Word: songfulness
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...Campesinos! really like exclamation marks. Not only do they have one in their name, but all seven band members have one at the end of their adopted monikers—plus they have a song title featuring no fewer than three of them (“You! Me! Dancing!”). Bearing this in mind, it’s not surprising that every moment of the Welsh band’s debut album, “Hold on Now, Youngster,” feels like it’s punctuated with extra emphasis. The band has been building...
...departure from R.E.M. to become a farmer. But Mills is R.E.M.’s quiet hero. His killer basslines made “Murmur” a masterpiece; his high-pitched vocal harmonies—the perfect counterpart to Stipe’s low mumble—propelled songs like “It’s the End of the World as We Know It” to holy levels of catchiness (that song wouldn’t be half as good without the “time I had some time alone” backing refrain).After...
...person or a symbol or a figment of Ian’s imagination or maybe even all three wrapped up into one. RR: Whoa, was that a description of the character or were you just having an identity crisis?DRP: Well, after this play...yeah...Oh, I have a song about my character. It goes, “I’m in a play / where I rape a man / and I eat his eyes / and I shoot myself.” I’m still working on it.RR: What do the eyes taste like?DRP: They?...
Laura M. Togut ’08 definitely has chutzpah. “A Little Night Yiddish,” written and directed by Togut, features traditional Jewish songs in their original Yiddish book-ended by scripted English sequences that she authored. This work has been the culmination of Togut’s Yiddish studies at Harvard as well as her passion for Jewish culture. “I feel like I am going out with a bang,” she says.Togut began studying Yiddish her freshman year in part to satisfy Harvard’s language requirement...
...probably the most effective example of the band’s collaboration with Danger Mouse, alternately crunches and swoons, with ethereal wails and flourishes interspersed between Auerbach’s explosive riffs and throaty bellow. “Lies” may be the most maturely-constructed song on the album; a dramatic, tumbling mood-piece, it feeds on the catharsis of Auerbach’s howling refrain, with Danger Mouse’s production giving the song space to swell, breathe, resolve, and disappear. Even so, the album’s conclusion, “Things Ain?...