moonty

An Alright Start

2006-10-19T00:36:00.000-06:00

t doesn't matter how many times I've heard Agaetis Byrjun, really -- though it's undoubtedly many times, the effect it has on me as a listener has remained largely the same. I first heard it in 2001, if I'm not terribly mistaken (or, perhaps, 2002, even,) after downloading it from a friend on what was my musical haven at the time, Direct Connect (though the specific hub escapes me, but I would imagine that it was likely the Saddle Creek Web Board hub, or somewhere members frequented, at least.)

Being in the 10th or 11th grade in high school at the time, I was into a variety of music that I don't touch now -- third-wave ska and early punk springs to mind most immediately -- and was only just encountering music that I felt I really connected with at the time. Sigur Ros, the acclaimed Icelandic post-rock outfit, was a name I kept reading -- the hype was intense, and certainly growing. Something was different from the usual hype, though, which, of course, shifted at the time in a variety of directions, as is often the case.

The focus on Radiohead and Wilco, while both undoubtedly quality bands, presented nothing terribly ground-breaking. While Amnesiac was recognized heavily (an album I didn't enjoy as much as most did, it seemed at the time) and the then-unreleased (in any official form, at least) Yankee Hotel Foxtrot was garnering all sorts of acclaim and building an unstoppable momentum (and with good reason, it's an album that hasn't left my playlist yet, and is vastly superior, in my mind, to Wilco's following album, A Ghost is Born.)

Sigur Ros, though, was different. Spacey, dreamy, and ultimately full of a certain mystique, their music captured something beautiful that I hadn't really heard before. As my first real exposure to the world of post-rock, Agaetis Byrjun was eye-opening. Being into relatively standard forms of music at the time, it presented something relatively alien to me at the time (no pun regarding the album cover, honestly) -- an intense focus on sonic texture and the soundscape presented by the music.

That time of my life was an unusual one, as I'm sure most can find reasonable, considering the awkwardness of being the age of 15. I gave little to no regard to what music was representing or portraying a large lot of the time, perhaps due to my own concious faults or the hormonal peaks experienced by the typical teenage male; Sigur Ros was a welcome change to that pattern. Agaetis Byrjun presented a challenge against my musical tastes and against the very nature of my perception of music. I never really considered that music could be so delicate and beautiful while remaining detached from the form of the music preceding it.

Sigur Ros, along with a handful of other bands, have made an indelible influence on my listening habits, and, I might imagine, my perception of reality. At any rate, it's four or five years later, and I'm still listening to Agaetis Byrjun, and every time I hear "Svefn-g-Englar," I can't help but be amazed.

The Death of Neutral Space

2006-07-02T09:30:00.000-06:00

It's not unusual, in times like these, to see public transporation -- you know, the bus you could take to work (but don't, it's much easier just to drive), the subway train you're afraid to go on -- plastered with images of celebrities enjoying Your Favorite Cola Beverage (TM), the unnatural look of satisfaction on their face as plastered on as the printed advertising on which they reside. Given the non-recession of the medium, it appears the advertising campaigns are, in fact, successful -- but at what cost?

Yes, advertising can help offset the costs of introducing several new buses into a city-wide bus system, or even help with start-up costs; that much cannot be disputed. Public transportation is an important part of metropolitan areas; with our ineffecient gasoline-powered cars, pollution is at an all-time high -- and public transportation is one way we can hope to at least slow its growth.

But as beneficial as public transportation may be, is it really mentally healthy to plaster advertising on it? I would argue otherwise; there's something instrinsically stressful about being constantly hammered with directives ("Buy this product!" or "See this film!") -- and what's more valuable than our mental health?

The Flaming Lips - At War With the Mystics

2006-04-05T19:58:00.000-06:00

The Flaming Lips

At War With the Mystics

Warner Bros., 2006

Widely revered three-piece The Flaming Lips brings At War With the Mystics to the table nearly four years after the release of the critically acclaimed Yoshimi Battles the Pink Robots, expounding on the psychedelia-tinged textures that have helped to define the group's on 1999's The Soft Bulletin and 2001's Yoshimi. While retaining some very obvious similarities with its predecessors, At War With the Mystics manages to sound fresh in most of the important ways.

The album's opening track, "The Yeah Yeah Yeah Song" really highlights some of the album's key points -- At War With the Mystics is densely packed with fuzzy textures and, quite successfully, feels noisy and cluttered; it must be noted that such is not necessarily a negative attribute, especially in this case. Sometimes At War With the Mystics seems like it's brimming with textures and harmonies, and, indeed, that seems to have been the goal of The Flaming Lips, for part of the album, at least. Luckily for listeners, At War With the Mystics isn't wholely noise-ridden; it allows for mild breaks of sound, successfully avoiding the trappings that lead to an overwhelming sound.

Of course, At War With the Mystics is no perfect album, nor is it close -- not that it pretends to be. One notable instance of a faltering is "Free Radicals," which, despite its best efforts, never manages to really mesh with either itself or the album as a whole. In fact, several of the tracks feel disconnected and almost forced, surprisingly.

However, The Flaming Lips manage a number of outstanding tracks across At War With the Mystics -- "Mr. Ambulance Driver," initially released in July, 2005 (albeit it was a different mix) for the film Wedding Crashers, is a serene experience, aided strongly by snippets of sound and the use of a siren as a thematic focal point in a prototypical 21st century Flaming Lips style. Also notable is "Goin' On," a piano-led piece that wraps up the album in an ultimately relaxed manner.

At War With the Mystics is certainly not the strongest album from The Flaming Lips in recent memory, but it is, without a doubt, an album of indisputable quality, and is likely to remain memorable for a time yet.

Matthew Montgomery

Thou Shalt Not Pirate

2006-04-05T19:56:00.000-06:00

The advert is rampant in theaters and on DVDs now -- "You wouldn't steal a car," it yells, pumping its fist into the proverbial advertising-filled air. Apparently, you wouldn't steal a handbag, television, or a DVD, either. This is fine, I can reason that stealing is a morally reprehensible action when the objects in question are not used to perform life-saving actions and the like. What's not fine is the line that follows the information on theft (just in case we didn't know what stealing was, I suppose): "DOWNLOADING PIRATED FILMS IS STEALING." Seems they forgot the exclamation point.

It's disturbing, really. The implication -- nay, the very bold, unambiguous statement -- that downloading is comparable to physical property theft is, in a couple of words, absolutely ludicrous. "STEALING IS AGAINST THE LAW," it ends. Gee, really, mister? Their logic here is, well, completely invalid. Their first four premises -- you should not steal cars, handbags, televisions, and DVDs -- provide no logical link to the conclusion, "DOWNLOADING PIRATED FILMS IS STEALING." Why? Why is downloading pirated films stealing?

Yes, downloading "pirated" films is illegal, but not because it is stealing in the traditional sense that they paint. In cases of theft, one party gains something, and another party loses something. It is a zero-sum situation -- the loss of one side is balanced by the gain of another side. In the advert, they commit, thusly, the zero-sum fallacy -- they are treating a non zero-sum situation as a zero-sum situation; they are quite wrong-headed, it seems. If you download a film, the amount of physical copies in the holds of others are kept unchanged by your actions. You have stolen nothing. This propaganda is, quite simply, presenting a logically invalid argument.

Not that I necessarily think that downloading films is a right action, but refraining from the action because a simple-minded commercial venture commands that you not is wholely illogical. Whether you refrain or not, have reason for doing so, please. And if you choose to support a foundering (and, indeed, floundering as a result) industry, go right ahead. Just don't do it because they told you to.

Shelf Life (1993)

2006-03-20T22:23:00.000-07:00

Shelf Life

1993, Paul Bartel

"And now I lay me down to eat
and pledge allegiance to the flag
for one nation is invisible
the body of our lord
safe and sound inside
Plaaaaaay ball!
Amen."

Paul Bartel's 1993 somewhat-post-apocalyptic film Shelf Life ranges from the touchingly tragic to the tragically hilarious in an ultimately bizarre show of a lack of socialization gone horribly wrong.

In the year 1963, three children and their parents, the St. Clouds, stow away in a bomb shelter after the assassination of then-President John F. Kennedy, fearing that arch-enemy of the United States, the Soviets, would send an invasion force to annex the States -- not a totally unusual fear of the time, but certainly an overtly absurd way of acting in a potentially adverse situation. The speed at which the parents seem to have acted is the cause of the situation that presents itself only a few minutes into the film.

Taking this almost-ordinary situation, Bartel illustrates some of the problems of the rampant media involvement in the rearing of children. When the parents of the three children die of what is implied to be food poisoning, they are left alone in the bomb shelter for many years -- thirty or so, to be safe. It is difficult to tell the ages of the "children" -- after all, they have been left to their own devices for years upon years, with only slight bits of television (though, perhaps the images are merely hallucinations) and children's music to aid their socialization.

What follows in the film is a bizarre series of the children's play-time -- from absurd song and dance routines (they've obviously been practiced time and time again, evidenced with the two girls singing as Egyptian slave women, in as perfect harmony as seems possible, and "Pharaoh Ken" (whose real name is Scotty) responding in a practiced manner) to playing "school" (which culminates in an overtly sexual -- though repressed as it may be -- play between Tina and "Troy" (Scotty, again) in which they almost delve into one another's secrets before being interrupted once again.)

With their excessively absurd actions, the St. Cloud children provide an interesting treatise on the nature of the media we've become accustomed to, and the effect it can have on developing youths, all the while providing a humorous, entertaining take on the familiar post-apocalyptic scenario.

What is Music?

2006-03-20T20:35:00.000-07:00

Few things in life are more ubiquitous than the institution of music; indeed, not only is music present in our natural surroundings (and no, I'm not speaking of radio waves constantly passing through our bodies, though, undoubtedly, it is the case,) but it is easily the most implemented and explored social form of entertainment.

Music as natural form is far too often dismissed -- not by great thinkers, but by the common folk -- which is not to say that they are necessarily wrong, but rather awfully closed-minded about things. And, of course, by "the common folk," I mean much more than the Marxian proletariat; indeed, quite easily the majority of socialized man does not recognize sounds other than that containing some elements of melody, rhythm, or harmony, and at times, even things containing some of those elements (see the oft repeated claims of "rap is not music" made by otherwise intelligent individuals).

One argument that could be made regarding music as a whole is that there are few, if any, defining features, other than sound. One account of music by musicologist Jean-Jacques Nattiez implies that, as there are no universal concepts of what music consists of, music has variable constructions, and perhaps need not be created by man.

Famous (or, depending on one's social circle, perhaps infamous) composer John Cage was in agreeance with such a notion -- he was well known for his "non-musical" music, in particular his piece 4'33", which is composed in three movements, each consisting of no more than a tacet -- in other words, Cage's piece was four minutes, thirty-three seconds long of little more than silence. Of course, there was no literal silence: when he performed the piece, Cage lifted the lid of a piano, sat at the bench, and closed the piano, and that was that. Undoubtedly, there was ambient noise in the concert hall the piece was performed in, and certainly such sounds would be heard, likely unintentionally by the creator of the sound, even during Cage's masterpiece (of sorts).

Who are we to merely pass over both natural and unnatural sounds as nonmusical? Perhaps by examining our surroundings more closely for elements of something we think we know -- music as one of the most primary examples at hand of something we claim to know so intimately -- we will not only stretch our perceptions of the thing we know as music, but enhance our very state of being. After all, where better to start than that which we think we know best?

Matthew Montgomery

This is Exploding - Until the Next Red Light

2006-02-28T17:29:00.000-07:00

This is Exploding

Until the Next Red Light

Self-released, 2004

Until the Next Red Light, Ohio's This is Exploding's first full-length release, is bursting at the seams with the energy often associated with artists and the work they lovingly pain over, and with good reason. From "Drive," the opening track, to "Mourning," This is Exploding adopts a near-furious (but not quite there) pace that provides a breath of freshness to their music, resulting in an invigorating album of guitar-rock songs.

While Until the Next Red Light is not without its share of guitar-centric tracks -- indeed, the guitar is the primary focus of the music here, a long-standing tradition of rock music that few bother to break the mould of, which is not to claim that all who don't break the mould to be inferior; clearly such is not the case -- this album is remarkably well-crafted. Far from abrasive, but certainly far from mellow and soothing, Until the Next Red Light is packed with quality songs.

Though these tracks are well-mixed, mastered, and produced, they do fall into a state of repetitive meandering, it seems. While this is not necessarily a negative attribute, it doesn't bode well for the album. Of course, it's not to say that all of the tracks sound the same -- far from it; Until the Next Red Light's tracks are distinguishable in their variation, yet a very similar sound remains throughout. The sound itself is more than fine, but after ten tracks and forty minutes of it, I'm not too heavily inclined to push that play button again, at least for a couple of days -- or so it would seem, until the last track, "Mourning," which ends the album with, arguably, its best track, saving the album from near-disaster.

Matthew Montgomery

Google: Do Nothing That Results in Negative Consequences

2006-02-13T15:58:00.000-07:00

Recently, Google announced their intentions to enter into business in China in a way that some have deemed degrading to human rights. By agreeing to block webpages in, essentially, a list given to them by the Chinese government, it seems they are actively attempting to support censorship by an oppressive government.

Of course, Google's stated code of conduct, "Don't Be Evil," has come into issue with Google's recent declaration. Some say that by supporting an oppressive government, Google is supporting degradation of human rights.

However, from a consequentialist perspective, Google's actions are not only following the spirit of their code of conduct, but, indeed, championing individual rights and the freedom of speech in a subtle manner.

What is not often considered is the fact that Google is informing Chinese citizens that search results have been removed from the page -- and for what reason they have been removed from the page. Such will undoubtedly stir curiosity among the Chinese people in ways that would not be explored had Google simply not entered into business with the Chinese government.

Though Google is, indeed, supporting the censorship of information presented Chinese citzens, it seems they are simultaneously working in a subtle manner such as to stir interest, and perhaps even revolution among the Chinese people.

The Useful Qualities of Genre Placement

2006-02-08T17:03:00.000-07:00

Often it seems that one's initial reaction to the problem of genres is extreme, what with the near constant prattling on about their having caused the downfall of music, or at least being detrimental to music as an institution. Of course, the problems of genres are not to be dismissed as irrelevant, but rather they should be considered and weighed against the alternatives.

One of the problems presented by the classification of music into genres is attempting to define the genre itself. Much like moral and immoral behavior, it is often just said, "You know it when you see it." While this is perhaps a lacking definition, it does provide some light on the processes of classification and overclassification, as the case may be.

Take, for example, the case of the now-ubiquitous genre of music often called "indie". Though descended from the descriptive term independent, which described the approach the band takes to distribution, marketing, performance, and the like, indie has taken on a life of its own. It no longer is confined to independent bands -- in fact, it is often used to describe bands on independent labels as well as major labels, and even bands not signed to labels at all. It has ventured into entirely vague territory, perhaps for reasons of attempts to capture consumers by major labels, or perhaps because it grew into a sound all its own -- it is difficult to say for certain.

