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About Eugene weekly. (Eugene, Oregon) 1993-current | View Entire Issue (May 6, 2004)
CD REVIEWS BY LOCAL WRITERS Modest Mouse, Good News for People Who Love Bad News , EPIC RECORDS 2004 . By Amy McCullough Good News for People Who Love Bad News, the latest from Northwest natives Modest Mouse, may throw fans for a loop. While the opening track, “The World at Large,” eases listeners in with a feeling of familiarity, it comes only after a jolting horn blast and singer Isaac Brock’s menac- ing laugh, hinting that he knows something you don’t. The anthemic, “Float On,” reinforces that idea by delivering exactly what you don’t expect from Modest Mouse, the surprisingly positive idea that everything just might turn out alright. The heavy keyboards and new-wavy feel of the irre- sistibly catchy, “The View,” delivers a sound remi- niscent of the Clash and Talking Heads, which may coax skeptics into liking what they hear. Sleeper hits later in the album such as the melodic, piano speckled, “Blame it on the Tetons,” blasphemous “Devils Workday,” and lyrically clever “Black Cadillacs,” will keep listeners interested even after a disturbing, horn-rattled peek into Brock’s neuroses. The knowing chuckle (again) at the onset of “Bukowski,” however, makes you wonder just how much fun he’s having messing with our heads. Too interesting to ignore, Good News deserves a listen, and the last laugh. Gavin DeGraw, Chariot , J RECORDS 2003 . By Scott Lansing Released in June of 2003, Gavin DeGraw’s soul-filled debut album, Chariot, con- veys the poetic wisdom of a village elder. With a voice exuding charisma that makes you drop everything and focus your complete attention on your stereo, 26-year-old DeGraw has everything it takes to succeed in today’s music scene. The self-pro- claiming lyrics of “I Don’t Want to Be” unleash a refreshing punch in the face, telling you to wake up and smell your own independ- ence. DeGraw’s passionate interpretations of love and life are well-executed through his piano playing and guitar strumming. His raw, emotive lyrics top everything off. The release of Chariot is one of the best things to hap- pen to music within the last year and the future of Gavin DeGraw looks luminescent. A true bard is among us. DANCE INTO DIVERSITY 5th Annual Eugene Dance Festival A Weekend of Dance, Music, and Theatre for EVERYbody SATURDAY, MAY 15 SUNDAY, MAY 16 11:30-1:30 1:45-3:15 11:00-12:30 SloFlowYoga Dance 12:45-2:15 High Voltage Hip Hop 2:30-4:00 Breakdancing 4:15-5:15 African Dance for Body & Spirit 3:30-5:00 6:30-8:00 8:15 DanceAbility “Playmaking Whoop De Doo” Theatre Argentine Tango from the Inside Out Guerilla Salsa CALIENTE DANCE PARTY Class fees - $5-12 sliding scale Weekend Passes - $25-50 Caliente & friends - $8-12, $4 with class ticket May 15-16, 2004 WOW Hall (CCPA) 8th & Lincoln • Eugene Tickets available at the door. Scholarships: 541.342.3273 live jaz g z htly! ni May Fridays & Saturdays—9:00 Only $5 Cover May 1: May 7: May 8: May 14: May 15: May 21: May 22: May 28: May 29: J.C. Rico Gus Russell w/ Mike Anderson The Side Project Marc Siegal le Bop Hot Liesel Alkire Olem Alves Funk Band Jeff LaPalme Quartet Coastal Steamer Tim Clarke Quartet Sundays 2, 9, 16, 23, 30 – 9:00 pm Mark Alan ($3 cover) Monday-Thursday No Cover Mondays 3, 10, 17, 24, 31 – 9:00 pm Funky Monday Open Mic from 7-8:30 pm (All Musicians Invited) Call to sign up @ 5:30 pm Tuesdays 4, 11, 18, 25 – 8:30 pm Barbara Dzuro Jazz Piano Wednesdays 5, 12, 19, 26 – 9:00 pm TBA 5/5 Richard Crandel 5/12 Olem Alves Duo 5/19 Kristen Chandler Duo 5/26 Thursdays 6, 13, 20, 27 – 9:00 pm The Jo Fed’s Jazz Jam Session Sponsored by Joint Forces Dance Co., Oregon Communty Foundation, Community Center for the Performing Arts, and Lane Arts Council with support from City of Eugene Cultural Services Division . 259 E. 5th Ave. • 343-8488 jofeds.com All classes open to people with or without disabilities. 20 Years Serving Our Patrons DJ Layla, Eastern Eyes , 2004. By Jon Young A Eugene electronic DJ working her ethnic-infused Techno since December of 2000, DJ Layla’s Eastern Eyes fuses technologically enhanced beats and samples with tribal drums and a throbbing bass to move you like the spirit of the gods ... Layered with and entwined by Middle Eastern and Indian songs, chants, and instruments, the sound is spiritual, exotic and reaches far to create a soundscape fully capable of moving bodies on any dance floor. An aural journey, the electronic, ethnic blend of Eastern Eyes spans cultures and technological advancements, displaying electronic music’s infinite layers, borderless free- dom and progressive maturity. This is “ethno-techno” for the spiritually inclined, open-minded listener. With such artists as DJ Cheb I Sabbah and song titles such as “Arabian Fever,” “Mother India,” and “Radhe Krishna,” Eastern Eyes pulsates with unique sonic flavors, adding some Eastern spice to your mind, body and soul. Neglect to experience DJ Layla’s delectable spread of fresh sounds served on Eastern Eyes, or during her local, live sets, and you may experience some bad karma ... N.E.R.D., Fly or Die , VIRGIN RECORDS 2004. By Katie Matthews N.E.R.D. (No One Ever Really Dies) is actually the production team of The Neptunes creating their own music. Blurring the lines between what’s con- sidered rock, hip hop and every other style of music, the duo strives to break from the hip hop mold that brought them their initial notoriety. Fly or Die utilizes brilliant produc- tion tricks that hip hop fans cling to, while maintaining the unique hodge- podge of genres introduced on their first album, In Search Of … . A bizarre lyricist, front man Pharell Williams will one moment sing of a love lost, and the next, of how “. . . her ass is a spaceship I want to ride.” With an aggressive beat and shameless lyrics, “Thrasher” easily earns the album’s catchiest song award. Taking second is “She Wants to Move,” the anthem of inhibited girlfriends, and also N.E.R.D.’s first single. If the only thing you’ve heard about N.E.R.D. is how they produced a Nelly tune called, “Hot in Herre,” then don’t buy this album. However, if you’re able to appreciate a surprising mixture of sounds and styles, then by all means familiarize yourself with N.E.R.D. and their underrated work. MAY 6, 2004 31
