Image provided by: University of Oregon Libraries; Eugene, OR
About Oregon daily emerald. (Eugene, Or.) 1920-2012 | View Entire Issue (May 25, 2000)
Courtesy otGetten Records NYC Ghosts & Howei Sonic Youth. Gotten Records By Rory Carroll Oregon Daily Emerald When Sonic Youth’s equip ment was stolen along with then tour van outside a downtown Los Angeles club last summer, they had to rebuild. This is a band that is just as tied to the tone of their notes as to the actual notes themselves. And, giv en their remarkably long and pro lific career, they are tied to their instruments to achieve their unique brand of sprawling, high voltage rock. With their equip ment gone, it was as if someone cut their anchor. Anyone who has heard SY, even just once, can usu mains unmistakably Sonic Youth. But what becomes of a group of aging musical experimentalists? Some would predict that time makes one more conservative, more polished, refined and exact. In short — dull. Others would say that true artists continue to spread their wings even if they have peaked in one area. But when you’re talking about experimental art, it means the norms have been thrown out the window, render ing criticism a precarious act. You can’t compare it with a standard because it wasn’t created with a standard in mind. That leaves their former work as the only available device for comparison. So where is Sonic Youth in all this, you ask. Exactly where they left off with 1998’s “A Thousand Leaves,” pushing their attitudes jamming. The lyrics are even print ed in the jacket, truly a rare thing coming from a band that almost never prints its words. There is also an unprecedented directness about this record, be ginning with its title, “nyc ghosts & flowers,” which, like 1994’s “Experimental Jet Set, Trash and No Star,” could be a cryptic de scription of the band itself. First, it has been the voice of New York City's liipper-than-thou under ground since Lou Reed gave the job up in the late 70s. The band took over with its formation in 1981. Also, the members’ com bined voices have always had a haunting, ghostly vocal reverb that punctuates meditative lyrics. And their tunes have always been, Turn to Sonic Youth, page 6B tPccpntial talprtinn* nffprc tactv mix of tun pc ■■ J J\n ■ ■ % 1 %M■ «#VI WlilWII Vl «P m W llllll CJr ■ lillllV# mixed by: f atboy slim S. Paul oak enfold a CO SET ( \ 1 '; r\ Courtesy of Sire Records vol. one ■ An new collection of DJ club tunes offers an accessible smorgasbord for dance music fans i X MUSIC Essential Selection Vol. 1 Various Artists. Sire Records ★★★★☆ By Mason West Oregon Daily Emerald For music aficionados, compi lation CDs are like a Vegas buffet: you can get lots of different stuff, and it’s all good. But the “essen tial selection vol. one” takes a dif ferent approach to compilation CDs. Instead of having a montage of different performers, it devotes an entire CD to a DJ to remix pop ular songs of their choice. This two-CD album is mixed by two of the biggest name DJs in the world today, Fatboy Slim and Paul Oakenfold. Each DJ has their own disk with over 70 minutes of music. The CDs’ tracks are mixed together to create a continuous flow of music simulating a live performance by the DJs, making it the perfect CD set for a long road trip. Fatboy Slim, a.k.a. Norman Cook, has made a name for him self as a DJ in the pop music scene. His songs “Rockafeller Skank” and “Praise You” were heard all over television and radio last year. His sound is easily dis tinguishable from most other DJs and can be labeled almost comic. His songs are very upbeat and make you want to get up and jump around. Just by listening to his music, you can tell that he is loving his job. However, his lighthearted mu sic doesn’t take away from his professionalism. Fatboy Slim has been intensely involved in the world of music since the mid ‘80s. He has undergone many mu tations since that time but always seems to end up on top. Oakenfold is another survivor in a constantly changing industry. While his name may not be as well known in the world of pop music, it is assigned almost god like status among electronica fans. He's so cool that in the mil lennium edition of the Guinness Book of Records he was given the title of “the biggest DJ in the world.” Oakenfold’s mix is more trance based than Fatboy Slim’s, but it also brings in some house and other beat styles. However, Oak enfold is always so close to the edge of music trends, one should be careful defining just what it is he’s doing. It might be something you have never heard of before. Aside from being a great DJ, Oakenfold is a very successful producer and has been responsi ble for bringing many great artists into the public eye. As a matter of fact, he helped launch the career of Mr. Will Smith himself back in the ‘80s. Betcha didn’t know that. In a market where there are so many DJs with albums available, a consumer must be choosy if they are going to get good music. Luckily there are artists such as Turn to Dance, page 7B Avant’s album steeped in ‘Thoughts’ of love Courtesy of MCA Records ■ The rapper offers songs about love, lust and everything in between My Thoughts Avant. MCA Records By Jessica Blanchard Oregon Daily Emerald If his lyrics are even the slight est bit autobiographical, R&B singer Avant needs a shoulder to cry on, a good dating service to get the hook-up, and someone to tell him that women no longer are solely responsible for running a household. That said, let me add that he will definitely not need help sell ing copies of “My Thoughts," his debut album on Magic Johnson’s new label with MCA Records, once these tracks move into the regular rotation at radio stations. On “My Thoughts," Avant tack les the ever-complex subject of love and lovers — finding them (My First Love), winning them over (Reaction), dealing with jeal ous lovers (Serious), leaving them and whining about it (Separated), losing them (Get Away), and deal ing with being heartbroken (This Time). Avant’s voice sounds a little like fellow R&B artist Ginuwine — they both have similar voices and rhymes, and use the same slow, mellow tempos. Avant lays down 12 tracks on this album, which is a must for anyone who loves R&B — trust me, these slow jams are so mellow that you won’t really care what Avant’s singing about, just how soon you can use his tracks for background music for a serious make-out session. He has major-hit potential with his track “Reaction,” a pop/rap flavored tune with the requisites: naughty sex references, a catchy beat, and two guest raps (both of which almost steal his thunder). This was my personal favorite track, one I still can’t seem to stop playing. Even though I know the beat was borrowed from some where (it sounds an awful lot like one Brandy used for her hit single “Sittin’ On Top Of The World” a few years ago), I still like the fla vor of the song. His track “Happy” has a differ ent tone, but with all the same at titude. The musbv Juries say things like:TT wffiyou to be hap py in love with me,” but Avant’s provocative delivery and the thumping chords in the back ground make it sound more like a cheap attempt to get a woman into bed. For balance, he has songs that speak about the downsides of los ing or falling out of love, with tracks such as “Separated” and “Get Away.” “If I never see you again I won’t be mad at all/ because I believe that you’re my downfall,” he sings in “Separated,” in which he plays the wronged lover well, wa vering between being bitter and wistful over a separation with a girlfriend. In “Get Away,” a great song to play to yourself when you’re pin ing after an ex, or need a good cry, Turn to Avant, page 7B