One of the problems seen with genres is not really a problem at all -- the complaints of pigeon-holing and restriction are, to my mind, unjustified. It is far too often that genres are used in a mutually exclusive sense, and this is one of the primary problems surrounding them. Indeed, it is not a proble, with the concept of the genre, but is rather a problem with their use. Who is to say that an artist must remain with one clearly defined sound? Certainly not those exercising the act of classification, of placing artist into a genre.

The use of genres also often implies that an artist has little actual musical variation, even across an album or even a set of albums. The genre allows for much breathing room, not unlike genres of painting. By being known as an impressionist and producing impressionist paintings, Van Gogh, Cezanne, and Monet were not inherently the same artist. Rather, this is a demonstration of how widely varied a genre in any work truly is.

Now, there are benefits to the use of genres -- indeed, why would they still be used if they served no practical purpose? One of the foremost examples that come to mind of the concept is my declaration of preference to progressive music. I am not describing a literal characteristic of the music, but rather using a descriptive, wide, and flexible term to attempt to convey, in a few short words, my personal preferences.

Beyond describing my preferences, genres can also be used to describe music that others have yet to experience. This is often where the term overclassification comes into play. However, I do believe that such cries are not only unjustified, but actually harmful to the process of music description. Imagine, instead of describing something as "smooth jazz mixed with a little guitar pop," saying something along the lines of "a combination of light, stacatto drums, smooth, legato saxaphone, and warm, mid-tone heavy guitar." Not only is it unwieldy, but it can quickly become apparent that your descriptions could describe nearly anything meeting the few requirements.

The use of genres allows for easy, reasonable comparison between artists and pieces fitting into the ultimately loose genre guidelines -- and while it may not be the most accurate method of comparison, it does provide a quick judgement as to the possible preference. It should, by no means, be used a replacement for actual listening, but it does provide a genuinely useful function that should not be dismissed.

Matthew Montgomery

Hobbes and Imagination

2006-01-04T10:42:00.000-07:00

Thomas Hobbes, in his seminal philosophical work, Leviathan, proposes the following of human imagination:

"[I]magination being only of those things which have been formerly perceived by sense, either all at once, or by parts at several times[...]"

In doing so, Hobbes raises many interesting questions about our perceptions of the creativity certain humans possess. Phrases like "something nobody has ever thought of before" are endlessly parroted as some claim of grandiosity -- yet little actual thought is given to the truth of the matter. Perhaps, then, it is important that we distinguish between these two primary notions of imagination as proposed by Hobbes: that which we have perceived as a whole, and that which he have perceived in parts.

That which we have perceived as a whole, or whole-based imagination, is oft seen as the "common" form of imagination, and is, all too regularly, lambasted by elitists and artists alike. There may be nothing truly negative about such a form of imagination; mental replication, as it were, is an important function of perception, and no less important than its counterpart in imagination. This distinction was explored through mid-twentieth century Pop Art -- artists like Warhol and Licthenstein were noted for their renderings of the mundane (Warhol most obviously with his Campbell's soup can, Lichtenstein with his renditions of comic art) in a way that is not importantly different than the original, excepting, of course, size. These easily slide into our first form of imagination.

That which we have perceived in parts, or, more easily, part-based imagination, is typically seen as a higher form of imagination, regardless of whether or not this is truly the case. Often, this is mistaken for something it most certainly isn't: the ability to create new works of art. This, however, appears not to be the case. Instead, what appears to be a new production is only a re-structuring in such a way that something not entirely similar to its original parts is produced. Hobbes gives an excellent example of such:

"[Part-based imagination] is compounded, when from the sight of a man at one time, and of a horse at another, we conceive in our mind a centaur."

These two notions of imagination -- not the only two proposed by Hobbes, but certainly the most important, and the only ones of any real depth in this matter -- are not mutually exclusive within a person; rather, they are both necessary in a being possessing any sort of goodness. Unfortunately, one side or the other is constantly rejected, at least outwardly. Take, for example, a man -- a musician, perahps -- who is fond of exercising the part-based imagination, and rather unfond of a whole-based imagination. Following his mental guidelines of imagination, he may avoid thinking of anything "whole" he has perceived, merely on the conception that such will distort his personal creativity. At this point he may come to the opinion that existing in society will not allow him to exercise a part-based imagination when there is a constant influx of wholes. From this, perhaps he will lock himself in a darkened room -- one where he will be free from influence of "new" wholes.

What he fails to recognize, and what this example pushes to the surface, is that Hobbes' distinction of imagination is flawed: it seems that either wholes must be created from nothing, or wholes must be imagined from parts, which seems far more reasonable than assuming something so grand as pure, unenebriated creation from nothingness. If the latter is the case, which it certainly appears to be, one must wonder from where these initial wholes -- those which we extract parts in our perceptions -- came from, if not imagined constructs of parts. Of course, this is essentially a parroting of a problem echoing across philosophy: can something, in fact, come from nothing?

It seems, then, that we can come only to one real conclusion: while Hobbes' notion of forms of imagination may seem, at initial glance, clear, distinct, and certainly unrelated, it is not the case. Upon further investigation, it appears that the two notions of part-based imagination and whole-based imagination are not only interrelated, but each is necessary for the other to exist.

Flying V, Part Two

2005-12-15T21:54:00.000-07:00

The Dimensionality Possibility of a "Narnia"

2005-12-11T20:45:00.000-07:00

The Dimensionality Possibility of a "Narnia,"

Worlds Within Worlds

One often wonders what the possibility of some of their favorite works of fantasy being more than just fantasy really is -- but it is not something usually examined with any detail, being passed off as "imaginative," which may or may not be the case. This is particularly interesting when the quintessential works of fictional fantasy, the Chronicles of Narnia, as written by one C.S. Lewis are considered.

The primary premise of the first novel, The Lion, The Witch, and the Wardrobe, consists of a foursome of British siblings who, at the height of the second World War, are sent to live with a professor in a place more safe than the city, as it was being bombarded by Axis forces. These children, who seem rather simple and plain indeed, end up, in a round-about way, discovering the land of Narnia, through an entranceway placed conveniently in a wardrobe.

How the world of Narnia was created is of little consequence, regardless of how interesting it may or may not be. What is at hand is that the world and exists, and the possibility of its admittedly bizarre construct. Narnia exists primarily as a world aside from our reality, as evidenced through the lack of a passage of time in the primary, perceived reality -- that of the children in the first-written novel, and, indeed, a certainly strange passage of time within the reality of Narnia itself.

The factor of time allows for an interesting explanation and reasoning behind the possibility of Narnia -- it merely is in a different location in the dimension of time, often called the fourth dimension, as proposed in Einstein's theory of general relativity. The theory, interestingly, allows for different rates of time perception to exist, providing a functional model by which Narnian time can differ from that of our own.

It is worth noting that Narnia is only one of countless worlds within a larger sort of multiverse. It is possible that Lewis envisioned this as an allegory for multiversal theory, which normally deals in probability, though whatever his deeper meaning and allegory, if any, he envisioned something that can easily relate, even with important differences in theories. Lewis's multiverse was envisioned with a "Wood Between the Worlds," which linked all possible worlds together through pools of water, or so it seems.

Now, this initially may seem like a farfetched impossibility -- like most fantasy. However, when related to the seminal philosophical, sociological, and scientific work of allegorical fiction, Flatland, written by Edwin Abbott Abbott, it becomes evident that such an existence is necessarily possible. Abbott's primary character, a square, travels from Flatland (a world of two dimensions,) to Lineland (a world of one dimension,) to Spaceland (a world of three dimensions,) and postulates that a fourth dimension -- and, indeed, an infinite number of dimensions beyond such -- must necessarily exist. The square also discovers that in each dimension, a higher-dimensional being can perform any number of "magical," "godlike" feats, simply by moving across the additional dimensions not perceived by the lower dimension's inhabitants.

Suddenly, the existence of Narnia jumps from mere imagination to a dimensional possibility. Simply by moving across the fourth dimension (as those within Narnia and the Earth universe are three-dimensional beings, perceiving a three-dimensional world,) any number of things can happen, the least of which is not some sort of travel across worlds -- whether it be through a mystical wardrobe, a forest, or a hair-clogged drain in the shower. Supposing that something can act as a dimensional transporter of sorts, (which, in the world of probability, is necessarily possible,) Narnia is not just some imaginative work of fantasy, it is, indeed, reality.

Matthew Montgomery

Why Be a Pirate?

2005-11-29T22:12:00.000-07:00

On waking up this morning, I realized one thing: how much I would rather be a pirate living in my current situation than who I am: myself. Some notable reasons include:

1. Waking up would be infinitely easier. If I set the alarm clock, but upon waking to its incessant ringing, instead of greeting the new day, I could merely smash said alarm clock with little real repercussion. If I were woken by a person, there are several options at my disposal: A) threaten them; B) stab them with my scabbard; C) growl. The most desirable course of action is option C, of course, as it requires the least effort with, hopefully, the most maximal gain.

2. Even the most rote of tasks would be inordinately more entertaining, merely with a few vocalizations. "Avast, these pretzels are making me thirsty!" suddenly becomes an entertaining phrase rather than a complaint.

3. Coercing through the threat of physical harm is transformed from something laughable to what is an ultimately useful action. Imagine, the average computer programmer attempting to convince an eight-year old boy -- of no relation -- to brush his teeth: "Gyhar, if you don't brush your teeth, I'll make ye an orphan with a peg leg!" doesn't have quite the same force behind it as if a pirate had shouted it with a glint of murder in his eye and a knife along his throat.

4. Two words: puffy shirts. As evidenced in a fifth season episode of Seinfeld ("The Puffy Shirt"), it is evidenced that this pirate-style garb is the ultimate panhandling tool. "Can you spare some change for an old buccaneer?"

Matthew Montgomery

Stars of Track and Field - You came here for sunset last year

2005-11-20T13:06:00.000-07:00

Stars of Track and Field
You came here for sunset last year
2005

The latest release from Stars of Track and Field, You came here for sunset last year, is a five track EP that sounds as musically mature as one could imagine; composed of outstanding musical talent and intuition, this Portland three-piece seems to hold their art in high regard. With jangly guitars and smooth, flowing keyboard lines, Stars of Track and Field demonstrate the utmost regard for their unique brand of melodic pop music. They are assisted by highly esteemed producers Tony Lash and Jeff Saltzman in the effort -- much to their benefit.

It is interesting to note the apparent influence of the group's surroundings on their songwriting. For better or worse, You came here for sunset last year does not sound like it was written on a bright, clear day; you will likely not feel like bluebirds are singing happy tunes as puffy white clouds roll by when listening to this EP. Rather, tracks like "Let Ken Green" and "Say Hello" feel fog-laden and overcast, and, without a doubt, heavily atmospheric.

You came here for sunset last year is easily one of the most entrancing releases of 2005; its only major, outstanding flaw is its short length -- expectable for an EP, of course, it's just that Stars of Track and Field leave a lot of questions unanswered that would likely have been more explored in the setting of a full album release. In all, though, this is an outstanding release, and for only five tracks, its impact is immense.

Matthew Montgomery

musicGeek.org Calendar

2005-11-13T01:01:00.000-07:00

Okay, so I made a calendar, and I had fun doing it. Check it out if you're interested in local shows.

Miguel Mendez - My Girlfriend is Melting

2005-11-08T21:32:00.000-07:00

Miguel Mendez
My Girlfriend is Melting
I & Ear, 2005

Miguel Mendez, a Long Beach, California native, is a strange sort of newcomer to music -- a once-physics major at UC Berkeley, Mendez exercises his songwriting ability in a unique style that he -- for better or worse -- can call his own. Pulling some obvious influences from indie and folk greats while remaining unique is, in and of itself, a difficult task; Miguel Mendez appears to be up to the challenge with his debut album, My Girlfriend is Melting.

Also producing the album, Mendez exercises an element of control that proves to be to his benefit. Perhaps the track most exemplary of this is the nearly-psychedelic "Catchin A Wave." Layers of creative reverb and echo turn this track from what might be a dull, humdrum track that's been strung along for too long a time into an interesting, introspective piece. A clean acoustic guitar tops the piano-based track, and, while sounding slightly off-kilter and maybe a little out of tune, manages to provide a good middle ground between the hollow, bar style piano and Mendez's echoing vocal lines.

While My Girlfriend is Melting is undoubtedly not full of clean, slick recordings, it is full of heart and meaning. Each melody feels strained for, each lyric thought out -- and not in the sense of a lack of ability, but rather, in the sense of a surplus of dedication and inspiration being present in Mendez. My Girlfriend is Melting is a highly creative work that showcases a wide range of potential for Miguel Mendez, and with any luck, is a sign of things to come.

Matthew Montgomery

Just Do It.

2005-10-24T01:24:00.000-06:00

Just Do It?
Moonty Corner

Getting things done, it seems, may be one of the most difficult processes one undertakes: regardless of relative difficulty of actions, the most difficult part of the action, invariably, is starting. The first portion of action we take first, with anticipation of the further portions of the action, seems to be more difficult depending on the latter portions.

Like writing a song, riding a bicycle, or teaching students, the most painful part of the process is the beginning. Even with actions we have performed a multitude of times, we procrastinate, whine, and moan -- though, only with any true fervor before the starting of said action. It is important, then, that we learn to ignore our hedgings and proceed directly with the actions we intend to, wish to, or must perform.

If there is anything that is essential to our lives, it is in the act of doing things that we perceive to be too difficult for us to perform. Throw off those self doubts, for with them, nothing can ever really happen in any larger sense of the word. We will merely continue performing the perceived easiest actions we have available to us. Imagine you have been asked to speak at a large public function, and in an attempt to be polite, you agree. If you do not prepare yourself for said speech, whether it be through recitation, drafting and re-drafting, intense study, or some other method, you will fail to capture the crowd to the best of your ability. It is also true that your actions, while they seemed to be the easiest at the time, also made your future actions more difficult.

In anything we do, it is important to consider that we will be avoiding the actual action; it seems that, by nature, most people are lazy and useless. It is only through the process of performing actions that such is changed, and only truly through performing perceived difficult actions that such a typing is thrust off.

If there is something worth doing, it is worth doing now, taking into consideration the effects of performing an action at a given point in time. At times, it may be unreasonable to perform an action; for example, practicing guitar playing at three in the dead of morning while others in the house are sleeping would prove to be unreasonable and rude.

Besides such instances, the best time to start anything is not around the corner: it is now.

Matthew Montgomery

The Great Lakes Myth Society - Self-Titled

2005-10-08T11:07:00.000-06:00

The Great Lakes Myth Society

Stop, Pop, & Roll, 2005

The Great Lakes Myth Society knows how to start an album well: "The Salt Trucks" starts as a heartfelt acoustic piece but segues into a slightly dark electric piece with nary a snag along the way. Throw in excellent harmonizations and vocals, and The Great Lakes Myth Society begins to take shape.

The Great Lakes Myth Society is the eponymous debut of the Michigan-based group (their hometown, Ann Arbor, is at the foot of Lake Erie, which explains for the name. It also, to an extent, can explain for their sound -- there is regional influence, particularly in a more traditional setting, present across the album; a vague "down-home" feel to tracks is allowed, including banjos, accordians, and strings on such tracks as "Across the Bridge" and "Love Story."

