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The Voice of the College at Florham

"News is the first rough draft of history." - The Voice of the College at Florham

Indie artist Torres strikes a note with new self-titled album

JOHN SAAVEDRA JR.
Student Voice Editor

Every so often I wake up in a panic, my brow soaked in sweat, and wonder whether I’m wasting my life. I mean, I could be. Writers are prone to making big mistakes, huge mistakes. How else would we ever gather the material we need to create?

This is how I feel as I listen to Torres’ (aka Mackenzie Scott) new self-titled album. She’s fresh out of college, almost 22 (younger than me) and was featured on Pitchfork upon self-releasing her first single “Honey.”

She croons the sad ballad about a wife who watches her husband drinking his morning coffee, unable to tell him how he’s wasted her life, ruined any chance she had to be happy.

The wife can only wonder: “What ghost crawled inside my guitar?” The song is a sad portrait of marriage, one where one person is obviously settling and the other is oblivious to his partner’s pain. The heartbreaking ending, one that drags you down to tears if you’ve ever been in a relationship you know will only bring you more and more disappointment, has the wife hanging on to false hope: “Honey/ Pretending like it never happened/Come over here and let me/Put you back together/Maybe some other time then/I’ll come back again.”

Have you ever loved someone who’s no good to you but you still feel like you can fix him/her?
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Review: Matt & Kim’s ‘Lightning’ just misses the mark

MONIQUE VITCHE
News Editor

The fourth album by the Brooklyn duo Matt & Kim, “Lightning,” was released last week and it just misses the mark.

After the release of the first single, “Let’s Go,” it was anticipated that the rest of the album would have the same feel: an album one could listen to in the car with the windows down (much like their previous albums).

With the exception of a couple of the songs on the album, this was not the case.

The second track, “Now,” is slightly reminiscent of the band’s 2009 release “Grand” and has a catchy chorus. However, the crescendo near the end of the song unexpectedly loses its momentum.
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Album review: ‘Coexist’ by the xx holds its own

ALEXIS CAMARENA
Senior Editor

I first discovered the xx, an indie-alternative British band, thanks to a certain ex-boyfriend of mine, who, at the very least, brought some seriously good music to the relationship.

Their first self-titled album, “xx” (2009) is one of my favorite 15 albums of all time, somewhere between “In Rainbows” by Radiohead and “I Had the Blues, But I Shook Them Loose,” by Bombay Bicycle Club.

I just wanted you to know that I pretty much wake up and go to sleep to “xx,” so for the band’s latest album, “Coexist,” it’s not really a fair fight.

That being said, “Coexist,” which dropped on Sept. 11, definitely holds its own. It may not be my favorite of the two, but I would not discourage anyone from giving it a listen, or two, or three.

Let’s start with why the xx’s first album was incredible; I think Pitchfork Media might have said it best: “The xx’s self-titled debut was the kind of record that filled a void most of us didn’t know existed.”

For me, the first record came out of left field: an original, sensual, sound; a unique listening experience.

“xx” was the recipient of much praise, and many accolades, such as the Mercury Prize, given to the best album in the United Kingdom and Ireland. The album was also certified platinum in the UK.

Pitchfork listed the album as the third-best of 2009, while The Chicago Tribune listed it as fourth on its list of the 20 best albums of that year.

“Coexist” also manages to create the same kind of experience. It still manages to fill the listener with the same kind of feelings, filling that very same indescribable void.

But overall, the album sounds very similar to its predecessor, and while that’s not necessarily a bad thing (in fact, fans will probably dig it), I would have liked to see a different side of the band with their follow-up album.

Some favorite tracks on the record are “Tides,” “Angels,” and “Try.”

I highly recommend listening to this album at night, or in the very early morning.

Fans of the xx, don’t let my apparent lack of enthusiasm fool or sway you; “xx” is just a hard one to top for me. Overall, I rank “Coexist” as a 3.5 out of 5 stars.

The album is now available in stores, for download on iTunes and on Spotify. You can also listen to the album on the band’s official site, thexx.info.

Nicki Minaj’s ‘Pink Friday,’ part two, may be a Black Friday after all

MELISSA KRENEK
Entertainment Editor

Nov. 19, 2010, was filled with pink wigs, tight pants and multi-colored lipstick, all in preparation for the new Queen Bee of hip-hop’s debut album.

