Art and writing are not the only talents that senior Lara Kinne has firmly grasped in her hands and under her belt. To add onto the rather long list of skills that she’s been blessed with is her knack for creating music.

     Having stumbled across Lara’s page on myspace, I took a gander and saw a link titled ‘Octopus Owl’ and like any normal human being, I had to see what it was. I wasn’t expecting to find out that this girl that went to my school had so much talent and she was only a year older than me!

     While a variety of the songs on VIVA MEXICO do not excede two minutes long it does not make them any less great. It only further proves the point that she excells at what she does, not needing to put together some eleven minute song to try and dazzle people. All she needs is her guitar and her voice that makes you feel as if you’re being pushed into a sea of satin sheets and cotton balls, (i.e. very soft and comforting). 

     If I go on anymore I’m sure I’ll start to gush like a creepy teenager that just saw her favorite local band yet another time. Unless you’re deaf there is no excuse for you not to visit the sites below and be in awe over the sheer genius that is going to attack your ears when you click play.

Myspace
Last.fm

The DarkSide of the Wall
Saturday, January 23rd, 2010
The Brown Theater
Better Than: Going to the dentist…?
     

     I have spent at least ten minutes trying to remember what music I listened to in middle school through freshmen year of high school, and the only thing that prominently comes to mind are the words Pink Floyd. This is when I realized that through that entire period of my life I listened to virtually nothing else. There may be a foggy memory of Dinosaur Jr’s Green Mind, or a Mars Volta album somewhere in the mix, but as far back as I can remember (and that’s not very far), I lost my entire middle school/9th grade years to Pink Floyd, and there’s no regret there. I’ve benefited from the binge. From an exhausting knowledge of their catalog, to a growing affection that becomes stronger as the years go by, I find that having such a strong connection to a band is like having affection for a kitten: it’s unconditional. Even if they may wet on your rug, that really tied the room together (Momentary Lapse of Reason, ahem), or split up because one of the members is a little difficult, you find a way to overlook that flaw. The great thing about having this affection for such a high capacity band like Pink Floyd is that there are so many different albums, eras, and sounds to get into at once. You’re never left bored or pining for more; it is emotionally and physically satisfying. The downside to liking a band like Floyd, though, is that two very significant members are already dead. Syd Barrett may have been kicked out of the troupe earlier on, but it doesn’t stop that part of Pink Floyd from being totally irreplaceable. How are we supposed to expect a reunion now that Richard Wright is dead? This is where tribute bands come in.

There’s always been a sort of 50/50 love-hate affection I’ve had with tribute bands, but when your long time favorite band is slowly dying off, sometimes you have no other choice, especially when you long to hear that music amplified to a live capacity. I’ve seen The Pink Floyd Experience twice: four years ago in Huntington, West Virginia and roughly one year ago while residing in Louisville. Both sets were sensually satisfying, but not because they played “Wish You Were Here”- in fact, they didn’t play it at all. They were satisfying because they took time to cover virtually every era of Floyd, cascading from the late Division Bell to the ancient jam tune known as “Astronomy Domine.” No Floyd was left behind. So after seeing this band twice, I’ve had pretty high expectations when it comes to these kinds of concerts.

The DarkSide of the Wall is a Louisville-based band consisting of what the website claims as “some of the top music and production talent in the region.” Unfortunately, there is a difference between being exceptional and genuine. I totally understand the concept of playing what the crowd may want to hear, but sometimes the crowd isn’t all middle aged washups. Perhaps there are eager high school girls crammed between drunkards who simply wish to hear a song from Obscured by Clouds, or maybe just a couple tracks from Relics. It’s hardly a selfish thing to ask for; after all, why would we want to hear songs we hear consistently on 107.7 anyway? No luck. It was all strictly Dark Side and The Wall as their name fittingly proclaims. Although I have no complaints about hearing “Welcome to the Machine” or “Pigs,” I just kind of wished there would be more variety. You would be considered naive to think this set list did any justice.
But the set list wasn’t the only problem I noticed with the band. There were several instances during the show where specific guitar solos were omitted and replaced with  vocal solos instead. Take the second acoustic solo in “Wish You Were Here,” the glorious moment when David Gilmour scat vocals with his guitar: completely ignored here. It’s almost like the guitar player was either too stupid or too lazy to learn the solo. Even I know how to play that solo. I also noticed a problem with the band’s guitar tones, specifically on songs like “Run Like Hell” or “Pigs” where the initial guitar tone is absolutely key. I’ve listened to these songs enough to know a wrong tone when I hear one. As opposed to the hollow and twang-like tone used in these tracks, the band adapted a heavier and almost metalesque sound that didn’t work well with the music they were supposed to be playing. The lead guitarist was also prone to jumping around the stage as if in a slow motion mosh pit, something I’ve never seen David Gilmour do on stage before. His only job is to play and look cute!