If there is one attribute that stands out in The Great Lakes Myth Society, it's their ability to write engaging, eclectic music. "Buffalo Nickel" is an outstanding example of such; with thunder and siren samples topping the already atmospheric piece, the guitars begin to feel torrential and the cymbal crashes increasingly rain-like. This is easily contrasted with the strangely upbeat "Marquette County, 1959," a piece heavy in piano and lyrics of some sort of strange historical significance ("The northern lights were shining / when Jimmy Stewart came to Marquette County in 1959").

"The Northern Light Over Atlanta, MI" is another prime example of The Great Lake Myth Society's uncanny ability to blend unexpected elements -- funky guitars and orchestral strings blended with bells are, by no stretch of the imagination, a normal combination of instruments, but with this band, one can almost come to expect something with such flare.

After fifteen (excellent) tracks, it is clear that The Great Lakes Myth Society have debuted with an album befitting a much more experienced band -- The Great Lakes Myth Society is a tightly composed album; the band's use of non-standard instrumentation and clear musical intent denotes an amicable relationship within the group. If a first release is any indicator, The Great Lakes Myth Society is, undoubtedly, onto something with their music.

Matthew Montgomery

Slender Means - Neon and Ruin

2005-10-03T20:59:00.000-06:00

Slender Means

Neon and Ruin

Mt. Fuji Records, 2005

Neon and Ruin opens without a real sense of urgency, much to its benefit. "Telepathic Lovesick Heart," the album's opening track, is relaxed and laid-back, setting a fairly consistent theme across the whole of the album. Instead of opening with a track that causes listeners to panic, Slender Means instead decided to open with a fairly simple and poppy guitar-based track -- a move that seems almost regretful at its surface, but in this execution, at least, it manages to give Neon and Ruin a pair of steady legs to stand on.

"Hidden Grove" follows "Telepathic Lovesick Heart" beautifully, taking a previously subtle element in the keyboards and bringing them to the forefront of the composition. Instead of approaching his instrument with lavishly crafted solos and intense stylistic flare, keyboardist David Martin plays with a distinctive style while not attempting to steal any of the proverbial limelight; the rest of the band follows suit, appropriately. The feeling of cooperation and comradery that accompanies Slender Means' positively unique stylings adds a breath of fresh air (not that one was needed -- following metaphorically, Neon and Ruin feels like it was recorded in fresh summer air, but it's always a nice addition to any recording. Besides, a little fresh air never hurt anyone.)

Though Slender Means never does achieve that sense of urgency (and, admittedly, it's certainly not an essential bit of music, by any means, though some groups seemingly treat it as such), they do manage to create captivating music. The laid-back feel it encompasses never really feels limited; rather, it tends to leave listeners nearly satiated -- enough room left over for dessert, really, and they definitely deliver: "The Comet," arguably the most entrancing track on the album, with its spacey feel (and title) and apparently meaningful lyrics (though, nobody can judge on such matters but the lyrics' writers, after all), delivering what is, perhaps, a metaphorical rendition of songwriter Josh Dawson's perceptions of life, wrapped up and shown as a comet, apparently meandering through space without aim. Dawson's lyrical musings are interesting and, quite often, filtered through stories and layers of meaning.

Neon and Ruin is Slender Means' debut album, though you'd never guess it while listening. With a steady, solid rhythm provided by drummer Eric Wennberg and bassist Paul Pugliese, Slender Means is a tight musical outfit, and, appearances being what they are, a band that's bound to stick around for a while longer yet.

Matthew Montgomery

Broken Social Scene - Broken Social Scene

2005-09-27T20:08:00.000-06:00

Broken Social Scene

Arts & Crafts, 2005

Broken Social Scene's latest release, the self-titled Broken Social Scene, comes two years after their highly-rated You Forgot It In People, widely regarded to be one of 2003's greatest releases. With Broken Social Scene, the band has expounded upon their once-successful sound without significantly altering it, as is evidenced in tracks like "Hotel," "Finish Your Collapse and Stay For Breakfast" and "Tremoloa Debut," which, regrettably, comprise a very small portion of the release. It's not this element that ends up being so vital to the success of the album, though; gone (for the most part) are the sparsely populated sonic landscapes that made You Forgot It In People such a wild success, replaced, instead, with a murky, dense landscape that is slightly stale by the end of the album.

While Broken Social Scene may have maintained essentially the same sound (more accurately, some of the same sonic qualities, and some of the songwriting tendencies) they have featured heavily in the past, this self-titled release is notable for its fundamentally different mood and feel. Tracks like "Windsurfing Nation," "Superconnected," and "7/4 (Shoreline)" are dense, packed with guitars and sonic noise, that, while mostly evocative and capturing, seem overtly forced.

At times, however, Broken Social Scene suffers from an unfortunate mundanity that wasn't nearly as heavily present in the band's past releases -- which is not to say that this is a mundane album, but rather, it sometimes branches into territory that feels, at the least, over-trodden, both by Broken Social Scene and recent music. There are notable exceptions, most obviously the ten-minute, distinctive "It's All Gonna Break," arguably the album's most dynamic, and undeniably, the most captivating venture. Fortunately, Broken Social Scene ends on a note worth remembering -- a choppy, quick combination of drums, guitars, and horns, ending abruptly -- a perfectly epic, magnanimous ending to an album that ultimately seems sub-par -- but still easily listenable and interesting, though certainly not to the same degree that Broken Social Scene has shown themselves capable.

Matthew Montgomery

Nada Surf - The Weight is a Gift

2005-09-18T14:14:00.000-06:00

Nada Surf
The Weight is a Gift
Barsuk, 2005

The Weight is a Gift is Nada Surf's fourth full length in nearly ten years, and while they maintain essentially the same basic sound as in their 2003 release, Let Go, they have provided a reasonably advanced take on such. The Weight is a Gift is, arguably, their most mature release since the band's inception.

From the cello backing Nada Surf in the smoothly melodic "Your Legs Grow" to the horns featured in "All is a Game" (which, in a throwback style, feels heavily like earlier Nada Surf in its vocal stylings and lightly distorted guitars,) the band demonstrates their musical know-how and interest in growing their diversity. The Weight is a Gift is Nada Surf's second release on Seattle-based Barsuk Records, and as the credits show, there is a fair amount of collaboration across Barsuk's roster. Most notably, The Weight is a Gift was produced by esteemed producer and Death Cab for Cutie guitarist, Chris Walla, alongside two-time producer Louie Lino, a friend of the band. Additionally, John Roderick, of The Long Winters, and Sean Nelson, original member of The Long Winters and the previous frontman for Harvey Danger. Besides these inter-label collaborations, Nada Surf pulled in Phil Wandscher, of alternative country outfit Whiskeytown, who contributed lead guitar on "Comes a Time," and Kenneth Earl Jankowski Jr., of The Golden Republic, who played horns on "All is a Game."

The Weight is a Gift is, by and large, a fast-paced, driving collection of songs ("Comes a Time" may be the sole exception); it is evident that the band has not left behind their roots in power-pop, but simultaneously have realized their inevitably more mature sound -- after all, they were dumped from Elektra Records after refusing to "find" a single for their second full-length, The Proximity Effect, months after its completion by the band, and as such, were reasonably upset. Understandably, it was four years from this struggle in 1998 before the release of their Barsuk debut, Let Go. Either major label troubles are conducive to maturation, it would seem, or four years is, or both -- and it's likely that the answer is both.

As is expected from a band with two stellar releases under their belt, The Weight is a Gift is rife with positive attributes -- songwriting, production, vocal quality, lyrics, you name it, it's there, and it's undeniably positive. Chris Walla's production style fits perfectly with the band's musical style; Walla's unique flares shine through, but, all told, the album sounds (thankfully) unmistakably like a Nada Surf album. Per their usual efforts, The Weight is a Gift's lyrics are well written; though not necessarily "poetic" at all times, they are personal and inspiring. Nada Surf has again succeeded on many levels, and judging from the pace of things, it's likely that any such progress will continue.

Matthew Montgomery

The Long Winters - Ultimatum

2005-09-15T22:41:00.000-06:00

The Long Winters
Ultimatum
Barsuk, 2005

The Long Winters, led by mastermind John Roderick, have ventured from their usual musical stylings, venturing into what is, for them, at the very least, new territory. Ultimatum, their first release since their 2003 album, When I Pretend to Fall. Standing at six tracks, this EP is simultaneously soothing and engaging.

The opening track, "The Commander Thinks Aloud," a shadowing of this new sound, is poppy and piano-driven, with Roderick's vocals quickly taking a leading role in the piece -- which seems to be the most constant element across the EP. The title track, "Ultimatum," places Roderick's vocals afront a fine accompaniment -- one that emphasizes his dynamic, full-bodied voice: a folksy, down-home guitar and a five piece string combo, bringing forward Roderick's unique nuances. He uses a similar approach with live, acoustic renditions of When I Pretend to Fall's "Bride and Bridle" and "Ultimatum," performing the two pieces in what is an unarguably more raw construct.

What really seals Ultimatum is its lyrical content; at times, it is enigmatic and convoluted, yet at others, it simple and straightforward. Roderick sticks to a fairly straightforward style for the bulk of the EP: "A trail of shooting stars / the horses call the storm / because the air contains the charge." At times, however, he branches into slightly more bizarre lines found in "Delicate Hands": "The weight of this hairstyle's / making me lazy / I think I'm going to leave it / up all night / I want to feed you / butter-rum candy / But someone beat you / to me." In the conscientious "Everything is Talking," Roderick initially describes modern life ("My new friends have messages / They reach me wherever I am") aside what I must assume is a description of the ultimately eerie experience of having fans whom you've never met ("Namess friends / All know my name"), before delving into some strange sort of moral dillema surrounding, perhaps, the growing artificiality of our food supply -- and maybe some sort of future integration of robots into our daily lives ("I won't eat a machine / But what if it asks me? / What if it says my name?").

At any rate, Ultimatum is, hopefully, a sign of things to come for The Long Winters and their upcoming full-length, planned for early 2006.

Matthew Montgomery

Beggar's Opera - Act One

2005-09-15T13:11:00.000-06:00

Beggar's Opera
Act One
1970

Act One, debut album of British prog-rockers, Beggar's Opera, is a fun, timeless work in an early British post-psychedelic style. Most notable among the instrumentation is Alan Park's fantastical keyboard and organ playing, at times breaking into classical pieces (similar to contemporaries Emerson, Lake & Palmer), from Grieg's famous Peer Gynt suite (best known for its "In the Hall of the Mountain King,") to Mozart's "Rondo allo Turka," suggesting that Park was, at the very least, well-trained.

Besides Park's defining keyboard style, vocalist Martin Griffith adds a distinctive element to Beggar's Opera, with his dynamic, booming style that, perhaps, hadn't quite reached the realm of post-psychedelia when Act One was released in 1970. Griffith's style has had a lasting influence, though, namely on The Aquabats vocalist, "The MC Bat Commander," who utilizes the uniquely derived vocal styling in what must be a tribute to his musical influences. (Interestingly, The Aquabats also pull influences from other progressive rock groups, namely Rush-style keyboard riffs.)

In what may be the defining piece on Act One, "Raymond's Road", Alan Park takes Beggar's Opera on a nearly twelve minute excursion through guitar shredding-style organ solos, sections of classical and baroque pieces, and the "usual" progressive keyboard and organ riffing and progressions (though in 1970, they were hardly usual, what with the progressive genre being a relative youngling.) This continues into "Light Cavalry," complete with bouncy bass work and drumming and, again, a nearly-psychedelic feeling guitar.

New to Act One (as of the 1997 reissue) are the tracks "Sarabande" and "Think." "Sarabande" seems rightly cut from the album -- while an interesting glimpse into 1970s progressive rock, it fails to captivate in the same way the original album did with ease. "Think" presents Beggar's Opera's obvious psychedelic influence; while psychedelia played a large part on the album, it never took such a leading role. At times, "Think" sounds almost like a track pulled straight from Pink Floyd's "The Piper at the Gates of Dawn." As far as Griffith's vocal style lends itself well to such a meandering, "Think" succeeds, though it's a disparate track on a fairly straight-forward album. In all, Beggar's Opera created one of the more interesting works of post-psychedelia and early progressive rock with Act One.

Sigur Ros - Takk

2005-09-13T18:53:00.000-06:00

Sigur Ros

Takk

Geffen

By now (now being September 13th, 2005, the day of Takk's release,) Sigur Ros has become an almost legendary group of musicians, and with good reason. In this, their fourth full length, they, once again, demonstrate an outstanding regard for high production values and the progression of their ultimately unique song-writing style.

In fact, the only real disappointing element surrounding Takk is its packaging -- although such is still of a definite high quality, it is, unfortunately, of a non-standard size, being slightly larger than a standard digipak or jewel case. Initially, I also expressed disappointment with the lack of a booklet, until I came to realize that Sigur Ros's past releases have been very minimal in the use of text in the included booklet; in fact, ( )'s booklet is simply composed of pages of slightly translucent paper with light etchings of foliage across them. While aesthetically interesting, it may be that Geffen (perhaps as this is Sigur Ros's first release on the mega-label) opted to pass on something they perceived as having little to no value.

Stylistically, Takk stands somewhere between ( ) and Agaetis Byrjun, and quite strongly at that. It is also worth noting that this album is undeniably cheerful, and tracks like "Se lest" demonstrate this extraordinarily well, complete with a string and horn section that reminisces vaguely of a carnival -- though such is undoubtedly a lacking description, especially for a band with a sound so dynamic. Additionally, lyrically speaking, Takk is written primarily in Icelandic, a departure from the group's usual use of their created (and supposedly meaningless) language, Hopelandic.

Takk almost requires multiple listens to be fully enjoyed -- not to say that Takk is difficult or "takes some getting used to," but its depth is so immense that a single listen would be doing your ears an injustice, of sorts. Like most truly great music, a single listen may yield intense emotions and immense aural pleasure, multiple listens yields much more.

Matthew Montgomery

John Vanderslice - Pixel Revolt

2005-09-11T12:28:00.000-06:00

John Vanderslice

Pixel Revolt

Barsuk

John Vanderslice's latest effort, Pixel Revolt, is what some would dub a lyrical masterpiece -- and, of course, not without just cause. At times, Vanderslice's mostly unique lyrical style resembles that of John Darnielle, better known in the music world as The Mountain Goats, and in the liner notes, such comparisons are given a reason for existence: Darnielle and Vanderslice are, apparently, friendly enough that Darnielle "edited, expanded, and otherwise improved upon" Pixel Revolt's lyrical content. Darnielle, who has frequently toured with John Vanderslice, is not the victim of a single-sided relationship, either: John Vanderslice produced both of The Mountain Goats two most recently released albums, The Sunset Tree, released in 2005, and We Shall All Be Healed, released in 2004, both by 4AD.

Pixel Revolt is simultaneously a very personal, real effort and a work that frequently delves into fiction as a form of expression. "New Zealand Pines" is an excellent example of the former, as he shares vocals with Oakland-based singer/songwriter, Nedelle, in what Vanderslice describes as "a love letter to my ex-girlfriend." From such a staggeringly personal track, he delves into "Radiant With Terror," an adaptation of Robert Lowell's Cold War-era nuclear warning poem. From this, Vanderslice approaches "Continuation," which plays out nearly like an episode of The X-Files, speaking of four detectives investigating a series of murders by a serial killer. The twist is, of course, that the serial killer has recently turned up dead, and the killings are continuing in the same manner, and the detectives become suspects. The story ends suspensefully and abruptfully, as Vanderslice jumps into yet another piece.