Nicki Minaj was on top of the world when “Pink Friday” was released; even veterans like Lil Kim couldn’t bring her down.

Fast forward to 2012, and Minaj is ready to release “Pink Friday: Roman Reloaded,” a remix to the original with less hype and even less talent. Any listeners that were into her since her “itty bitty piggy” days will surely want to destroy her alter ego by the end of the album.

“Pink Friday: Roman Reloaded” focuses on Minaj’s most popular alter ego, Roman Zolanski (dangerously close to Roman Polanski). Roman is her more vicious side, as opposed to her normal self, or her more feminine side, Barbie. The album starts with “Roman Holiday,” a sad excuse for a song starting with Roman’s mother, another alter ego of Minaj’s, preaching to her son about his need for a “Roman Holiday.”

“I Am Your Leader,” is the next song worth mentioning, a centerpiece to many afternoon jam sessions on both Hot 97 and Power 105.1. It holds the same out of this world type of sound as the other songs on the album, but for some reason it has more intensity behind it. This could be because Minaj’s verses actually have some substance, but most likely because it features some big players like Rick Ross and Cam’ron.

The next song, “Beez in the Trap,” is a song listeners will love to hate. It features newcomer Two Chainz, formally known as “Tity boi,” who is the least talented artist featured on the album, and in the industry in general. The best part of the song is the beat, a common pattern with most songs on the album, though trying to figure out the meaning behind “Beez in the Trap,” is an adventure in itself.

“Roman Reloaded” brings back the old Minaj, reminiscent of “I Get Crazy,” complete with Lil Wayne by her side. The chorus is accompanied by sounds of bullets, and Minaj yelling “bang bang,” which like “Beez in the Trap,” is guaranteed to be stuck in your head.

“Champion” is more of a nostalgic track, talking about the ghetto and the importance of getting out. It features YMCMB label mate Drake, whose only real addition to the song is paying homage to Jay-Z and Jermaine Dupri’s “Money Ain’t a Thang.” Young Jeezy follows him, talking about all the money he has, but both rappers are out shined by the third featured artist: Nas. He starts his verse off strong, with “I saw my first two million dollars, I was 23/ I’m barely a man, yet, I had some killers under me.” The rest of it is basic enough, but still wows listeners more than Jeezy could ever do.

This song is followed by an R&B track, featuring the prince of R&B, Chris Brown. “Right By My Side” is a strong duet between Minaj and Brown, catchy from the start with Minaj singing, “It all comes down to this/I miss your morning kiss.” Brown makes the track, as he does with most collaboration tracks he has had this year, his verse nostalgic to a relationship we can all recognize.

Minaj surprised listeners all over the world with her Jersey Shore-Katy Perry hybrid “Starships,” a summer track reminiscent of “California Girls” if there was a house remix. Minaj continues with her techno revelation in “Pound the Alarm,” “Whip It,” and “Automatic,” the latter being the most passable for enjoyable dance music.

The rest of the songs on the album follow suit, until the last track, “Stupid Hoe,” a prime example of music with absolutely no substance. The beat, again, is crazy, but the lyrical content is virtually non-existent.

The deluxe edition of the album features her mega hit, “Turn Me On,” featuring dance guru David Guetta, a song taking over both the airways and clubs around the world.
The album, music wise, is perfection, thanks to producers like Hit Boy and RedOne (most famous for working with Lady Gaga).

The tracks that were collaborations never fell short of being both catchy and street friendly, thanks to Cam’ron, Nas and Drake.

Unfortunately, like many other rap albums we have seen, the actual star of the show is the least impressive. In fact, the songs that were just Minaj herself, mostly the dance tracks, were nothing memorable.

In the days of “Beam Me Up Scotty,” Minaj was the only actor on stage, and delivered every time. She didn’t need the fancy wigs, crazy alter egos, or flashy names behind her.

“Pink Friday: Roman Reloaded” was an overall disappointment, and leaves the door wide open for Lil Kim to take her title back, if she ever gets around to it.

Odd Future’s newest work packs more punch than a bully

MELISSA KRENEK
Entertainment Editor

Tyler, the Creator and his clan of cartoons have done it again!