I feel I could fill up another paragraph about how I was close to walking out mid-show or about the sloppy vocals on “The Great Gig in the Sky,” but I guess I should have seen this coming. I can’t expect less-than-perfect musicians to give me the absolutely perfect show that I want. That’s not what a tribute band is about. They may know how to play all the notes and use all the right lights at the right time, but it all comes down to the fact that it’s not Floyd. Not even close. These are merely people like me, committed in their fanship, just in a different way. I know I wasn’t fortunate enough to be born in a time where a Pink Floyd tour was the norm, but I wish that I could at least have a taste.  Just a little bite.

 Release Date: 1994
Label: Up Records

      In the now long gone ’90s, Built to Spill dominated the indie rock scene alongside fellow pioneers Pavement and Modest Mouse. The term “indie” may be defecated upon in this day and age, but listening back to the golden years, it’s not tasking to pinpoint where it all started. However, even the great eras must come to an end. Pavement disbanded prior to the new millennium, and Modest Mouse found a new home and grander budgets underneath the wing of a little record label called Epic. Even Jeff Mangum of Neutral Milk Hotel pulled away from the public eye after releasing In the Aeroplane Over the Sea—one of the most beloved triumphs in the indie scene. So what became of Built to Spill’s bearded frontman Doug Martsch? For starters, he consistently maintained his reputation as a powerhouse guitarist for nearly 20 years, outlasting various bands, projects and pipe dreams that most people with a guitar fantasize about. Although being one of the first to have his band defect from independent labels to find a home with Warner Bros., he fortunately retained as much creative control on a major label as he would have elsewhere. Most people don’t realize that 1997’s Perfect from Now On was the band’s Warner Bros. debut, clearly due to the fact that it doesn’t sound like a major label album. Despite that, at eight songs and nearly an hour long, it cemented their status as indie rock kings.

     Three years prior, Built to Spill quietly released a loud pop rocker on pseudo-legendary Up Records. There’s Nothing Wrong with Loveis an amazingly fun album to enjoy, probably as much as it was for the band to record. Martsch displayed an almost whimsical style to his lyrics at this time, focusing more on the direct subjects than the thought provoking ones. The opening verse to “Fling” features some surprisingly not-so-subtle sexual innuendo, while fan favorite “Car” is a substantial blueprint to the existentialism and analogical style that would be heavily explored on Perfect from Now Onand future endeavors. It goes without saying that the guitar riffs from one album to the next remained infectiously heavy, which above all else has become Built to Spill’s defining attribute. Not a lot of guys had the guts to perform guitar solos in the ’90s, but Martsch was determined to keep it in style.

     Take a trip back before when Warner Bros. owned the band, when the Brontosaurus took to the sky and step dads looked just like David Bowie. If this album was good enough for Pitchfork’s top 100 albums of the ’90s, it’s freaking good enough for you.

Release Date: 1999
Label: Warner Bros.

For years, (like many artists of the same massive cult status, i.e. Radiohead, or say, the Grateful Dead) the Lips have been delivering perplexing marvels in rock music. But the prevalent, expensive and fancy equipment were never an option for Wanye Coyne’s control. Even beyond the animal suits and dancing choirs, the exhibition of the Lips’ high standing capacity is actually more hands- on than you think.