The lyrical content of Pixel Revolt, however important, is not John Vanderslice's only source of wonder: simple, perfunctory listening reveals layers of instrumentation and production that have been intensely crafted. If not for his excellent song writing, Vanderslice would undoubtedly have a very viable future as a record producer. Pixel Revolt is simply easy to listen to, and immensely difficult to stop listening to. From gated acoustic guitars and Vanderslice's cutting vocals, to warm strings and Moog synthesizers, Pixel Revolt is as diverse as a Beatles album -- and while Vanderslice may not be approaching the historical status of The Fab Four -- such a feat is difficult to accomplish, to say the least -- he does manage to create one of the most interesting albums of 2005.

Matthew Montgomery

Remastering the Vee

2005-08-27T17:05:00.000-06:00

I've undertaken a new project -- remastering my Harmony Flying V. Since I got it a few years back, it's been in pretty bad condition. I decided recently that it was time for a change: I've started sanding it down. Here's my latest progress.

Also, if anybody has recommendations as to pickups -- humbuckers -- then I'd love to know what you think I should get.

A couple more photos are below.

Minus the Bear - Menos el Oso

2005-08-23T00:01:00.000-06:00

Minus the Bear

Menos el Oso

Suicide Squeeze Records

Menos el Oso opens with a rhythmic guitar and a delayed, reverbed guitar intertwining, leading into vocalist -- and guitarist, don't you forget -- Jake Snider's evocative lyricism. In the simplicity of these lyrics, they find their strength; you will not find the depths of academia here, rather, you will find simple human emotion, raw in all its beauty, belting lines like "We sat on the corner of Memphis and 53rd. / As they filled the tank we had a drink. / She whispered, 'Let's get moving.'"

This trend is continued throughout the album, undoubtedly to the delight of listeners. Fortunately, quality lyrics and vocals are not the sole driving force -- though one could argue that they are not the primary driving forces, let alone a driving force at all -- behind Menos el Oso. Shifting from densely layered guitars to conversely smooth, rhythmic guitars, all the while maintaining a sharp, steady percussive beat, Minus the Bear displays a versatile arsenal of skills, from seductive guitar musings, to slowly enigmatic keyboard attacks.

Unlike a great many albums featuring similar styles of drumming and dense guitar layerings, Menos el Oso is actually listenable. Though Minus the Bear's writing style and unquestionable quality certainly help to stave off such unwanted effects of their style, the understandably -- and thankfully meticulous production by both Minus the Bear themselves, and Chris Common, who just recently joined These Arms Are Snakes as a replacement for previous drummer Ben Verellen. What is most refreshing about this album's production is the placement of the drums: never does the percussion take front-seat on the track unless such is necessary to the development of the piece. Perhaps the most notable achievement in production on Menos el Oso is "El Torrente," one of the most well-balanced tracks in recent memory.

Menos el Oso starts strong -- "The Game Needed Me" is captivating and enrapturing, showing clear signs of what follows. The subtlety of the music, even behind dense guitars and drums, becomes readily apparent after repeated listening; keyboards that were once repressed quickly make themselves apparent and the most interesting of guitar effects shift from being something noticed only in passing to being a true additive element. The depth of this album is its strength. Only one question remains, even after listening to Menos el Oso repeatedly: does this, in fact, count as a self-titled album?

Matthew Montgomery

Cuppa' Joe and Moonty

2005-08-17T12:39:00.000-06:00

I want your thoughts.

Cuppa' Joe and Moonty -- it's a friend and I, and we like music.

http://www.soundclick.com/cuppajoeandmoonty

Fresca, Anyone?

2005-07-20T09:40:00.000-06:00

It looks like Coca Cola is remaking one of my favorite drinks, Fresca. Hopefully this isn't a change that ends with a new variety of drinks that nobody wants, leading to the decay of the Fresca line. Below is a link to a high quality photo of the Sparkling Black Cherry Citrus can.

From the press release:
Fresca will be given a fresh, contemporary look, including a new logo and new packaging graphics. Two new flavors – Sparkling Peach Citrus Fresca and Sparkling Black Cherry Citrus Fresca – will also be introduced as zero calorie line extensions to the brand. The unique sparkling citrus flavor of original Fresca will remain unchanged.
“Fresca resonates with people who have a sophisticated taste and are unwilling to compromise on flavor or calories,” said Alison Lewis, vice president, Sprite and Flavors, Coca-Cola North America. “We believe Fresca’s new look and expanded flavor offerings will appeal to folks who are looking for a unique taste beyond the ordinary.”

The changes will be made in released in September, 2005.

Fresca - Black Cherry Citrus Photo (High Quality)

One Giant Leap for Mapkind

2005-07-20T08:10:00.000-06:00

Okay, so Google has launched a variation on their popular Google Maps service: Google Moon! It may be useless, sure, but it sure is fun. Surprisingly, Google Moon has been released without going into Beta -- wow! Of course, it's not without its share of little bugs:

-Zooming out reveals that the mapped surface is actually repeated horizontally, and there is a large amount of space above and below the map. Of course, maybe that's the un-explored area of the moon. Better move a unit there and find out.

-You can't even see the dark side of the moon. What hogwash! I always knew Google was Light-side-centric!

-Zooming in reveals the moon's real construction -- you have to see it to believe it.

--

"Buggy" or not, Google Moon is a fun little toy, and definitely worth checking out.

New blog design

2005-07-17T01:03:00.000-06:00

Yeah, it's new. It's improved (I think). It's prettier, and that's damn sure. I got rid of those huge links at the top and opted for something more subtle. Happy? I am.

So this is what a geek does at 1am? Writes about having redesigned a blog? I guess that's the case.

I'm thinking I might try my hand at real templating. I probably won't yet, but hey, why not?

Also, we need more users at musicGeek.org in the forums. It would be fun, I promise.

Salt Lake City Light Pole Brigade

2005-07-16T21:18:00.000-06:00

Salt Lake City Light Pole Brigade

2005, Matthew Montgomery

I wanted to try the new Image Upload stuff here on Blogger. I think I'll start posting pictures more regularly, though, because I have a lot of them. It might look like I stole this idea from my brother, and I probably did. Oh well.

My Enemy - Elil EP

2005-07-08T22:04:00.000-06:00

My Enemy
Elil EP
2005, Vapen & Godis

This first release of Swedish band My Enemy's Elil EP, released in March 2005, opens with a dazzlingly display of dreamy vocals and guitars. This first track -- "Can't Blame You" -- segues into the wonderfully bizarre "Gullvivas koloni," which, in a strange bit of reference to what probably has its roots in Swedish folklore, is prefaced in the liner notes with, "But one strict rule they had; oh yes, the strictest. No one must ever ask where another rabbit was and anyone who asked 'Where?' - except in a song or a poem - must be silenced." One starts to wonder if there is a thematic tie across the album relating to rabbits; after all, there are two dancing bunnies on the front cover, a cryptic reference to "El-ahrairah," the folk hero of rabbits described in Watership Down, and a photograph of a hand over a brightly lit piece of white paper making a shadow -- which could, quite easily, become the shadow of a bunny rabbit (though as a reference to a rabbit, that may be quite a stretch.)

With Elil EP, their first release -- as well as the first release for their label, Vapen & Godis -- My Enemy demonstrates their lyrical ability. It is worth noting that despite the fact that, although Swedish is their first language, they manage to craft simple -- yet profound -- imagery. "Grönland" demonstrates such with the lines, "it's so quiet and peaceful here / and the only thing I can hear is the sound of a barking dog in the village and my little tinnitus." The storytelling quality My Enemy attaches to their already notable instrumentation makes for one intensely interesting debut.

However, interesting as it may be, Elil EP is not without its faults -- and, luckily, they serve to add a definite human quality that is, quite regrettably, not often found in music with an electronic sound such as that found here. Of course, any electronic sound it contains isn't overpowering, by any means. Much to their credit, My Enemy seems to easily recognize the concept of successful songwriting: any focus on a particular sound should be eclipsed by a focus on quality songwriting.

For a debut EP, My Enemy has outdone themselves. The advantage of a debut typically rests primarily in a clean slate -- no expectations to cloud the mind makes a noticeable difference in the reception of musicians. Producing an outstanding debut seems to be a bit of a curse: unless My Enemy can manage to record something of a noticeably higher quality, they may be stuck being known as "the band with a great debut," and not much else. No doubts here, though -- be on the lookout for My Enemy and Vapen & Godis. "Swedish Invasion" be damned; there is something more in this Scandinavian land, and soon enough, it will be noticed.

Updates to musicGEEK.org

2005-06-12T18:02:00.000-06:00

Recent:
-Interview with Curse You Aqua Scum [link]
-Interview with A Pilgrimage to Save This Human Race [link]
-Interview with Meg and Dia [link]
-Interview with The Fleiss [link]
-Interview with Glint [link]
-New download: El Oso Negro - Lucky Orange Shirt (Demo) [link]

more coming soon.

musicGEEK.org Update

2005-06-07T22:48:00.000-06:00

UPDATES TO musicGEEK.org

Recent (today and yesterday)!
-New download! Dreamend - Of Ravens and Winds [LINK]
-Interview with Dreamend! [LINK]
-Stylized headers up
-New reviews:
-Someone Still Loves You Boris Yeltsin - Broom, by Matthew Montgomery (me) [LINK]
-Billy Corgan - TheFutureEmbrace, by Eric Campbell [LINK]

Soon to come:
-Interview with Curse You Aqua Scum
-Reworking of links system, easier entry etc., tie to artistid for applicable fields, else not. will help to create artists page.
-Lists (should be pretty easy)... now getting lists, that's the hard part.

Someone Still Loves You Boris Yeltsin - Broom

2005-06-05T23:26:00.000-06:00

Someone Still Loves You Boris Yeltsin
Broom
Generic Equivalent, 2005

With a "quirky" name like Someone Still Loves You Boris Yeltsin, one immediately tries to interpolate an aural quality to this Springfield, Missouri four-piece (soon to be five, it seems) band. The packaging is strangely enticing; its relatively simplistic nature is something that not many groups ascribe to "these days" (which is to say, the layout and design of the packaging is evocative of something much older than this very recent release.)

It isn't until the packaging is turned over that the album title becomes apparent: BROOM, it states in what appears a 48 point font face. Unlike the recent (hah! Sgt. Pepper's Lonely Hearts Club Band appears in much smaller text than "The Beatles" grown in flowers does, so it seems that supposition may be incorrect) trend of pushing the band over the album, Someone Still Loves You Boris Yeltsin flouts the trend (though, one may argue that not even having the album title visible from the front may be furthering the trend, the point is not the placement of the album title, but that the album title appears in much larger, more prominent text.) Beyond this, there is something much more intriguing about seeing an album without a title placed prominently on the front: "Is this self-titled? Are they pulling a Peter Gabriel? Will their next four albums also be self-titled?" one wonders. Of course, once the case is turned about, such fears are remedied. After the Peter Gabriel fiasco, who wants to buy a series of self-titled albums, out of fear that they won't be able to discuss them properly ("You know, the one with the melting face on the cover!", despite the fact that you could easily refer to them by year of issue.)

But unlike The Beatles and Peter Gabriel, Someone Still Loves You Boris Yeltsin is currently lacking in the fame department -- their pinnacle seems to be their ranking of #54 on the CMJ top 200 (not a small feat, by any means, particularly for their first full-length, and definitely well-deserved, but they are far from having millions of screaming young girls watching their every move (which is not necessarily a bad thing, I would imagine)) -- but they are certainly not lacking in musical talent. It's not as if they're Malmsteen-esque shredders, rather, they are talented song writers. Their harmonizations on "I Am Warm And Powerful" and the gentle piano-and-acoustic-guitar "Gwyneth" both point to such a statement as being true, examples of the powerful music this young band is creating.

Broom evokes feelings of happiness and a simplistic lifestyle while remaining almost detached sounding (not accidentally, it would seem -- this is a carefully planned detachedness, or at least as carefully planned as detachedness can be). The production quality is astounding -- not only is this free of clicks, pops, scratches, and all the other annoyances that have plagued independent recording for years (though that issue has been disappearing lately, Broom does sound very good, relative to other similar musicians), but listening to Broom seems to give an unmistakeably warming sensation. Broom is easily one of the top albums of the first half of 2005; its jangly guitars and spacious pianos open listeners to a world of music replete with sunshine, green grass, and with tall, leafy trees shading a pond (and in that pond, on any given day, you're likely to see Someone Still Loves You Boris Yeltsin rowing along in a canoe or in the water, taking a little swim.)

Matthew Montgomery

musicGEEK.org Update

2005-06-04T15:19:00.000-06:00

I decided it was high time that I post updates for musicGEEK.org somewhere, and this seemed to be the right place.

Updates today:
-Added Downloads section for historical weekly downloads
-Added Interviews section
-Removed search text until searching support is added
-Made downloads portion of front page easier to update (now through the Admin script)
-Revamped graphics; clean clean clean is the style of the day.

Recent updates:
-Added download of the week: Someone Still Loves You, Boris Yeltsin - What'll We Do (Check it out, it's great)

Coming soon:
-Stylized headers for: About Us, Downloads, Interviews, Links, Lists
-Lists section

Coming in the future:
-Search!
-Artists page

-matt

Deal Number Eight in a Back and Forth Game

2005-05-22T01:12:00.000-06:00

The cards are dealt; I'm only seeing faces. All my chips are in, but my thoughts keep leaving the reds and the greens cast hastily onto the table: no, the whites are at hand. I gaze into the piles, but nothing changes -- the cards have already left the hands of the dealer. The kings, the queens, the deuces (the wild, after all, dictate the game, don't they?) -- they're glancing up from their spot on the table. It isn't until I truly look that I notice the ace, gentle in its demeanor, unassuming -- a real smooth operator, it would seem. I look back down at my chips -- as I thought, a couple of blues, a pile of whites; nothing terribly important; at least, that's what I assume. But I realize, after the chips slide over to their new owner, that I'm still in the game, despite my newly cleaned spot on the table where my chips once sat. The whites? I've got 'em. My comfort zone is gone, and I'm forced to start anew once again. And again, I glance at the cards in my hand -- I'm only seeing faces.

2005-05-21T22:08:00.000-06:00

"When I say that you can hear God in, "One Man Guy" by Rufus Wainwright, I do not mean to suggest that there is an old chap with a beard -- a divine Willie Nelson, if you will -- warbling along with them. Nor do I wish to imply that this surprise guest appearance at the beginning of the second verse proves that Jesus died for our sins, or that rich men will have difficulty entering the Kingdom of Heaven. I just mean that at certain spine-shivering musical moments -- and you will have your own, inevitably -- it becomes difficult to remain a literalist."