The now 21-year-old and his group Odd Future have always delivered raunchy yet lyrical pieces, and most people hate them for it.
Sure, most of the songs deal with fellatio and fornication, and not always the consensual kind, but it’s what the people want. Their debut album does not fail to deliver.

“The OF Tape Vol. 2” features all members of Wolf Gang (Odd Future), though the obvious forerunners are Tyler, the Creator, Hodgy Beats and Frank Ocean.
In fact, the album should have featured just these three men, since everything else that didn’t involve them was worthy of the skip button.

Though controversial, it is the most lyrical piece of work out in the game today, and what other rappers out right now can speak about dinosaurs, zombies, talking trees and Lunchables and make it catchy?

The album starts with an introduction to its members, entitled “Hi,” a minute-and-a-half of each member being degraded verbally.

It paints a nice picture of what is to come, a light hearted yet vicious attack on everyone and everything.

“Analog 2” is the first song on the album that could be a universal hit, and features R&B favorite Frank Ocean and Tyler, The Creator.
We have seen their undeniable chemistry in “She,” and they bring this same romantic/sadistic message with “Analog 2.”

Ocean does his usual cooing with the hook, “Meet me by the lake at ten/If I’m not there just call/And if you need a way there/ I’ll ride you on my handle bars.”
Tyler even tones it down in this one, talking more about romance than rape. One line could be straight out of a poem, “It’s summer camp Golf Wang where the talking trees are.”

Just as we begin to enjoy the lighthearted jam, Tyler brings back the demonic voice in the end.
The creepy voice talks about how the lake is deep and his date will need a life jacket.

This brings us back to reality, and realizes that the fictional date will most likely end up at the bottom of the lake in Tyler’s land of make believe.
Frank Ocean is featured again on the next track entitled “Snow White,” with Hodgy Beats, both men proving their ways with words.

Hodgy jumps onto the track with a griping first couple of lines,“Gold chain and some J’s like Nas in illmatic/ I’m so real, I’m something to feel, peel fabric./ My folks kill, the hunt every meal, meat cabbage/ Lyrically get out of my way, protein the beats raddish.”

Ocean brings in a natural element to the song. His soothing voice echoes, “Snow so white, moon so bright/ They’re on a playground making canines fight.”
Paired with the lyrics is a simple drum beat mixed with a dramatic synthesizer, with the occasional howling and growling in the background.

Tyler, the Creator joins Hodgy again on “P,” a song where no one is safe from his judgments. Hodgy talks about killing people, while Tyler takes it way too far, as he usually does.

Listeners will be shocked hearing, “So after the showers with Sandusky,/ me and Sean Kingston went and rented a couple jet skis.”
In one line Tyler manages to poke fun at the Penn State scandal as well as the near fatal accident of a pop singer.

But this is what fans love about him, his most famous being his “stab” at Bruno Mars in his hit song “Yonkers.”

Tyler takes it even farther than that here, even referencing Casey Anthony. “You know Casey Anthony, was handling/Dropping her kids off so she could come out and dance with me.”

This shocking track is juxtaposed with Frank Ocean’s ballad called “White.”

Unlike other R&B artists out now, not every song on his repertoire are “panty-droppers,” in fact, most are more depressing than sexual.

Though simplistic, “White” holds more sensuality than any Trey Songz or Chris Brown track out right now, with a lyric like “I woke, you were there, tracing planets on my forehead.” Who needs a complicated beat and a six pack?

“White” reads more like a poem than a song, and is a refreshing break from all the shenanigans occurring around it.

The album ends with “Oldie,” a 10-minute track that features all the members of Wolf Gang. It has almost too much personality for one song to handle.
Overall the album was impressive, and though controversial, Odd Future knows how to stir the pot.

Most rappers out right now talk about two things, women and money.
Though usually paired with a catchy beat, this formula gets old.

Odd Future is the first rap group since Wu-Tang to bring the street rap back into the mainstream, and doesn’t rely solely on a “killer beat” like Rick Ross’s Maybach group.
Many people are outraged by the acceptance of Wolf Gang’s content, but this ideology is no different from why people like slasher films and violent television.

Why can Eli Roth write a film about sex and death but Tyler, The Creator can’t write a song about it?

