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Like Deschanel’s songwriting, Ward’s arrangements could have pushed themselves much further. The mixture of influences??doo-wop, Motown, old-school country music—makes the album feel fairly fresh, but it also inhibits it. Ward does not appear comfortable with any musical innovations, instead relying on decades-old standbys like harmonizing girlish voices and handclaps on “Home...

Author: By Candace I. Munroe, CRIMSON STAFF WRITER | Title: She & Him | 3/23/2010 | See Source »

...backdrop serves to credit Barnett’s voice. His already rough sound seems even lazy, yet effective, as he murmurs and croaks into the microphone. Losing the operatic immensity but retaining many of its stylistic elements, this track achieves a hedonistic unity between the dubstep beats and classical influences??a unity that is missing on other tracks...

Author: By Sarah L. Hopkinson, CONTRIBUTING WRITER | Title: These New Puritans | 3/2/2010 | See Source »

...album’s lack of depth: “She said, ‘time is irrelevant, it’s not linear’ / Then she put her tongue in my ear.” Attempts at musical experimentation—electronics, techno sampling, and global influences??have yielded U2’s best (“Achtung Baby”) and worst (“Zooropa”) efforts, and the results here are middling. Their only “experimental” album that can be called an unequivocal success was 1991?...

Author: By Jessica R. Henderson, CRIMSON STAFF WRITER | Title: U2 | 3/5/2009 | See Source »

...album like “Dirty Mind,” to obsess over “1999,” to worship “Purple Rain.” However, you can blame The-Dream for not looking beyond Prince—and a handful of other influences??on his lifeless debut, “Love Hate.” The purple presence becomes clear after a glance at the song titles. “Nikki,” “Fast Car,” “Purple Kisses?...

Author: By Jake G. Cohen, CRIMSON STAFF WRITER | Title: The-Dream | 12/14/2007 | See Source »

...essay whose primary focus is not “the case for literature” but rather the interaction between language and literature.Gao admits to being heavily influenced by Western literary giants Nietzsche, Beckett, and Barthes, but he rejects all three as “primary influences?? because their use of language was “pure.” None of these authors pushed the grammatical and syntactic boundaries of the languages in which they wrote. Authors, in Gao’s view, should not be limited by the conventions of their language, but rather should...

Author: By Anjali Motgi, CONTRIBUTING WRITER | Title: Nobel Laureate Gao Makes an Unconvincing ‘Case’ | 3/15/2007 | See Source »

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