Nick Hornby, "One Man Guy", Songbook (p.27)

Bridge and Tunnel - Without Ghosts

2005-05-01T18:43:00.000-06:00

Bridge and Tunnel
Without Ghosts
Pop Up Records, 2005

Without Ghosts opens with a thumping drum that can be equated to the beating of heart, but quickly strays from this path (and by quickly, I mean, four or five seconds), instead opting to explore a mixture of both electronic and electric instruments, crafting a dense, atmospheric sound, complete with clicks and buzzing you'd expect to hear come from a recording made in the basement of the teenage "rock stars" next door. This comparison, however, does not apply to any content beyond the vinyl-style noise.

The often-significantly-altered drums presented on Without Ghosts present an interestingly unique style; the raising pitch of cymbal crashes on "A Wheelchair For Mrs. Ruple" being a notable application of such, as well as the muffled, almost synthesized feeling they are given on "Nothing Is Sacred," a piece in which the vocals are given a similar treatment, as a distinctly electronic-filter-sounding voice sings "If I had money, I'd buy you the world, and then I would blow it up."

The largely instrumental piece, "The Kids Are Dead" seems to exemplify the sound Bridge and Tunnel strove for on Without Ghosts -- the dense-but-forgiving atmosphere, flowing instrumentation, and ultimately soothing style, topped with a smooth woodwind (likely an oboe or clarient, but behind all of the noise, it begins to obfuscate its true origins.) combine to create the unmistakable sound of Bridge and Tunnel. Another notable largely instrumental track is "Tulsa," which follows in the same vein as "The Kids Are Dead," but with the sound of whistling reverberating over the backing instrumentation instead of a woodwind.

At the very least, Without Ghosts is a consistent album; it builds and maintains an interesting sound, continuing to expound upon that sound until the album's close. From the introductory "A Wheelchair For Mrs. Ruple," to the samples of sounds from the classic Super Mario Bros. used in "Smash Up," Bridge and Tunnel has crafted an album worthy of at least one listen, though it would be an injustice to stop there.

Matthew Montgomery

Weezer - Make Believe

2005-04-24T18:21:00.000-06:00

Weezer
Make Believe
2005, Geffen Records

It's been nearly three years since the release of Weezer's Maladroit, which was, like the album preceding it, (dubbed The Green Album by Weezer fans) widely considered to be disappointing, especially in comparison to the band's legendary first two albums. In the time between Maladroit and Make Believe, Weezer recorded and released dozens of demos, only one of which ("Hold Me") actually made it to this latest album.

Make Believe beats any expectations I had for it, though. After hearing "Beverly Hills," the album's first single, and seeing its accompanying music video, the possibility of hearing new, interesting Weezer music again was looking dim. However, as the first track of Make Believe, "Beverly Hills" almost makes sense. It feels like an opening track, just as it should. Even the handclap percussion grows to be addicting after several listens.

An interesting addition to Make Believe is the presence of keyboards. Though this is an element that Weezer has been known to use from time to time, they have never actually used it with such frequency amongst tracks. It's most notable appearance is in "This Is Such A Pity," one of Make Believe's outstanding tracks. The track itself is certainly not "classic Weezer," but such does not remove any potential quality from it. Another primary feature of "This Is Such A Pity" is the meaningful vocal style that many complained was noticeably absent from Weezer's last two releases. In fact, the vocal style of Rivers Cuomo seems to have somewhat recovered. It is more refined than in their first two releases, and certainly more emotionally charged than their last two releases.

The production quality is another notable aspect of Make Believe is the production quality and style. The notable Rick Rubin is listed as producer, but his involvement waned across the year-and-a-half production of this album, so it is important to note that Weezer as a band also had large amounts of involvement in the production. Make Believe's production is not super-slick, nor is it rough and unrefined; it is best described as well-polished.

All said, Make Believe is not Weezer's best release, but it is certainly not their worst. From the opening drumroll of "Beverly Hills" to the final strains of the surprisingly emotional "Haunt You Every Day," this album is certain to leave its mark on music for a long time to come.

Matthew Montgomery

WILLIE ENCOUNTER #13

2005-04-21T10:07:00.000-06:00

WILLIE ENCOUNTER #13

I sit here a disappointed man.

Today, I have learned something new.

The Willie Nelson I have seen so often 'round these parts... is no Willie Nelson at all. Rather, he is "Willie" Oregon, no more than your average impersonator. That is right, the Willie I have told you of is an imposter. From what I have gathered on his background, he has been impersonating Willie since the early 1980s, and before that, was a registered nurse. I can't guarantee any of this is accurate -- and, oh, how I wish it wasn't!

This brings me to question a lot of the experiences I have had -- can I believe anything I see anymore? I adamantly believed that this man was, in fact, Willie Nelson. Who would want to impersonate the man, anyway? He's had more than his share of tax problems in the past, and at the moment, he just isn't that popular. Does he merely get a kick out of fooling those who are not yet used to the state of human nature? Or maybe -- just maybe -- he enjoys seeing people's faces brightened by assuming they are seeing the true blue Willie.

He has applied at the place of my employment now. Maybe he is finished with his false life -- maybe he wants to get back on the right track. Of course, it may be that he's running out of money. After all, I wouldn't assume that his living in his "Willie and Friends" van and travelling Southern Utah would garner him huge wages, to say the least.

But I refuse to believe it. Until my last ounce of humanity is ripped from my being, I will pretend this man is Willie Nelson. I will indulge him in his fantasies -- he is Willie Nelson, country star. It was much more interesting that way.

Today, I have learned something new.

I sit here a cynical man.

WILLIE ENCOUNTER #6

2005-04-15T08:07:00.000-06:00

WILLIE ENCOUNTER #6

Well, it happened again.

I was walking home from work last night, listening to Final Fantasy's Has a Good Home, when I noticed a peculiar van parked in the lot of the local Wendy's. After no more than a momentary glance, I knew whose van this was: Willie Nelson's. Across the front was emblazened "WILLIE AND FRIENDS," and on the sides were fair numbers of stickers, most issuing some kind of musical statement.

It was at this time that I decided that I needed to double check that this was, indeed, Willie Nelson's van. I thought for a moment, then decided it best to get a closer look. Realizing that I had to visit the bathroom in Wendy's -- or at least, I did now -- I turned towards the smiling red-headed girl in blue and prepared myself.

Prepared myself for what, I may never know -- it's not as if there was anything particularly frightening about the man, and it wasn't as if I was actually going to bring myself to say something to the legendary musician. That was all I knew, actually -- he's legendary. Why? I don't know. He was on Sesame Street, though. That's enough to do it to anybody.

So I entered Wendy's, and took a momentary glance around, attempting to spot the man. After a second sweep with my eyes, I noticed a man with long, white hair and a scruffy beard. This was none over than Mr. Nelson himself. Not wanting to make a scene -- and afraid that the employees would grow angry with me for not buying a thing -- I stepped into the bathroom, chuckling a little to myself. My headphones were around my neck, and I could hear the music loud and clear. What did Willie think of that? Was I some obnoxious teenager who walks into places of business solely to visit the bathroom?

Either way, the door opened once I got in there. I hoped for a second that it was Willie -- if it was, I could have my cherished confrontation with him. It would go something like this:
ME: Hi.
WN: Hello. I'm Willie Nelson!
ME: Really?
WN: Yup.
ME: That's cool.
Of course, it wasn't Willie Nelson that had walked in. Just my luck. I didn't really expect the entering man to be him, but it sure would have been interesting. I still remember the first time I saw Willie Nelson around Southern Utah, actually. It was March of 2004, and my family had stopped at an Albertson's to buy snack food -- Triscuits and the like. There was a man outside of the building, and people were talking to him, having him sign something, probably paper. "How odd," I thought. "Why would they have a hobo sign things?" I soon came to know that this was no hobo -- it was a fully-fledged country musician. Willie Nelson, they called him.

I soon left the bathroom, saying nothing to the man I admired for his great hair and beard, and maybe his music, at least a little bit. Either way, Willie Nelson must really like Southern Utah, especially Hurricane.

CloudRun - Nothing in Particular EP

2005-04-11T22:44:00.000-06:00

CloudRun
Nothing in Particular EP
2005

Nothing in Particular opens with a rush of hauntingly sweet strings and a gently played tambourine, opening to reveal a strong female vocalist in Bron Robbins, whose soothing, yet powerful tones compliment very well the music created by the trio that consitutes CloudRun. Based in Brisbane, Australia, CloudRun demonstrates overwhelming musical skill with their stylized folksy brand of indie. CloudRun's obvious focus is on what many consider to ultimately be the most important aspect of music (and with good reason): songwriting. The constructs of traditional pop structure is explored in great detail, but, in the end, rejected in favor of something much more intersting and personalized.

CloudRun's musical venture in Nothing in Particular is is inviting, with occassional bells, a gently strummed acoustic guitar, and some amazingly beautiful female vocals assembled into what an amalgamation of tradition and innovation. One particularly demonstrative track is "Alone," a deeply atmospheric piece with an endlessly interesting percussion section that feels almost native to their Australian roots.

CloudRun, in the nearly three years since their creation, have crafted a sound so unique that Nothing in Particular is destined for some sort of public interest. They have evidently gained popularity in Brisbane, and, from the sounds of this EP, are headed for more widespread popularity. As CloudRun's debut, Nothing in Particular is amazing; as a piece of music, it is much more.

Matthew Montgomery

Broken Social Scene - You Forgot It In People

2005-04-10T19:42:00.000-06:00

Broken Social Scene
You Forgot It In People
2002, Arts & Crafts

You Forgot It In People isn't Broken Social Scene's latest release, nor is it their best, but it is a noteworthy release, at the very least. From the packaging to the first moments, Broken Social Scene creates an undisputably hand-made image, though the actual authenticity of such an image remains mostly in the head of listener as Broken Social Scene produces an ultimately synthetic album, the electronic sound has a clear conflict with what you are visually presented with. Of course, this can still have an enormous impact.

As the album progresses, a slightly rough, uninhibited texture presents itself over the smooth, electronic production. By the time the second track has rolled around, any pretenses of being a solely electronic piece of work have been abandoned in favor of the influence of guitars and drums. "Stars and Sons," an outstanding piece, pushes this point even more strongly. The intensely driving beat, combined with sharp hi-hats and the ocassional muffled scream, is something to be marveled at.

The spacy, loose "Pacific Theme" gives listeners a chance puts the album into perspective, laying out a scene that could easily be interpreted as a hot summer day with a cool ocean breeze, horns blaring and drums chanting rhythmically. This theme is repeated several times throughout the album, executed differently each time, but each time, it is executed with amazing success. Such is the story of Broken Social Scene, and, more specifically, You Forgot It In People.

At a first glance -- and listen -- the music of Broken Social Scene seems to be a contradiction in terms: smooth, jumbled, flowy electronic indie pushed into a tightly assembled package. The real wonder is the success with which they perform this feat -- You Forgot It In People is a fun, intense hour-long album that won't soon be forgotten by listeners -- but, each time it's played, it's like a brand new album erupts from the moulding.

Matthew Montgomery

The Mountain Goats - The Sunset Tree

2005-03-27T21:14:00.000-07:00

The Mountain Goats
The Sunset Tree
2005, 4AD

The Sunset Tree is the latest album recorded -- and soon, released -- by The Mountain Goats, the brainchild of musician John Darnielle. The Sunset Tree's precursor, Dilaudid EP, features several songs that make their full impact in this more complete collection of music, including the excellent "This Year," perhaps the most addicting song on the album, its simple piano and frantically -- yet fascinatingly rhythmically -- strummed acoustic guitar accenting the major style of the album.

Many aspects of The Sunset Tree stand out, particularly Darnielle's lyrics, with the story-telling and metaphors provided allowing for an in-depth listening experience, and what an experience it is! In "Up the Wolves," Darnielle belts out, "I'm going to bribe the officials! I'm going to kill all the judges! It's going to take you people years to recover from all of the damage!" in a perfect example of the unique lyrical quality he bestows on The Mountain Goats.

Beyond the lyrics, though, there is a world of other admirable qualities to explore in The Moutain Goats. Darnielle's dominant acoustic guitar and soft-spoken voice (though, at times, his singing is not soft-spoken, his vocal style certainly maintains such) provide an excellent base for the album, but are not the only factor involved.

Occasionally, a cello enters into the mix, with absolutely wonderful results, most notably in "Dilaudid," where it contributes a frantic pace and feel -- much more so than the alternate version, with guitar replacing the cello, found on Dilaudid EP. In several tracks, a piano plays a part in the unique feeling of The Sunset Tree. In "Love Love Love," reverberating bells add a dreamy atmosphere to the track, perfectly accompanying Darnielle's lyrics.

If there is one apparent flaw with The Sunset Tree, it is that Darnielle's vocals reminisce of one Weird Al Yankovic. Though this is not an obvious flaw, it can cause short fits of laughter when one imagines Yankovic bobbing his head and dancing erratically while singing tracks like "Lion's Teeth" or "Hast Though Considered the Tetrapod?"

The Sunset Tree is, without a doubt, an intriguing, well-crafted album. John Darnielle's unique song writing and vocal stylings have assisted in the creation of what may very well be one of the top albums of 2005. It'll just take another eight months to tell.

Matthew Montgomery

The Mountain Goats - Dilaudid EP

2005-03-24T12:30:00.000-07:00

The Mountain Goats
Dilaudid EP
2005, 4AD

From the nearly-manic opening strains of cello in what is both the first and title track, "Dilaudid," the strength of The Mountain Goats download-only Dilaudid EP becomes readily apparent. Continuing from this excellent introduction with the well paced "This Year," The Mountain Goats offer a preview, of sorts, of their soon-to-come album, The Sunset Tree, and what a preview it is!

The final track of the EP is a reprise of "Dilaudid," though with one key difference: the cello has been replaced by an electric guitar. Dubbed "Dilaudid (Marrtronix Version)," this version of the track is interesting, but not nearly as intriguing as the original. It is certainly not a bland track, by any means, it pales in comparison to the multiple (two, at least) instances of cello played by one Erik Friedlander.

The unique vocal stylings of John Darnielle are easily identified, his clear, slightly nasally voice powering across the music to send the lyrics into the world. This is, inherently, a risky strategy for any group of musicians, but The Mountain Goats pull it off not only with what appears to be ease, but also with an unmistakable style.

While Dilaudid EP may primarily be a preview of things to come from The Mountain Goats, it provides for an ultimately pleasurable listening experience, and, despite the fact that it is only four tracks in length -- three, subtracting the rehashed "Dilaudid (Marrtronix Version)" -- this is, quite simply, an interesting and genuine work of art.

Matthew Montgomery

On the Importance of Pi

2005-03-14T23:13:00.000-07:00

On the Importance of Pi

What is this mythical number -- "pi"? Though many have heard of -- or been taught about -- what is ultimately one of the single most important numbers in the history of human development, few understand its true importance.

Of course, there are a number of important aspects of pi and its affect on humanity. The first is, obviously, the assistance computers have offered in more fully understanding the very essence of nature's most enigmatic number, and the role they play in modern society. Often arguments are offered up, saying that the continuous calculation of pi is a useless endeavour. The truth could not be farther from this supposition: by expending energy to calculate pi, we increase our computing power, and from this, increase the benefit to the whole of mankind. From crunching world-wide statistics, to predicting complex weather patterns, the far-reaching benefits of greater computational power are evident.