Chiddy Bang’s ‘Breakfast’ is a fruity treat that lacks nutrition

MELISSA KRENEK
Entertainment Editor

The duo from Philly are back with a full-length album, entitled “Breakfast,” a feel-good album that can be played in any fraternity basement or indie radio station.

The pair, Chidera “Chiddy” Anamege and Noah “Xaphoon Jones” Beresin began their love affair with music while attending Drexel University together in 2009.

They made waves a couple years back with “Consenting Adults” and “Truth,” two songs that boosted their careers.

They continue their art of chop-shopping samples, always creating completely new cars while paying homage to the old ones.

The only problem lies in the content value, since no song on “Breakfast” parallels the genius they have produced in the past.

The somber tunes like “Dream Chasin’” and “Sooner or Later” are nowhere to be found.

This may be their attempt to create a carefree dance album, but every good piece of art has some shadows to it.

As many albums do recently, Chiddy Bang begins theirs with an intro, filled with nostalgic piano riffs and little kids talking nervously.
Next is the title track, “Breakfast,” a song celebrating the duo’s success so far. Paired with some horns and piano, it acts as the perfect beginning song.

“Mind Your Manners” showcases the intricate sampling skills of Xaphoon.

The song features Icona Pop’s “Manners,” a playfully fun song reminiscent of “Truth,” but not as bubbly.
“Ray Charles” follows, a quirky song poking fun at the legendary musician, in a cute way.

The chorus, sung by a sultry voice, screams, “Ohh boy, open your eyes/A girl like me ain’t waitin’ all night.”

The song is filled with pun after pun dealing with blindness, but is delivered in a way that makes it more adorable than insulting.

The album delves a little deeper into emotion with the track “Does she love me?” which speaks of the heartbreak of falling for the wrong one.
“Does she love me?/ No Sir/ Does she want me?/No Sir/ I think she hates me/ What has she done for me lately?”

With a chorus like this listeners can feel the simplistic wallowing Chidera finds himself in.

Nothing really pops out lyrically or musically until the latter part of the album, specifically with the track “Happening,” which features English singer/songwriter V.V Brown.

The upbeat song reminds listeners of what catchy pop is, a song that surely will be on a summer mixtape in the near future.

The infectious sing/yelling of V.V Brown mixed with the clap machine produces a euphoric, young mood for an afternoon drive or a lively party.

Chiddy Bang adds a little of the hip-hop rap mentality in the ending song, “Fourth Quarter” a perfect juxtaposition for its poppy predecessors.
Complete with “ahs,” it would fit perfectly on any Hot 97 playlist, right up there with a YMCMB or MAYBACH track.

Tracks like these prove that Chiddy can sway back and forth between different genres with ease and success.

Overall the album has a footloose and fancy free feel to it, but as with many other albums of the time, it seems to not be a cohesive piece of work, instead just a compilation of different songs.

Xaphoon steps his game up with the beats, making them less simplistic not only by using different samples but by adding more intricate details.

The beauty in his old, simplistic sound was that the listener focused more on the lyrics, which were both intellectual and gritty, thanks to Chidera’s Nas-like flow.
Unfortunately, with this album, the lyrics and flow seemed less street and more celebratory, speaking less about struggle and more about success.

It is a natural progression, but let’s just hope that Chiddy Bang doesn’t forget the correct ratio of fruit loops to milk on their next album.

Tyga watches the throne from a distance with new album; ‘Careless World’ a good attempt at kingship, but the effort falls flat

MELISSA KRENEK
Entertainment Editor

No ear could escape the voracious and aggressive “rack city chick rack rack city chick” coming from mouths of teenage girls in the suburbs to gangsters on the street all the way to hipster writers of West Chelsea.

The radio version, lasting a little over two minutes, became the anthem of the year; don’t forget the infamous YouTube video of the dancing grandma to boot.
With all the hype that “Rack City” attained, many hip-hop fans wonder if Tyga can compete with his many successful label mates of YMCMB, including Drake and Lil Wayne.

“Careless World: Rise of the Last King” was released on Feb. 20, and with a title like that Tyga has a lot to prove. The question is, is he worthy of the crown?