Take Coyne’s paint splattered Calvin Klein suit, for example, or even his spray painted leaf blower “balloon machine.” The Lips have always had that intimate touch, through their music and beyond, and this is what makes The Soft Bulletin so special. It’s a constant tug upon your coattail, a small child longing for attention, or a passionate kiss. It’s a freaking kitten. Whatever it may seem, this record still gives me that sensation. From the opening’s glorious optimism, through the sincerity in “A Spoonful Weighs a Ton,” and to the driving essence of “Feeling Yourself Disintegrate,” it’s understandably unreal. Everything is contradictory, and it finds this way to totally make sense. It’s a trait the Lips have carried through their career because they realized it doesn’t have to make sense to mean something to someone else. The abstraction is 85% intentional. This was (probably) the factor that drove Spin Editor, Doug Brod, to claim he’s “not sure I’ve ever met anybody who didn’t like the Flaming Lips.” What is it about the Lips that keep us so personable with their music? The answer is found here.

Release Date: 1982
Label: Geffen/Warner Bros.

Following on the heels of the late 70’s punk rock movement, post-punk strikes again, but more lovingly.  As the album title suggests, A Kiss in the Dreamhouse paints the image of surreal romance and dark secrets. It was also recorded in what Banshee fans refer to as the band’s ‘experimental’ phase, which explains the crazy utilization of chimes, bells, synths, and vocal overdubs. But with the band’s musical aspirations totally unzipped, who knew the album would turn out so beautiful?

The record kicks off with frontwoman Siouxsie Sioux crooning angrily on the opener, “Cascade;” her voice ‘like liquid falling,’ literally. The emotion is almost intimidating, but vast craving only leads to the proceeding “Green Fingers,” accessible through its catchy flute riff, like a bright notion in a dark situation: a much needed release from the harsh emotion of the album’s opener. “She’s a Carnival” serves as the records harshly delicious gem, which accommodates to an astounding harmonized vocal threesome, all with Siousxie herself. Totally wild. To top it off, the band also included a blues track, “Cocoon,” soaked in a beautiful loungy bass-percussion intercourse. If there ever was a genre of surreal, new wave blues, this would probably be it. For an extra treat, the alternate versions of both “Fireworks” and “Slowdive,” along with the Workhouse demos of “Painted Bird” and “Cascade” are graciously included.

A Kiss in the Dreamhouse is completely breathtaking, holding imagination to its highest limits and bending experimentation through fleshing out the unconscience images in our own states of sleep. Sometimes it’s hard to leave, but Siouxsie and the Banshees don’t make it hard to come back. Waking up is no longer an option.

Dinosaur Jr., Lou Barlow and The Missingmen
Friday, October 16, 2009
Headliner’s Music Hall
Better than: Any experience in my life leading up to this show.

One thing I’ve learned about Headliners is that they really don’t give a doodle about your age. Although, it’s not particularly a bad thing; eighteen and over shows should be banished altogether. Really, why? No one’s buying beer with their little wristbands and hand stamps; no underage child is going to go home drunk. It seems that there is an unfair prejudice against people under 18, and with a band like Dinosaur Jr. arriving in town, the hate should stop here. To my absolute pleasure, it did. Eighteen or no, I got through that door.

The only downside to my experience was arriving extremely late. I missed Lou Barlow and The Missingmen’s set -a total bummer because this time, I actually wanted to see the opening act. But my absence was made up for (see paragraph 4) and I believe it was well deserved. After all, who can deny the significance of flowers? Carrying a bouquet around a gig is a sure way to get noticed, at least; making friends this night was far from avoidable. It’s nice being able to charm your way to the front.