Even beyond the pure, unadulterated computational power that comes from attempting to calculate pi is the innovation that comes naturally with such quests to reach any seemingly-unreachable end. A plethora of methods have been developed to explore pi, each more interesting than the last. When one creates a new method for solving -- or at least approximating the solution to -- a problem, one ultimately begins to explore the endless possibilities of this universe (and, perhaps, others.)

There are also many practical applications of pi and its currently calculated 1.241 trillion decimals. For instance, we can now more equally divide (well, we could given extremely precise tools and equipment) a variety of pies into pieces, thus ending many arguments among siblings. Given the tools, each slice of pizza pie, apple pie, or chicken pot pie would be almost exactly equal to its predecesor in terms of surface area -- assuming, of course we were given perfectly round containers in which we can cook or bake these pies. The only way we can get these truly round containers is with more practical application of pi. Besides its homonymical variant, there are a number of reasons that calculating pi more accurately would be prudent: pi has been known to keep many kids off of the street and in their rooms, enforcing a different sense of order on our young population. That's right, put away your sticks and paddles, Mom and Pop, pi is here, and intriguing your kids with it at a young age will help them grow to be adults that are intelligent, and, oddly enough, rational.

Pi is, quite simply, one of the most important numbers ever to touch humanity. After all, at the end of any given search, we will, more often than not, find something we do not expect.

And what do we expect to find less than the meaning of life?

Matthew Montgomery

Successful Web Design, Part Two: User Interaction

2005-03-13T21:07:00.000-07:00

Successful Web Design
Part Two: User Interaction

In Successful Web Design, Part One, I explored what the basis of a successful page should be: content. This is a fairly obvious supposition, as one wonders if a visitor sees nothing of interest, what could possibly keep them there? A plethora of dancing yeti? Perhaps, but the odds of one coming across such a number of dancing yeti is, quite obviously, either extremely difficult to impossible, and even so, visitors want something you can provide that is unique, not simply a repeatable animated gif.

What content, then, can you provide that will be unique? The first question you must ask yourself is whether the content you provide is, in and of itself, unique. If so, then creating interesting content -- or making current content more interesting and unique -- will not be extremely difficult. Otherwise, be prepared for a slight amount of work to reach your goal of retaining visitors.

Unique content can be supplemented fairly sufficiently by supplying some sort of interesting interaction with your visitors. There are several fairly easy methods with which this task can be completed. The first, and perhaps most obvious, method is to offer up some sort of forum or bulletin board with which users can communicate with you, the webmaster. By providing a sense of closeness to your users, you'll enable unto yourself a number of options with your users. Remember, if you start a forum for your users, be sure to actually use it yourself. Don't think of yourself as some high-and-mighty being, either. Rather, talk to your visitors, give them something interesting to think about, and generally be a good 'netizen'.

A forum, however, is sometimes neither a sufficient nor a realistic means of employing user interaction. Something more simple is often desirable over such a large system, and one such way to do that is by employing what has become an ultimately popular phenomenon: the ever-ubiquitous blog. A blog can offer many things to visitors, namely an opportunity to hear -- or read -- from the people behind the site in a largely informal manner. By maintaining and frequently updating a blog, you will be giving users something new that they can read upon each visit, and if you offer unique content, all the better. Offer your thoughts on industry moves, or changes in the local atmosphere, or your latest date with Ms. Destiny. People are largely interested in people, not in a cold corporate face.

There are other methods with which you can communicate with users that will keep them interested: chat rooms, shoutblocks, tagboards. The important aspect of all of this is that you must remain interested and involved. If you don't enjoy visiting your site, who will?

Matthew Montgomery

Successful Web Design, Part One: A Hearty Serving of Content

2005-03-08T20:11:00.000-07:00

Successful Web Design
Part One: A Hearty Serving of Content

The first step to creating a successful presence on the internet is finding a purpose, and, perhaps, a target audience. Whether this audience is comprised of merely yourself, females aged 12-15, or senior citizens, it is important to recognize the sort of content that they will appreciate most.

As such, the most important aspect of successful webpage creation is content. Thinking of your own experiences on the web -- and if you haven't had any, I suggest you start immediately -- are there any pages you frequently visit that are merely a pretty face over an utterly blank body? I assume not; design is an important aspect of a webpage, but only when used with proper content. For many years, the web was nothing but content, but in about 1998, design started playing an important role in reaching the ever-growing audience of 'netizens' (link). Out went the first 'information era' in web design communities, and in came quick, flashy designs that served no real purpose other than attracting viewers who, with any luck on the designer's part, click one of a plethora of advertisements.

With the rise of design and the demise of content as king of the realm, a number of problems surfaced. What were viewers going to do, come back for more? It was like being fed a handful of peas at the dinner table -- of course, they were delicious looking peas, but rather empty. Additionally, viewers were constantly being handed advertisement after advertisement, each more annoying than the last. The 'Information Age' that started in the 1970s almost looked to be in jeopardy.

Luckily, such a gruesome end to the net never came: as more and more people rejected ads as an efficient means of advertisement, many simply blocking them, web designers realized that perhaps something new was in order: content, perhaps? With the 'dotcom' crash, new life was breathed into the web. Google, easily the most popular search engine of all time, gained massive popularity. With a simple design, amazing content, and a "don't-be-evil" approach to the web, it became unreasonable to continue the old methods of advertisement. With Google's popularity, it brought its AdWords program, which became popular not only for its small form and simple design, but for its content: each ad was based on the content of the page it resided on, thereby increasing relevancy, and keeping with the ever-present motto of the web, "Content is King."(2)

The importance of content should not be underestimated. If there is one constant in webpage creation, it is that visitors want something. It is the role of the designer to give these visitors this something, lest they go and find another site to peruse through. Most, if not all, popular websites have gained this popularity because of their content. Wikipedia, the open-source encyclopedia, is massively popular (3) for one distinct reason: the content they offer is useful and easily accessed. Design be damned, without proper content, a site may as well be ignored by the populous.

Matthew Montgomery

2 Irate Pirates Announcement

2005-02-18T18:23:00.000-07:00

NEEDED: WRITERS: REVIEWERS AND OTHER
2 IRATE PIRATES ORGANIZATION
FEBRUARY 18, 2005

The 2 Irate Pirates Organization is currently working on a new venture to be published both digitally and in a print. This new publication will be titled "2 Irate Pirates Music," or "2IPmusic" in short, and we will be distributed freely. We are looking into offering subscriptions that would be mailed, which would come for a small cost to cover expenses.

As such, we are looking for music fans to review albums, singles, concerts, and anything else that is found suitable for proper review. We are also on the prowl for writers for other articles, including biographies, interviews, and more. There would be no pay, unfortunately, but we can provide contributer copies, and if there is anything more we can do, we will certainly do our best.

If you are in a band, or are a solo musician, and would like to be interviewed, or, at the very least, are willing, please contact me, and I will be sure something is set up.

If you are interested in writing, either on a short term (single issue) or a long term (as long as you're willing) basis, please contact me, Matthew Montgomery, via email or instant messenger applications. If you would like to arrange a telephone interview, that can be arranged.

Thank you,

Matthew Montgomery
Editor-in-Chief, 2 Irate Pirates Music
Co-Founder, 2 Irate Pirates
matt@2iratepirates.com

Contacting Information:
EMAIL: matt@2iratepirates.com
MSN: dictatormoonty@hotmail.com
AIM: skamarth
YAHOO: helpmerpg
ICQ: 52750707
PHONE: Available on request

Final Fantasy - Has a Good Home

2005-02-06T11:23:00.000-07:00

Final Fantasy
Has a Good Home
?????? Recording Club, 2005

Has a Good Home starts and ends with a magnificent combination of both the vocals and the violin playing of the man recording under the moniker Final Fantasy, Owen Pallett, better known for his work with recent indie hits The Arcade Fire, as well as his having worked with The Hidden Cameras on their two releases. Pallett's songwriting is, without a doubt, the focus of this album, being presented in a fairly minimalist manner. The sparse nature of this album prevents many of the pitfalls of any music, as it only very rarely jumps into something that can be described as overwhelming.

Occasionally, this does, however, happen, but not with such horrid results as one may expect. One glaring example is the interestingly titled, "The Chronicles of Sarnia," complete with backing tremolo strings, bright, flowing violin combinations, and Pallett's melodic vocals. This is only a momentary distraction from the open soundscapes he produces, however, and he soon moves into more familiar territory.

The almost exclusive use of the violin as the primary instrumentation throughout Has a Good Home lends an almost foreign feeling to the sound, but it is heavily contrasted by a down-to-earth, made-at-home feeling, thereby creating an incredibly unique amalgamation that Pallett has dubbed Final Fantasy. The very name, once it is separated from the massively successful video game series, portrays quite soundly the feelings produced in listeners. The element of fantasy is obvious in this writing style of Owen Pallett's, and, as such, it is the "final" element that is the most interesting to explore.

One particularly outstanding track is "adventure.exe," a piece performed primarily on the acoustic guitar. Gentle, but not overwhelmingly so, this track displays Pallett's lyrical sensibilities. "Hey yo yo yo yo / I need an empire to overthrow / you make me wish for a more dangerous life / so I can show you about some sacrifice," he begins this song. "Say yes yes yes yes yes / say no no no to a natural death / I'd rather give my life to God as well / then have to lie about the bank again."

Has a Good Home is certainly an interesting record, easily one of the most interesting released thus far in 2005, partially, if not wholly, due to Pallett's unique song writing style. Displaying his definite propensity for non-traditional songwriting styles and instrumentation, lyrical skill, and, perhaps, minimalist sense of style, it has difficult to reject the merits of this album.

Matthew Montgomery

Stereophonics - Language Sex Violence Other?

2005-02-05T09:35:00.000-07:00

Stereophonics
Language Sex Violence Other?
V2 (2005)

Language Sex Violence Other? begins with a stunning audio collage of what can easily be interpreted as the last fifteen or twenty years. Lasting only a few short seconds before jumping into song, the introductory track of "Superman" features several significant audio clips, including the ultimately familiar sound of an analog modem connecting to a computer. The repetetive rhythm of the track lends itself to a feeling of what can possibly be interpreted as some sort of comfort within the constraints of song, albeit a strange and slightly manic sort. The following track, "Doorman," maintains the sound established in "Superman" -- a rough but rhythmic attack by the guitars and drums with a quieter dynamic thrown into the mix now and again.

It is in this manner that Stereophonics has crafted Language Sex Violence Other? -- from the start of each track, the remaining bits of the piece is easily predictable. Though often not a desirable effect, Stereophonics has made it work admirably. Obviously not the most innovative of songwriting methods, as it's been in rock music for what seems like millenia, it often makes this album feel at least slightly dated. One particularly outstanding track is "Dakota," and though it, by and large, follows the same pattern as the songs preceding it, its lighter, more relaxing feeling gives this song a particularly interesting sound. The inclusion of keyboards and harmonized vocals as "Dakota" fades is respectable, showing a greater diversity in a few short minutes than the first four tracks of the album combined.

From this point, Stereophonics completely reshapes the flow of Language Sex Violence Other?; where it was manic and confusing, it is now mellow and often fairly smooth. The song structure, unfortunately, is not heavily altered at any point, but by changing the pace from the first half of the album, it is much more listenable in a long-term sense. One excellent example of such is the heavily syntesizer-driven track, "Lolita." Complete with soft, flowing harmonizations, an oscillating keyboard, and a vocal style not yet realized on the album, "Lolita" is perhaps this album's single-most outstanding track.

This albums mixing is, like the band's sound, dense, but somehow, it manages to avoid the pitfalls many mixers fall into when a band crafts a sound like this. The drums are never overpowering, the vocals never too washed out. Despite this albums shortcomings, it is most certainly enjoyable, and worth at least a few listens.

Matthew Montgomery

2005-01-31T21:17:00.000-07:00

SIDEWAYS
2004
FOX SEARCHLIGHT PICTURES
DIRECTED BY ALEXANDER PAYNE
NOVEL BY REX PICKETT
SCREENPLAY BY ALEXANDER PAYNE

Sideways, at first glance, is, unlike the overwhelming majority of releases this year, a film that does not acquiesce to the popular demands of obvious humor, scantily-clad, large-breasted women, or stunning action scenes supporting a thinly-veiled plot. It is, much rather, a film that is incredibly subtle in its ways; much like a fine wine, it delights the senses with its charm, yet deep below the surface, there is something that has been crafted with the utmost of care and patience.

Unfortunately, it is not unusual for a film of this caliber to go largely unnoticed -- that is, until some sort of recognition from a veritable authority is released, and widespread attention on multiple fronts storms in. As this occurs, a great deal of meaning is lost on such an audience, and the true nature of film reveals itself. Like so many things in our culture, the whole, the final product, is much greater than the simple sum of the parts that comprise a film; or, at the very least, it should be.

Even as such, it is critical to break this film into its rudimentary parts in order to fully appreciate the potential quality of Sideways. One of the most essential pieces of a film is, obviously, the quality of the cinematographic art. The subtle nature of the film transfers beautifully into what is essentially the eye of the director, and in doing so, the look of this film is kept not only interesting, but ultimately functional. In one particularly notable scene, lead character Miles Raymond, the only truly possible focal point in the shot, is deliberately kept out of focus, embodying his feelings of loneliness, despair, and heartbreak without resorting to disorienting movie-goers. It is this subtle style that defines Sideways so beautifully.

This film's score, much like the cinematography, was incredibly subtle. Never did it cross into the dangerous realm of becoming a focal point, but rather, it sat comfortably in the background. By and large, the music was hip and jazzy, with perhaps some fusion influence, allowing for a very open atmosphere throughout the length of the film. This quite benefited the film, as the focus was quite obviously on dialogue, not on featuring up-and-coming musicians in an MTV-style showcase.

An element of humour was present throughout this film, even through scenes bereft of any true joy or those rife with human suffering. Some may argue that this helps to create a film that is more palatable to critics than had it been without, but to claim so would be to deny the fact that our own situations of strife are completely lacking in any sort of comedic value. By introducing humour into the Sideways, author of the novel upon which this film was based, Rex Pickett, and screenplay writer Alexander Payne let both readers and viewers more closely involve themselves with the characters and situations.

By now, it is obvious that this film revels in the subtle nature of everyday life, and does so incredibly. Clocking in at just over two hours, Sideways feels much shorter. The plot is thick, though it is only played out over the period of just under a week. When the film comes to a close, a sense of awe and wonderment permeates long after the credits begin to roll. This is a film about life and relationships, and, in its uniquely subtle manner, teaches more than one would expect in such a short timeframe.

Matthew Montgomery

Swansong Marathon, Beacon, and alegionsplague -- January 4th, 2005

2005-01-05T13:44:00.000-07:00

January 4th, 2005
St. George, Utah
Swansong Marathon
Beacon
alegionsplague

Believe it or not, there are small, perhaps even "underground" (though, without a doubt, these are held in establishments placed above ground, with the exception of the occasional basement extravaganza) shows in sunny St. George, Utah. Known for its mild winters -- though they are hardly mild when relative to the boiling summers, this fairly small town is home to a budding music scene. It is often, also, that bands from Sin City itself, Las Vegas (a mere two hours away), make the trek to St. George to play to what is undoubtedly an audience that is at least a slight change from their typical listeners.