It starts off with “Careless World,” a song that created controversy with its supposed unauthorized sampling of a Martin Luther King speech. Many of the albums released to stores were without the sample, which may have been for the best, since honestly the song doesn’t do it any justice.

The listener can tell that Tyga is trying to make a “rags to riches” story sound interesting; unfortunately, he misses the mark on that one.

It isn’t until track six that things begin to pick up. “I’m Gone,” featuring Big Sean, is less trying to be profound and more just having fun. It has a great sound to it, simple but reverberating, especially since the drum is paired with distant Drake cooing in the background.

Most listeners will find that the simplest of songs are the ones that hold the most meaning, a perfect example being Drake’s “Crew Love.” Tyga appears to be emulating this simplicity while Big Sean always brings the party feel. The song fades out before Sean appears, keeping the song refreshing and moody.

It’s followed by “For the Fame,” a virtually useless song that doesn’t add anything to the album. Sure, it features Chris Brown, but it certainly isn’t his best effort.

Track nine, entitled “Potty Mouth,” has a Wolf Gang feel to it, complete with the eerie piano and demonic voices.
Busta Rhymes busts into the song with his usual aggressive and speedy flow, adding an element of rawness to the track.

“Faded” comes up next, a song already blowing up Hot 97 and Power 105.1 during the weekend mixes. It features Lil Wayne and is a natural club banger.
The infamous “Rack City” is next, though the album version is much longer for no apparent reason.

The beat, again simple, is one of the best of 2011, and pairing it with a catchy chorus presumably speaking about strippers and Tyga’s egotistical rhymes makes the perfect club song.

“Black Crowns” brings the listener back to the serious and heartfelt. A song about struggle and defeating your enemies, “Black Crowns” hits a nerve, especially ending with a lengthy phone message from what could only be a proud mother.

He stays on this emotional kick with “Far Away,” a song about lost love that every type of music fan can appreciate. Featuring Chris Richardson’s smooth vocals, it is the perfect song to reminisce to.

“This is Like” features Robin Thicke’s signature angelic whispers on a beautiful ride through a town at night. “Kings and Queens” features two big names in the rap game, one from the past the other from the present. Both Nas and Wale do their thing on the track, almost making Tyga’s part seem obsolete.

Nas sneaks in with “You’re in the presence of a majestic, esoteric/Message from the most ghettoest king, worldwide respected.”
With a line like that, rappers like Tyga might want to second guess their profession.

He should have ended the album with “Love Game,” another genuine song dedicated to struggling love. It sounds strangely similar to Desree’s “I’m Kissing You,” featured in Baz Lurman’s “Romeo and Juliet.”

Listeners might be wary of the length, stretching to almost eight minutes, but don’t worry, Tyga packs a shocking surprise in the seemingly mellow song.
With two minutes left, the nostalgic “ooohhs” fade away and a powerful rush of dubstep kicks in, which would have served as a great note to end the album on.

Though it packed many strong punches, the overall album wasn’t anything worth jumping at. The length is definitely off putting; 21 tracks on an album nowadays is just wishful thinking, especially if you need three interlude songs to keep it moving. Though all the collaborations worked well, it seemed that whoever was featured on a particular song was the only reason the song was catchy.

Tyga does have strong qualities to him, but guest rappers are meant to complement the song, not dominate it. Since it is only his first full-length album, Tyga might still have the ability to shine, but as of right now, that crown definitely does not belong on his head.

Review: Singer/songwriter Sharon Van Etten carves out a place for herself with ‘Tramp,’ three years after debut album

ALEKS SAJAK
Contributor

Brooklyn-based singer/songwriter Sharon Van Etten has silently been dipping into the very center of independent music since 2009.

Her descent into the underground music scene began with the freedom of self-actualization and led to various collaborations with indie artists and ultimately the release of three poignant albums varying in symmetry of sound, but fundamentally floating along the same dark sea of confessional songwriting and performance.

After escaping the bedlam of an abusive relationship while at school in Tennessee, Van Etten sought refuge back home in the quiet of New Jersey suburbia. With support from her parents and encouragement from fellow musicians, she began to pursue music.

Her debut album, “Because I Was In Love,” absorbed a certain audience through fragile honesty and chilling vocals. The album was quiet but steady, the syllables of each lyrical line emphasized with double-tracked harmonies and acoustic rhythm – finger picked or lightly strummed.