Around came 9:00 and J Mascis took the stage, unnatural platinum hair swaying side to side with awkward bluesy sound checks and all. I never expected to take J for a bashful guy, but aside from mumbled thanks in between songs, he said nothing the entire set (this, of course, assuming he sang lyrics.) But modesty aside, the set list was insane. Predictably, tracks from Farm took up a good portion of the night -”I Don’t Wanna Go There” included an extended jam, along with a funky version of “Over It” and the record’s catchy opener, “Pieces.” But old school Dino fans got their treat as well. You’re Living All Over Me’s “Little Fury Things,” Bug’s “Freak Scene” and the popular “Feel the Pain” of Without a Sound were also honored. Keep in mind (for those who aren’t familiar with the band) Lou Barlow is in Dinosaur Jr., even though he also produces solo work and was one of the founding members of Sebadoh. For the record, I love Sebadoh. And deciding whether my bouquet should be given to J Mascis or Lou was an epic on its own. This, along with a few drunken dancing wash-ups, was my only distraction of the night.

It turns out my internal conflict was decided for me. Immediately proceeding the show, J Mascis hightailed to the tour bus and never came out, no answer to my urgent knocks and still no Lou to be seen. As with the Melvins, I figured lurking near the backside of the building was my best option, so I shot the breeze with some of Lou’s old college friends, one of whom stole part of my heart.*

The whole ordeal lasted for at least two hours after the show had ended, but in the end Lou got my flowers and he wrote me a note in thanks. It was actually the first time I’ve had a real conversation with one of my underground heroes. And I didn’t cry this time. It’s not like I try to be the creepy fan chick anyway, it just comes naturally. But we’ll see how long this newfound coolness fairs. Meat Puppets are hitting Headliners Nov. 17th. You bet I’m there.

Release Date: 1987
Label: Rough Trade

The Smiths were more expansive than their generic name gave away. Does it even need to be mentioned what a great duo Morrissey and Johnny Marr made? To this day, they still refuse to tarnish their legendary years in the ’80s by reforming, as if anything could be done to ruin a band so flawless. With a cadence that dripped with sincerity and sex, Morrissey gave voice to a muted generation. There weren’t a lot of songwriters with the huevos to speak up about such sexual and personal subject matter before him; songs from human nature to comatose girlfriends and the every day life in between.

Strangeways, Here We Come is short, barely brushing past the 36-minute mark, but you’d be a fool to underestimate how much is packed into a half-hour with The Smiths. There are jams, ballads and anti-ballads that paint a vivid picture of mundane-yet-provocative life, and as mentioned prior, they are wildly relatable with Morrissey’s affection. Even from the song titles alone, there’s a certain atmosphere that’s dark and inviting for anyone yearning to dim the lights and take a closer look at themselves. Strangeways is introspective music at its finest.

     If you spend most of your day lurking around B side, you’ve probably seen these students prowling in and out of the art room. But it’s no coincidence.   Art 4 students are constantly at work, sometimes even spending more than one period a day in art class. This time allows for students to create unique pieces that are consistantly used for competitions as well as potential slot fillers for a college portfolio.
But a lot of these students go unnoticed…

Amber Cox

-Favorite artists:
Paul Cézanne, Sierra Jeffries, Lara Kinne, and Betsy Deleon.
-Plans after high school:
College, and maybe look into wedding cake design.
-Favorite medium:
Oil paint.
-Favorite piece you’ve done:
I haven’t had a favorite…yet!

Sierra Jeffries

-Favorite Artists:
Andy Warhol, Phil Hansen, Christo and Jeanne Claude, and Amber Cox.
-Plans after High School:
Go to college and get my education on. I’m not sure what I want to pursue when it comes to careers, though. But I’ll still continue art on the side.
-Things you want your art to say?
Just for them to be interesting enough that people would want to actually look at them.
-Favorite medium:
Pencil and regular paper.

Betsy Deleon

-What do you hope to accomplish this year?
To do good pieces.
-Plans after high school:
Go to college.
-Favorite medium:
Using paint.
-Favorite piece you’ve done:
My painting of Amber’s hands.

Jacob Mueller

-What kind of art do you like?
Graphic and logo design.
-Plans after high school:
Major in graphic design, work for a company, and then create my own brand, “Bordum,” for skate and surf.
-Favorite medium:
Dark led pencil.
-Favorite piece you’ve done:
The J-town baseball logo.

