Silversun Pickups' Swoon: I Want to Be Moved

by John McCurdy

Long have I searched for a term that encompasses all of my taste in music. For a while, I went with the ambiguous adjective “scary,” claiming that I need sound that “frightens me” with how strongly it makes me feel a certain emotion.

But I’ve got a much better description after listening to Silversun Pickups’ second full-length release, Swoon: As a listener, I want to be physically changed by my tunes.

Thank you, SSP, for helping me to crystallize my thoughts through your epic sophomore effort.

The indie rock group’s first offering, Carnavas, was certainly a favorite of mine and shook me to the core with the excellent “Lazy Eye” and “Future Foe Scenarios.” Still, there were some lulls on that record (“Dream at Tempo 119,” anybody?).

Swoon stands out with its consistently moving tracks. Overall, it has more drive than its predecessor, though it finds time to slow down and get mellow when it needs to.

I’ll admit I’m a total sucker for “The Royal We,” a song in which lead singer/guitarist Brian Aubert lets loose a screamy and sarcastic performance. But with a few run-throughs, I have also come to enjoy immensely the slower, calmer, more reflective “Catch & Release.”

This album is just like that – it’s varied, yet at the same time, more consistently visceral than the band’s earlier work. No, “Substitution” doesn’t pop out, but most everything else does.

To toss out some general terms, this is progressive and driving rock. More to the point, though, would be to say this is human. Nikki Monninger’s basslines seem to emanate right from the base of my skull, while Chris Guanlao’s beats set my extremities into perpetual motion.

This group is artsy yet unpretentious, deep yet accessible, and heartfelt yet not bleeding heart. SSP struck a chord with metal, emo, and alternative fans alike with Carnavas and refine their balance even more with Swoon.

You’ve probably heard the Smashing Pumpkins comparisons ad nauseam at this point, but I’ll just mention that they certainly are appropriate. Of course, when I first heard Aubert, the first thing I thought of wasn’t that he sounded like Billy Corgan.

No, first I was asking myself, “Is that a boy or a girl?”

But next, and more importantly, “How do you get so much beautiful pain into a song?”

Druid City

By Casey Childers

In the intimate, cozy setting of the Flicker Theatre and Bar on Thursday night, Druid City played to a packed house of 17. Understanding the acoustics were probably not the best, with the brick walls, sheets covering the unused speakers beside the stage, the red lights illuminating the stage and a curtain separating the stage and bar area, I didn’t except much. I expected no more quality than if I were attending a party in a basement with a keg and a friend of a friend just happened to bring a guitar to play for everyone.

However, on the first song, I was blown away by the quality of the musicianship of Druid City. Larry Tucker is on tenor sax, Aaron Wegelin on drums, and Julien Derocher singing while playing the guitar and harmonica made for a raw, reminiscent sound of 70s rock.

Derocher’s vocals were smooth and melodic contrasting dark against the light of an almost full marching band and orchestra behind him. But, there was one problem with Derocher’s performance: I couldn’t hear a word he was saying. He seemed so encapsulated in the moment, closing his eyes with each verse, pouring his heart out on stage.

Derocher’s voice is evocative of a muffled Bob Dylan overshadowed by his band. The fans, which seemed more like friends and family, really loved the show, with nodding heads and shouting requests. I felt like an outsider, as everyone in the room seemed to know what he was saying except me.

The overall feel of the sound evokes musical images of the smoothness of Allman Brothers Band, the guitar and piano breakdowns of Lynyrd Skynyrd with the soul of Van Morrison. The Druid City sound is authentic, not cover band material, with blues, R & B, folk influences blending without being obvious.

Songs changed style, with one song having a salsa beat with a strong drum and clapping beat with Derocher changing up his voice to a staccato feel. His voice matching the instrumentation reminded me of how Kanye West’s voice matched the trumpets in “Touch the Sky.” I can’t speak for the lyrics, but the multifaceted musicians in this band pulled it off, making the audience get up from the cheap wooden chairs and second-hand sheet-covered couches to dance. Druid City’s stage presence is approachable and likable. They spoke directly to the audience and seemed to really love entertaining.

Druid City is named for the hospital Derocher was born at, Druid City Hospital in Tuscaloosa, Ala. Druid City is a new band to the scene, with only four shows prior to Thursday’s show. There is little information available about Druid City or any of the musicians in the band.

Derocher is no newbie to the music scene though, with writings and recordings spanning over a decade. Derocher has a quiet, mysterious air to him. This may be because I couldn’t understand what he was saying, but I’m willing to give this band a second chance, as they have a show in March coming up. Even without hearing what Derocher had to say, it seemed he owned the stage.

U2: "No Line on the Horizon"

By Nathan Powell

U2 released its 12th album on Tuesday called "No Line on the Horizon."

The release comes five years after their last album, "How to Dismantle an Atomic Bomb," and 33 years after the band originally formed. Though it may come as a shock, U2 has reinvented itself yet again in "No Line."

Don't get too excited. U2 still sounds like U2; Bono still sounds like Bono. The group's most recent overhaul is more of a side-step than a jump. But there are a few surprises that make this new album quite a bit different from the band's previous work and keep things interesting - if not astonishing.

U2's Web site says the members spent some time in Morocco writing and performing, gathering musical influences to incorporate into the 11 tracks on "No Line."

From the album's sound, it would seem Moroccan music experiments with multiple rhythms, changes of key and various instruments. Every song incorporates each of these departures from U2's previous incarnations.

The track listing pattern on the album evolves from simpler rhythms to upbeat anthems to softer, more emotional hymn-style songs by tracks 10 and 11.

Bono said on the band's Web site this pattern is intentional. The song order is meant to reflect a pilgrimage.

Sound changes pervade every song on the album. In "Unknown Caller," Bono raps, which he does often on "No Line," and then a Queen-style chorus pipes up.

Unlike some other tracks, "Stand Up Comedy" sounds completely unique. In the song, Bono raps (again) "come on you people! Stand up for your love!" The line is followed closely by an intense, Jimmy Page-inspired guitar riff overlaid with echoing vocals that halfheartedly imitate Led Zeppelin's "Dazed and Confused."

"Breathe," the album's 10th track, features an electric guitar competing with a strong keyboard - and winning. But relentless to the end, the keyboard keeps frantically popping up, sounding ridiculously out of place.

U2's 12th album does depart from the group recent rocker style, but it is not shameful to the band's legendary reputation, either. The sound is still distinctly U2. The group simply incorporated a little Moroccan style to mix things up. The album is definitely worth a listen, but not a buy.