In this album and in her home-recordings she sang shyly but spoke boldly, still trying to find her voice and use it loudly after so many years of keeping herself a secret. She followed this release a year later with “Epic,” a short and doleful work that struggled to stride with consistency, but still anchored its audience and showed a more courageous side of Van Etten in terms of performance.

Her sound developed over the years, in both composition and performance, as she taught herself to be okay through the therapeutic aspect of songwriting.
Now, in 2012 – two years after “Epic” – Sharon Van Etten sneers through a confident backstroke and calls it “Tramp” – whose official release date was Feb. 7 on Jagjaguwar Records.

Beginning with the trickling clatter of “Warsaw,” “Tramp” tells us to sit down and pay attention – and Van Etten is serious this time.

She no longer drifts along the dark coast of melodic consciousness or flounders in the uncertainty of musical composition, but rather plunges into the clouded depths of the incurable curse of human sorrow.

She follows with a more familiar-sounding track, “Give Out,” where she reflects on the past (“It’s not because I always hold on / it might be because I always hold out”) and breaks away to the present.

In an interview with Baeblemusic, she says, “This song is kind of about the struggles with moving to New York City and loving and hating it at the same time … tying it in with a love story.”

Other tracks on the album include “We Are Fine,” featuring Zach Condon of Beirut, calming us all down from the stresses and panics of life, saying, “It’s okay to feel/ everything is real” and with the repeated mantra of “I’m all right”; and “Ask,” where Van Etten admits that sometimes it just “hurts too much to laugh,” still reflecting on the past.

“Tramp” does not stray from self-reflection and love stories. It dives into murky waters, focusing on autobiographical situations and emotions such as mistrust and anger, despair and detachment, and trying to get over each of those … somehow.

The album features artists such as Julianna Barwick, Wye Oak’s Jenn Wasner and Condon, among many others. They stand behind her and next to her, addressing and filling the emptiness that surrounded many of the songs on her previous records.

“Tramp” still echoes the same downhearted message, but it does so with a different outlook and more creative control.

On Jan. 29, NPR’s online music capsule featured an exclusive first listen of “Tramp,” relieving fans of the anticipation that was created after her single, “Serpents,” was released in November 2011.

There has already been a lot of buzz around the album from satisfied fans. The album delivers the taunting waves of “Serpents,” as well as some calmer waters.

Van Etten may not have it all figured out yet after first floating out to sea in 2009, but by now she has an audience, a message and a newfound voice to sing it in.

Jane’s Addiction returns to the music scene with a new sound

STEVEN MACRI
Staff Writer

The boys from Jane’s Addiction have returned with a new album called “The Great Escape Artist” that hit stores on Tuesday, Oct. 18.

After forming in 1985, the band saw their popularity take off with hit songs like “Jane Says” and “Stop!” The band continued to rule the late eighties and nineties, when alternative music became the newest popular music of the people.

Jane’s Addiction’s last album, called “Strays,” was released in 2003. Included on the record was the popular theme song from the HBO show “Entourage” called “Superhero.”

Jane’s Addiction has not been heard from since this 2003 release, until now.

The lead singer, Perry Farrell, has been in the band since its inception. Another founder of the band is Dave Navarro, who returns to play guitar.
The original drummer Stephen Perkins returns to add his rhythms.

The only change to the lineup is at bass, which was filled by Dave Sitek.

While Sitek’s talents were utilized in the recording process, the band is not sure if he will tour with them to promote the album.

Fans will be delighted to know that this new release is well worth the eight-year wait.

It may not have the crazy guitar licks from Navarro or the fast-paced vocals of Farrell, but their new process is just as catchy. Their sound has become more mainstream, something that either makes or breaks a band.

Farrell has much more matured and refined vocals, which gives the album a much more controlled and serious feel. The vocals and lyrics have more meaning behind them as each song has a story behind it. Navarro’s guitar has a more modernized sound to it and holds more passion than the crazy riff’s he played in the beginning of the band’s career.

Sitek’s bass is heard throughout this album and has great rhythm to it. Perkins tops off the sound with some of his greatest work yet.