Lee Cosby

-What kind of art do you like?
Art that makes you think outside of the box a little; abstract artwork.
-Favorite artists:
Jason Sluers
-What do you hope to accomplish this year?
I’m hoping to put out as many paintings and sculptures as much as I can, and submit them to Scholastic and hopefully receive an award.
-Favorite piece you’ve done:
My self portrait.

Lara Kinne

-What kind of art do you like?
Anything I can relate or feel attuned to.
-Favorite artists:
Otto Dix, Cindy Sherman, Fernando Botero and David Lynch.
-Things you want your art to say?
I want it to be comfy and unsettling. Everything I create is irrational to the point of whimsy, despite being ferociously serious.
-Favorite piece you’ve done:
My bacon and woman duet painting.

Release Date: 2009
Label: Jagjaguwar

It’s clear that (most of the time) musicians should never reunite after 10+ years of an irresolute hiatus. With this, Dinosaur Jr. doesn’t apply. But there are a few problems: does it really seem not loud enough? I’ve already checked my volume levels and what is audible from these speakers can only be surmised as tame. Almost too tame. The critic side of me notes this as a fault, but the human side of me is heartbroken. Although Farm ranks second to 87’s You’re Living All Over Me, (and maybe between the quadrants of Bug or Green Mind ), there’s something that still isn’t there. The quiet-loud dynamic seems muffled, J Mascis’s guitar is louder than his voice (as usual), and through all of this I couldn’t even come up with another pot pie analogy. I’m stumped.

So let’s rewind to the Meat Puppets. Remember that album Rise to Your Knees? Remember how painful it was to listen to the opening track, realizing that your old, precious Curt Kirkwood seemed washed out and confused? I was as baffled as him. And it would be no exaggeration to say the memories of that record still haunt me, almost as much as Laura Dern’s face in Inland Empire. Although, through time I learned to forgive the Puppets, with this exception made solely on their proceeding, and most recent release, Sewn Together. The leak dropped, and I was in bliss. Each track complimented the next, beautifully reflecting ye olde Puppets days.

Farm is like Sewn Together. It’s the album that proves they’re still awesome, genuinely matured and ultimately proving they can in fact get back into the groove. Of course it’s not an all around accurate groove (circa ’87-’94), but it’s definitely there, and that’s enough. It’s like turning on a modern rock record, without reeking of the modern rock typicals. There aren’t any wussy ballads, the guitar is tastefully unclean and despite its protruding aggression, there are still emotional moments to be had –the chewy nougat, if you will. For me, that moment is in the last two minutes or so of “Ocean in the Way:” a complete flashback moment, so Green Mind-esque it makes you sick. You almost feel bad for Mascis, crooning gently as his instrument responds similarly, and (predictably) jumping into a complete resurgence of a classic Dino Jr. wallop.

The real reasoning for my less-than-perfect critique refers only to a few tracks. “I Don’t Wanna Go There” actually reminds me of a Pearl Jam song. And yes, there are several instances in this track where Mascis starts pulling an Eddie Vedder, but all is forgiven after another melodic and driving solo from J’s outrageously loud guitar, (and if you listen closely, you might actually hear some drums.) But the Vedder is only one of the many voices of Mascis. The classic Mascis is usually what I prefer, but in some occurrences you can detect the sort of secret grungy region, exemplified from a cracking voice, maybe a few grunts. Don’t try to hide behind that feedback crap, J, it’s obvious to see where those 90s bands learned to sing.

Complaints aside, I will always devote my heart to J Mascis’s voice. My shtick has usually been the creepy fangirl, anyway. And I don’t mind. It should be okay that I want to cuddle with his vocal chords, maybe take them out to a picture show, hope they’ll call me the next day and pray it’s not too Vedder-esque.

So after finally buying the album on vinyl and throwing on the double LP for careful consideration, I have categorically decided Farm is among one of the best Dinosaur Jr. records I’ve ever heard. They do what few bands can do after a 10 year hiatus. Dinosaur Jr. is beloved, and who certainly didn’t tarnish their legacy; this isn’t your stinkin’ Smashing Pumpkins revival.

Cool stuff to check out:
“Over It”
Myspace
The secret link