rice Auditorium.

Contact the author at journaleditor@wou.edu

Photo by: Elissa Sorenson

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