This cold January 4th, at approximately 9 o'clock, Swansong Marathon took the stage to perform their unique blend of their hardcore and metal influences. Currently comprised of a mere three members, Swansong Marathon manages to create a full sound with only two instrumentalists, a guitarist and a drummer. It is impossible to emphasize strongly enough that these two musicians seem to have focused very heavily on playing their instruments proficiently. The drummer, one Alex Jensen, threw rhythms into the air with the utmost of ease, giving the music a feeling of depth and rhythm that many bands strive for -- or at least, they should be striving for it. Jason Young, guitarist, provided both rhythm and lead guitar parts masterfully, proving, as many others before have, that two or even three guitarists are usually excessive. There are, of course, exceptions to this -- Radiohead not being the least of such. Perhaps the most intriguing portion of Swansong Marathon's live show was their vocalist, Jesse Cook. His stage presence, while obviously fairly young in its hopefully extensive life, provided a feeling of life to the band while managing to keep attention focused squarely on the music. Swansong Marathon is a young band -- the members are all Juniors in high school -- and have only been together for a short time, but their three pieces they performed were obviously done with care.

Following Swansong Marathon, Beacon, from nearby Las Vegas, prepared to perform in their style of music -- a style that can only be approximated by a dizzying combination of grindcore and hardcore elements. They presented a much more traditional line-up than the preceding band, consisting of an electric guitar, a bass guitar, drums, and, of course, a vocalist. As with all three bands that performed, the term vocalist is used extremely loosely -- they are using their vocal chords, yes, but the manner in which they are used is unique in that screaming and shouting is encouraged, a desirable effect for the music. Their blend of styles was very rhythmically-driven, and it is undoubtedly the work of Mike, the drummer, that caused the style to surface. During one piece, his double-bass work created the inescapable urge to dance -- and being coerced into dancing to hardcore is an extremely unusual feat. The guitar and bass work was admirable, but nothing truly stood out from the fold. Beacon was, as it appears, the most practiced band of the three, and obviously took time and effort to craft a sound that was interesting and unique.

The final band, alegionsplague, was very straightforward in their style. The goal was not to wow the audience, nor was it to create the most listenable music in the history of the Earth. Rather, the goal seemed to be to simply play their music and enjoy themselves. Prior to their actual performance, the bassist, Aaron, and one of two guitarists, Chase, laid down some modern jazz-reminiscent beats, creating a mellow atmosphere. As such, it was refreshing to enjoy a change in pace, though it was only afforded momentarily; the band started their routine of thrashing about wildly while creating high pitched, resonating guitar squealing. The wall of noise created by alegionsplague was virtually unpenetrable, excepting, perhaps, by the vocals of David, who issued abrasive, cutting moments of simply screaming -- perhaps he was screaming written lyrics, but it is often difficult to discern such with music of a grindcore variety. This final band was easily the most active and interesting to watch perform, even if the music did leave elements to be desired. For a mere three dollars, attendees were given the opportunity to watch three young bands in their element, and while it was inevitable to leave with ringing ears, the unique performances of Swansong Marathon, Beacon, and alegionsplague left this audience with something much less tangible.

Matthew Montgomery

Nathaniel Carroll - The Piano EP

2005-01-02T21:26:00.000-07:00

Nathaniel Carroll
The Piano EP

"Everybody sings about New York
Well I guess I can't, 'cause I have never been before
To a place that's filled with pubs and bars
and everyone drives flying cars
well that's what life is like
in old New York"
Nathaniel Carroll, "Midwestern Blues"

"Midwestern Blues" opens Nathaniel Carroll's The Piano EP, a 7" vinyl record. A catchy, easy going pop track, "Midwestern Blues" sets the tone for the rest of the EP. Carroll's style is easily defined by his talented piano work and unpolished vocals; this is no shiny pop record, and from the start, that point is not only shown, but pushed to the forefront and magnified.

"Reunion Rag" is, as the name would suggest, a ragtime piece. The song feels as if it belongs in a nearly fictional Old West saloon, perhaps played by a man with a handlebar moustache. The style feels so authentic that one must wonder if Carroll is not, in fact, a man from the future, exploring musical styles of the past, present, and future, all in an attempt to create music that approaches perfection. Perhaps, and much more likely, the explanation is simply that he is one of many musical artists exploring the influences of his instrument: the illustrious piano.

The final track, "Sometimes," is a slower, heartfelt piece that showcases Carroll's creative writing style, both lyrically and musically. A string section echoes in and out of the track, providing a depth and emotion to the piece. The themes of the song are not uncommon to modern music by any means, but they are very rarely expressed as well they are in this song. Carroll's unrefined yet beautiful vocal style dominates the track, putting forth something genuine and interesting rather than something wholly usual and boring.

The Piano EP is an excellent showcase of Nathaniel Carroll's charismatic songwriting. As to be expected, this is just a smattering of tunes, and an excellent smattering at that. From the upbeat rhythms of "Midwestern Blues" and the bouncy ragtime style of "Reunion Rag," to the melancholy atmosphere of "Sometimes," The Piano EP is a promising release, showcasing Carroll's pop sensibilities and creative stylings.

Matthew Montgomery

The Last Sight You Saw (you did not see)

2005-01-02T01:41:00.000-07:00

The Last Sight You Saw (you did not see)

The moon is made of cheese, as they say. There are numerous individuals who truly believe that this seemingly ridiculous thought is an undeniable fact. If there are people who do not realize -- or refuse to realize -- what others profess to be the one, undeniable truth, then the elements of personal truth and the perception of the scientific can ultimately lead to only one conclusion: the moon truly is made of cheese.

This "cheese moon" makes the concept of the infamous and nearly hilariously-disputed claims of a landing by NASA astronauts on this grey, floating orb quite an interesting claim, indeed. The astronauts did, in their own belief, land on the lunar object on the 20th day of July in 1969, as well as traverse small areas of its landscape. Neil Armstrong's infamous words echoed -- so to speak -- across the void of space: "That's one small step for man, one giant leap for mankind." These recurring elements of personal truth and perception of the scientific in this instance lead to one unescapable conclusion: man landed, via the Apollo 11 spacecraft, on the lunar body we know solely to as the moon.

These two beliefs lead to a great contradiction: the moon, made of cheese, was landed upon by human astronauts in the Earth year of 1969. On its own, it sounds almost reasonable -- and perhaps, to some, almost believable, supposing that no personal beliefs are countered in this process of combat between belief and disbelief. However, if even simple chemistry and physics are considered, this is, quite simply, impossible. The intense heat that a rocket of the sort of Apollo 11 produces will nearly instantly melt cheese. This proves that if one of these two beliefs is true, the other cannot, by any stretch of the imagination, be true. The mutual exclusivity of these two truths leads the doubter to believe that neither fact is true -- facts must not contradict with other facts, lest they no longer operate as facts or personal truths, but as mere suppositions. Both are undeniable facts of personal truth, which is, arguably, the only approachable form of any truth in a society with even the most miniscule bits of individualism or emotion.

Of course, if man did not land on the moon, one of the most vital bases of modern science is removed, and, much like a chair that has had a leg sawed off, tumble to the ground. After all, if these extremely respected scientists are suddenly proved incorrect, then one must examine all of modern science -- scientific truth from an unreliable source is no longer truth. This leads to the extremely irreverent questoin, "Is the moon really in existence at all, and not, perhaps, an optical illusion?" The evidence that the moon exists comes under the pretense that modern science -- and historical science, even -- and without that basis, there can be no reasonable assumption that the moon is what it is purported to be. Does the moon exist at all, even? After all, space is nothingness, and this moon is in space. Nothing can ever truly exist in nothingness, because once something exists within it, it is no longer nothing, and once nothing is something, the nothing that was can no longer exist. If nothing exists or can exist in the void of space, then, the moon, Earth, and Sun do not really exist. If these things we take for truth are contradicted or countered, then there can be no personal -- or even objective -- truth.

When there is no truth, then we cannot, by any stretch of the imagination, know the true nature of our existence. We must create our own definition of existence, perhaps one in which we are literally everything and what we perceive is a mere thought, or one in which we are nothing. The only option, then, is to determine our own personal existence and live it out as if we know not of anything beyond our own personal truths. Live as if our existence will simply end at any moment, and live not in fear, but in the pure emotional bliss of the emotional nature that has driven humanity. Cherish the view of the moon, for upon next waking, it may be no more.

Matthew Montgomery

Top Ten Albums of 2004

2004-12-31T21:20:00.000-07:00

Top Ten Albums of 2004

1. Brian Wilson - SMiLE
2. Ayreon - The Human Equation
3. The Arcade Fire - Funeral
4. William Shatner - Has Been
5. Wilco - A Ghost is Born
6. Tom Waits - Real Gone
7. The Snake, The Cross, The Crown - Mander Salis
8. The Good Life - Album of the Year
9. The Streets - A Grand Don't Come For Free
X. Gorge Trio - Open Mouth, O Wisp

Matthew Montgomery

Untitled.

2004-12-24T01:24:00.000-07:00

Untitled.

The strains of Jon Thor Birgisson's beautiful, flowing vocals echoing over layers upon layers of keyboards, drums, and guitars set the stage for the progression of music from the 20th century to the 21st; the band Sigur Ros only comprising the tip of the iceberg in the world of sound and vision. They have taken the music video, a form of art that has been largely ignored, pushed to the side when taking the form of anything more than a simple view of a band in a catchy, quirky setting.

The Flaming Lips, in a special eccentric fashion all their own, released a version of their captivating release Yoshimi Battles the Pink Robots in 5.1 Dolby Digital sound, harking back to their 1997 release, Zaireeka, an album comprised of four discs, each consisting of two channels of a greater musical adventure, combining to create eight channels of pure psychedelic bliss.

The conformist attitude of pop music has been dropped, and thus, the 20th century in the music of popular culture quickly becoming a dark page in the history of musical expression. This is not to say that, over the last 100 years, there has been no sign of music breaking the invisible boundaries of cultural art -- but it is interesting to note that only now has true, uninhibited creativity started seeping through into the venerable world of music in the history of this world.

Matthew Montgomery

The Love That You Make

2004-12-17T01:56:00.000-07:00

The Love That You Make

Where did love originate? Obviously it stemmed from the act of reproduction which was necessary for the continuation of the species, but how could something that was a mere physical, instinctual act become something that has so defined our humanity?

The feeling of love produces chemical reactions within the physical brain. Perhaps it is best defined as the point at which the sense of attachment that forms with another person clouds one's better judgment, though it is a seemingly cold, harsh definition. The basic feeling of attraction is a form of our animal sexuality, a reminder that man is still not unlike the beasts that roam the Earth.

Obviously enough, however, humans have evolved beyond the point of forming relationships for the sole purpose of the reproduction. Through evolution, man has gained sentience, providing one of the most important pieces of the definition of a human: emotion. The emotions simultaneously displayed by a typical human -- if there is such a thing -- can be, and often are, disparately wide. This incredibly confusing aspect of humanity displays fully that, even as more is discovered of the chemical aspect of the brain, there can be no true understanding of the mind.

Perhaps it is best, then, that love is best left as the metaphysical boundary of humanity, the one most crucial seperation point between our animal nature and our human nature. The art of humanity, the canvas of life is the pure and exclusive property of love. As Vincent van Gogh said, "The more I think about it, the more I realize there is nothing more artistic than to love others."

Matthew Montgomery

In the Blink of an Eye

2004-12-16T05:16:00.000-07:00

In the Blink of an Eye

The Kennedy assassination. The great flood. The first moonwalk. The destruction of Atlantis. The downfall of Rome. Did these things really happen? We are told they happened, yes, and it has been written that they happened. Some have said to have seen these things with their own eyes, chronicled evidence detailing them, or even participated in the events themselves. Every fiber of our being seemingly wants to believe that there can be no way that our history is not "real", but still, we must doubt our own past. Why? Some may say that the past is the only thing that is certain in life, but as the power and perceptions of the mind grow, that certainty diminishes.

There can be no reasonable explanation, some may say, as to the nature of life on Earth. There are those who contend that by offering an explanation to life in the form of an all-powerful being, or beings, as the case may be, that humanity is defiled, shot down, in essence, by its own grasps for greater meaning. By denying the existence of a god or many gods, they claim that the human race removes the power it potentially holds. Man has spent millenia worshipping deities, only quickening its own demise; there can be no true advance when life is devoted to worship. Perhaps the explanation for the rapid progress of science is held in the fact that the numbers of agnostic and atheistic scientists has risen.

Beyond the science of that which lays outside of the physical being, there can be no doubt that religion has, historically, attributed the few readily apparent powers of man beyond self-preservation to sources that, to most, remained invisible to the eye. The great innovators of ancient science did not feel it proper portray themselves as the innovators or scientists, but instead as a mere aid to the hands of those that they felt were holding all the cards. Even things that were easily explained physically were attributed to otherworldly phenomena: miracles. The healing power of medicine, in many cultures, was not a matter of botanic and chemical makeup, but made out to be a matter of faith or divine intervention. The death and growth of crops were seen as the will of the Gods, while they could easily -- and correctly -- be attributed to a lack of rainfall in neighboring regions.

By simply allowing the success of man to be washed away by floods of false praise, the history of man has similarly been washed away. Modern times have done away with this, to a degree, placing much of man's progress solely on the shoulders of man. Even still, theism persists, and billions believe that there is some sort of higher power, be it a God, Gods, alien lifeforms, or the fish in the sea. The power of the mind has stepped from its shady backgrounds -- witchcraft, wizardry, and the overall sense of darkness -- and is slowly entering the light. As the possibility of applications directly involving the power of the human brain rises, we shall begin to realize the mistakes of our past: the brutal murder of men, women, and children, the destruction of entire civilizations, and the elimination of pure, unadultered thought.

The human brain produces electrical signals, and with much scientific and mental progress, can be trained to control the physical world. By admitting that our own minds have the ability to exercise control over our physical state of being, we will, in time, come to realize that the only thing creating our physical existence is, of course, the mind. If we truly believe we do not exist, do we even continue to exist? From that, if we cease to exist, will any remnants of us remain in what we once believed to be the physical construction of reality? After all, once we realize the power of the mind in our own existence, is the existence of anything a certainty?

The power of the mind of man is what truly encapsulates our history. We are certain our history has happened, and thus, in our minds, it has. If we are to claim moral highground, then surely a true examination of our history must occur. To deny the past is to deny our own existence, as the things that have come before us are the things that have made us what we are, just as the things that are yet to come will define us in the future. This is what makes it so difficult to re-examine the possibilities of our past objectively -- if we are false, and our history did occur, then our efforts were done for naught, but if we are correct, and the defined past in a historical sense never occurred, then what shall become of us? Will we simply vanish in the blink of an eye, suddenly aware of the limited truth of our own existence?

