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...something of a reaction to that success. “Before destruction a man’s heart is haughty,” Daniel, quoting Proverbs, begins the album. With his penchant for writing rock music about rock music, the intention to step back a bit seems clear. And throughout “Transference,” the elements that made its predecessor an instant classic—horns, conventional pop structure, songs with more that two chords—are thrown out in favor of a deliberately unpolished sound recalling the band’s lesser-known 90s work...
...Love Forever?,” returning a second later to ask the titular question in a flood of echoes. “Trouble Comes Running” interweaves two tracks that overlap haphazardly at times. Background hums that materialize and suddenly disappear are scattered throughout the record. Though jarring at first, the unusual mixing decision becomes an essential element of “Transference,” where vocal fragments complement lyrical subject matter within confident, upbeat instrumental performance...
These numbers are not trivial. Therapy has a real, beneficial effect. Harvard knows this and is trying to make us aware of it with numerous mental health days and free dining hall-based depression screenings throughout the year. But in our world, where the person sitting next to us in Lamont is just as stressed as we are, the idea of seeking help can appear as sign of weakness to our peers, a sign that we just “can’t hack it.” Many students who are suffering in silence do so because they?...
...memory, but his ability to evoke such complex emotion—he never forgets his performance in the mass of complicated text he must deliver. Even when his personality flashes from Nick to office worker, his seemingly inconsequential gestures are nuanced and deliberate. Shepherd looks continuously at a clock throughout the play, a tic that reveals its portentous significance when Nick recounts the timeline of Gatsby’s death. Shepherd’s skillful handling of his role is an accomplishment that dwarfs the rest of the company by comparison...
...attention is focused primarily on the text and performers, these are frequently undermined by the seemingly constant soundscape of city traffic and chirping birds—an obvious attempt at technical verisimilitude. Even the onstage presence of sound designer and operator Ben Williams, who also plays several small roles throughout the production, is less distracting than the unnecessary and incongruous noise with which the performers must compete. The sound design is thankfully more subdued and sparingly used—to greater effect—in the stronger second half of the production...