The album begins with the song “Underground,” and Jane’s Addiction fans will love this song.

The song has an early Jane’s Addiction sound to it as Farrell’s vocals sound like his young self and the guitar riffs come in hard.

In the third song titled “Curiosity Kills,” Sitek comes in with a great bass. This song is where fans will first witness the maturing sound of the band. It’s pieced together with great riffs from Navarro’s guitar and a new type of vocals from Farrell.

Navarro is showing that he is staying away his crazy guitar play in the song “I’ll Hit You Back,” his riffs in this song were impressive as they work smoothly together. Perkins brings great drum beats that causes him to stand out as well on this particular song.

Song six is called “Twisted Tales.” The vocals stand out as they tell a story to the audience and have meaning behind them. The guitar has a deep and passionate sound to it and the audience will have to decide whether they like it or not.

“Splash a Little Water on It,” is a slow-paced song with a psychedelic sound to it and a deep jazz bass in the background. The guitar has a different feel because of its slow pacing, but fans will still like it.

The song “Irresistible Force” is the one that people will hear a lot of from this album. It will be a fan favorite because it is a powerful song utilizing all the instruments in tune with the lyrics.

Jane’s Addiction released “Irresistible Force” in August and made a music video in hopes to advertise the album. This song shows that Jane’s Addiction can still rock hard, but also that they have also matured on their latest release.

Jane’s Addiction has been promoting their album a lot lately as they were recently on “Jimmy Kimmel Live,” and have set up a few shows, although it has been said that they are not doing their album tour until the summer of 2012.

Old fans are in for a treat as they will hear a new sound on this album, one that truly shows Jane’s Addiction’s talents. They were able to make an album that welcomes new fans with a mainstream sound.

Make sure to pick up a copy of the album to listen to the face melting guitar riffs of Navarro.

Check out one of the business’ more successful alternative rock bands as they bring a new sound and show more of the depth of their talents.

Review: Evanscence post-hiatus album

LUCILA SPARKES
Advertising Manager

After a five-year hiatus, few expected the band Evanescence to create another CD.

However, after a performance in Brazil last year, front woman Amy Lee realized she missed making music with her band mates.
The release of their self-titled, third studio album on Oct. 11 reflects this yearlong effort.

With the release of “Evanescence,” there is the standard 12 song album available for purchase, as well as the deluxe version, which includes four bonus tracks.
Both CDs are produced by Wind-up Records.

To begin their album they chose the song that was released as their first single from the album, “What You Want.”

This song does exactly what a single should do – preview different elements the listeners can expect from the CD all in one song.

“What You Want” reminds listeners that, unlike most bands today, Evanescence does not use auto tune in replacement of actual singing.
Lee shows off her vocal range, being able to easily switch octaves within seconds.

In addition, she combines harmonies to various sections to add more musical depth to the song, as well as incorporating her band mates’ vocals.
The album in its entirety remains faithful to the band’s old style.

Behind Lee’s powerhouse voice is the soaring complicated riffs of the piano that appear in many of the songs just before the climax of Lee’s vocals.

Besides a short segmented feature of the piano, many songs, such as “Erase This,” include a segment of the song that highlights Lee’s superb piano skills.

However, what gives the band its rocker quality is the sounds of the guitars. Many of the songs begin with the strums of electric guitar.

Even though the two guitarists are different than the original band mates that started Evanescence, they have managed to capture the style that is often associated with them.

In some songs, like “Oceans,” the guitars act as transitions between verses. In other songs, such as “The Other Side,” the guitars act as a driving force for the tempo of the song.

Another element of music that listeners can expect is the pounding force of the drum set.

Many of the songs from the new album have a driving, rhythmic force that can be attributed to Will Hunt, who plays drums on the album.

In the bonus track “Disappear,” the drums help make the song more and more intense, as well as serve as an aid to move the lyrics along.

As the lyrics book states, the band helps write all the songs, with particular attention to lyrics attributed to Lee.

“End of the Dream” shows the powerful lyrics that she manages to pen: “As much as it hurts, ain’t it wonderful to feel? / So go on and break your wings / Follow your heart till it bleeds / as we run towards the end of the dream.”

Overall, the album is a success. A number one album on the Billboard 200 chart for their first week of profits is not a bad start.