Matthew Montgomery

Seinfeld and the Four Noble Truths

2004-12-14T03:22:00.000-07:00

Seinfeld and the Four Noble Truths

In Buddhist philosophy, there are Four Noble Truths: the Dukkha, the Samudaya, the Nirodha, and the Marga. These Truths are reflected very strongly in the four major characters of what was arguably the most popular television series of all time, Seinfeld: George Costanza, Jerry Seinfeld, Elaine Benes, and Cosmo Kramer, respectively. Though each branches into other aspects of the Four Noble Truths, they can easily be generalized into the Four Noble Truths. Perhaps Seinfeld was not truly a show about nothing, but a show about enlightenment.

The Dukkha is the first of the Noble Truths, and essentially states that all worldly life is unsatisfactory, disjointed, suffering. This is very closely reflected in the character of George Costanza, a short, fat, balding man who lives with his parents. With each event in his life, he presents a very bleak outlook on things, pushing forward a feeling of pure and utter torture. He feels the urge to complain whenever anything in his relatively simple life goes wrong, and from his perspective, this is virtually non-stop. He is constantly entering into romantic relationships, then, once things begin to look serious, he attempts to sever the relationship. At one point, he is engaged to be married to a woman, but shortly before the marriage -- during the process of sending invitations, in fact -- his fiancee dies. Nothing seems to go right in George's life, and by no means can he figure out why.

The Samudaya is the second of the Noble Truths, stating that there is a cause of suffering, which is attachment or desire. Jerry Seinfeld, the lead character of Seinfeld, is a comedian who specializes in observational humor. In his career, as well as everyday dealings, Jerry instinctively recognizes the effects that attachment and desire bring. His relationships typically last no more than a few weeks, at which point he begins anew, searching now for new relationships. He recognizes the pain and suffering it brings into his life, but he does nothing to stop it, primarily simply because he does not see how, bringing to life the essence of the Samudaya.

The Nirodha is the third of the Noble Truths, and perhaps the most important to reaching enlightenment, as it essentializes the moment of realization. It states that there is a way out of suffering, which is by eliminating attachment and desire. Elaine Benes reflects upon this in her unique approach to life, viewing relationships as largely harmful, and demonstrating that enlightenment can be reached only through the rejection of worldly attachments and desires. In relationships, she sees the suffering that is caused, and recognizes that the only way to end the suffering is to remove the cause -- breaking off the relationship. She does not always follow through with this, however, providing the essential difference between Nirodha and Marga.

The Marga is the fourth and final Noble Truth, and is essentially the final step in enlightenment. The eternally zany Cosmo Kramer is the embodiment of the Marga as the path that leads out of suffering. Kramer's outlook on life is one of pure beauty. He removes himself from physical attachment and desire. His apartment is a perfect example of such: there is, by and large, a lack of furnishings and decorations that are the cause of suffering. His romantic relationships are few and far between, unlike his three comrades in Seinfeld. He exemplifies enlightenment, if through a slightly skewed lens. He is at peace with himself and his surroundings, he is free from suffering; he is truly enlightened.

Matthew Montgomery

Aqueduct - I Sold Gold

2004-12-13T01:17:00.000-07:00

Aqueduct
I Sold Gold
2005

I Sold Gold starts off with an almost ridiculously catchy combination of piano, entrancingly simple synthesized drum beats, and David Terry's upbeat vocals. As Aqueduct's first full length album, I Sold Gold portrays a suprisingly defined sound. The opening track, "The Suggestion Box," is a remarkably catchy piece with the vocals placed surely at the front of the mix, a jumpy drum track keeping the pace, and keyboards in the back, driving the song's overwhelming melodic qualities.

"Hardcore Days and Softcore Nights" follows the pattern set out in "The Suggestion Box," helping to refine David Terry's sound that is Aqueduct. "Growing Up With GNR" is a both a lyrical and musical tribute that is seemingly to not only Guns N' Roses, but also the very apparent influence that the heavily-electronic music that pervaded throughout the 1980s had on Terry. As what is ultimately one of the most catchy tracks on the album, "Heart Design" proves to both a memorable tune and a track that carries an enormous musical impact.

This is how the album tends to play out, and it is played out with extreme precision. Upon careful listening, the outwardly synthetic feeling produced by I Sold Gold is replaced by feelings that are remarkably genuine. "I don't believe in astrology, but you can read my horoscope, I like to hear your voice," Terry sings in the affirming manner that makes Aqueduct's vocal tracks a meaningful portion of the musical experience. These lyrics are not the most outwardly deep or exotic, by any stretch of the imagination, but in the simplicity of such, the music is perfectly complimented.

The brand of easily stomached heavily-electronic pop presented by Terry's Aqueduct is unique and daring, with a particular emphasis on creating music that interests listeners for a much longer period than a simple perfunctory listen. The subtleties of the aesthetically pleasing I Sold Gold become more apparent after each listen, transforming what appears to be a simple pop record into an astounding album that is not only an engaging listen initially, but an ultimately intriguing collection of music.

Matthew Montgomery

And You Will Know Us By the Trail of Dead - Worlds Apart

2004-12-10T17:33:00.000-07:00

And You Will Know Us By the Trail of Dead
Worlds Apart
2005

In early 2002, And You Will Know Us By the Trail of Dead released their third album, Source Tags & Codes to outstanding critical acclaim. On January 25th, 2005, nearly three years later, they will release Worlds Apart, an album that seems to attempt to follow on this momentum. The first track, "Overture," builds on a simple piano, crescendoing into an orchestrated continuation of this theme, ended by a high-pitched scream and a voice uttering the ultimately cheesy line, "And you will know us by the trail of dead." This introductionechoes what appears to be the mood of the rest of the album -- a glaring attempt to capture the success of Source Tags & Codes. At times, And You Will Know Us By the Trail of Dead succeeds in this endeavour, but at what cost?

Following the introduction is "Will You Smile Again For Me," a piece that starts with a near-impenetrable wall of guitars and drums, when a muted trumpet leads the piece into a fairly minimalistic atmosphere, consisting heavily of a repetitive drum beat and bass line, vocals overlaying this regrettably brief moment of simplicity. Predictably, the song crescendoes into a mess of guitars, vocals and drums that sounds sampled from Source Tags & Codes, and ends in a purely immature sense that echoes the humor that often dominates the early teenage years, as the spoken words "Hey, fuck you man!" are accompanied by samples of small children laughing.

The title track, "Worlds Apart," is a soapbox piece with a vocal melody that, strangely enough, reminisces of the Australian folk song "Waltzing Matilda." The ranting lyrics are almost over the top, seeming shallow and immature while attempting to point out the ills of society. "Their conscience is intact / They've convinced themselves of that / Giving money to Jesus Fucking H. Christ." "The Best" seems to attempt to pull emotional strings, the sound of a person crying leading into the mellow "City of Refuge."

The success of Source Tags & Codes and the impact it appears to have had on And You Will Know Us By the Trail of Dead makes it difficult to examine Worlds Apart without perhaps unfair comparisons to its predecessor. On its own, Worlds Apart feels, for the most part, uninspired. The lyrics lack a sense of creativity, and the music is unusually drab and uninteresting. There are, luckily , exceptions -- the second half of the album is, for the most part, of notably higher quality. "Russia, My Homeland" is an interesting departure into a violin-led waltz, and "All White" has some of the most interesting vocal harmonies Trail of Dead has produced thus far in their short career. "City of Refuge" is remarkably mellow and drawn out, exemplifying

Worlds Apart has a lot of potential, but, unfortunately, it goes largely unexplored. The recording quality is noticeably more clean, the mixing is more clean and polished, but on the whole, the songwriting feels rushed, despite the three years between this album and the last. If anything, Worlds Apart is a mere stumbling stone in And You Will Know Us By the Trail of Dead's journey towards becoming ultimately interesting and innovative musicians.

Matthew Montgomery

Dream Theater - Live at Budokan

2004-12-10T01:55:00.000-07:00

Dream Theater
Live at Budokan
2004

Live at Budokan marks Dream Theater's third full-length, live album release, aside from the few official bootlegs that have been released on drummer Portnoy's YtseJam Records. Dream Theater's second three disc live release was recorded at the Budokan in Tokyo, Japan on April 26th, 2004, during touring in support of their 2003 album, Train of Thought. Live at Budokan is a three disc set, basically a documentation of a single live show. The setlist for the show, while not unexpected, provides for an interesting listening experience, but an undoubtedly more interesting live experience.

As such, Live at Budokan's first disc opens just as Train of Thought did. From the distance -- and growing ever closer -- is the sound that ends 2002's Six Degrees of Inner Turbulence, opening the album and, alongside John Myung's mesmerizing bass playing, introducing "As I Am." In typical Dream Theater fashion, the performance is immaculate, at times breaking away -- though usually only slightly -- from the recordeding on Train of Thought. Follow "As I Am" on both Train of Thought and Live at Budokan is "This Dying Soul," which proves to be another excellent reproduction of the album track, with the unique stylings that come when Dream Theater plays live.

It is not until the third track, "Beyond This Life" from Metropolis Part II: Scenes From A Memory that Dream Theater displays the true power of the live experience they produce. The song is faithfully reproduced, including guitarist John Petrucci's complex, impossibly fast riffing, until the central solo comes around. Keyboardist Jordan Rudess and Petrucci interchanage solos as expected for a short time, when Rudess fades out, and Myung hammers out a riff repetitively, while Rudess, Petrucci, Portnoy, and occasionally Myung himself throw solos back and forth between the four musicians. These moments are what set Dream Theater's live albums apart from more the bland recordings of more traditional bands -- they are obviously not afraid to improvise and display both their technical and stylistic skills. Somehow, as if by miracle, the band takes this extended jam and transforms it back into the ending three minutes of "Beyond This Life," almost shocking the audience into realization that, all this while, these outstanding musicians kept the rest of the song in the back of their minds.

Following the extreme complexity and intensity that was exhibited in their performance of "Beyond This Life," Dream Theater slows the pace of the concert with the calm "Hollow Years." In his usual fashion, Petrucci's guitar solo is extended and complexified, giving the song an entirely new meaning. "Hollow Years" also gives vocalist James LaBrie a chance to display his powerful, melodic voice that has helped to carve nearly fifteen years of Dream Theater's musical history.

The twelve minute "Instrumedly" could easily be considered the most interesting musical point of Live at Budokan, consisting heavily of moments from Scenes From A Memory's "The Dance of Eternity," as well as from, among others, "Metropolis, Part 1," "Erotomania," and the Liquid Tension Experience piece "Paradigm Shift," not to mention an ultimately humorous interpretaion of "Heart and Soul" by Rudess.

Live at Budokan helps to raise the standard for what a live album should consist of. The quality of the recording is markedly pristine: LaBrie's vocals are crisp and clear, the open quality of Portnoy's drumming makes itself heard throughout the album, Rudess's dramatic keyboard playing flies through the sonic ambience of the crowd, Myung's visceral bass rhythms provide an excellent backing for the pieces, making themselves heard while not overwhelming listeners, and Petrucci's large, epic riffs cut through the mix like a knife through hot butter. Live at Budokan is easily Dream Theater's most successful live album to date, in all of its three-disc glory. As Dream Theater's sole official release for 2004, this release both appeases fans and gives casual listeners nearly three hours of solid music, a rarity in music. If anything, this album is a demonstration of the influence and power Dream Theater will likely have for many years to come.

Matthew Montgomery

A Reach For Hands?

2004-12-09T01:55:00.000-07:00

A Reach For Hands?

Lord Tennyson once said, "'Tis better to have loved and lost than never to have loved at all." One must wonder what he means by such a statement. Does he simply mean that experiencing love is one of the most vital journeys we can take in our life? Having once loved is ultimately greater than having never felt the mind-boggling feelings love produces with such ease -- after all, without having felt these overwhelming feelings, how would you ever know what the human mind is possible of? Striking on a similar chord, Japanese poet Otomo no Yakamochi said, "Better never to have met you in my dream than to wake and reach for hands that are not there." Perhaps never having loved may leave you in a blissful ignorance -- but to strive for ignorance is to accept defeat in life.

Matthew Montgomery
Winding down from a Communications Essay
thanks to Allyson for the topic

Seinfeld and Communications

2004-12-08T21:57:00.000-07:00

Seinfeld and Communications

An excellent example of many communication behaviors is the long-running television sitcom, the infamous “show about nothing,” Seinfeld, which is widely considered to be one of the most succesful television series of all times. There are four main characters: Jerry Seinfeld, George Costanza, Elaine Benes, and Cosmo Kramer. Whether done purposefully by the writers of the show or by a simple incidental reflection of communication styles in our culture, Seinfeld exemplifies many of the communication behaviors we take for granted, all in a very humorous manner.

Jerry Seinfeld, who is the main character of the series, is a comedian, much like his real-life counterpart. The character is a fairly typical male – he avoids asking questions out of fear for appearing weak, often to his detriment. He is not afraid of giving critique without an expectation of feedback in most cases, and often is harsh in his criticisms. In his relationships with other characters, he offers advice to attempt to solve problems in a situation, but doesn't always listen to the whole story before making his decisions.

George Costanza, Jerry's best friend – or so says George – also exemplifies typical male communication behavior, although in a much more negative manner than Jerry. He is abrasive in his criticisms, seemingly unafraid of who he will offend – until he offends someone. Once this occurs, however, he attempts to reconcile, usually in fear of losing a friendship or love interest. He often doesn't think before he speaks, which caused numerous problems for the character in the series. He can also be quite shallow, as evidenced in the episode “The Nose Job,” “You know the ironic thing is if she had a smaller nose, I never could have gone out with her in the first place. She'd be out of my league with a smaller nose. And I really like her, I know that. And I know one other thing. I'm not getting past that nose.”

Elaine Benes, Jerry's ex-girlfriend, is an excellent example of female communication styles. Rather than talking about problems for advice, she vents her frustrations for sympathy and to air her concerns. Her non-verbal communication is very animated, and it makes it apparent that she is either listening attentively, or not listening at all. She does not often interrupt conversation, like any competent communicator should. Also, like most females in American culture, she compliments with expectations of compliments in return.

Easily the most interesting character in a communication sense in Jerry's neighbor, Cosmo Kramer, who goes only by his last name. He is a paradoxical amalgamation of communication styles, both positive and negative. His communication competence is very under-developed, almost in a child-like manner. At times, he can be innocent and trusting, expecting that people in hustle-bustle New York City will do things out of the goodness of their heart. He can be brutally honest, criticizing without concern for the emotional impact it has on others. Sometimes, he is inattentive, simply nodding and responding tersely. He is also very assuming – Jerry is often frustrated with the fact that Kramer will enter his apartment, take some food, and leave. In some regards, he is very open – especially in personal matters – once he gets to know a person. However, he can also be very closed, even to his best friends. For years, his friends didn't even know his first name (Cosmo), despite the close relationship they shared. When George, by pure happenstance, meets Kramer's mother in a bathroom, he discovers Kramer's first name. Jerry exclaimed, upon finding that George had discovered Kramer's secret, “I've been trying to get it out of him for 10 years!”

These four very comedically written characters are true paragons of different communication styles, and as such, most of the problems that occur in the very loose plots of Seinfeld are due to breakdowns in communication. There can be no doubt that Seinfeld is a show that, quite simply, revolves around interpersonal communication.

The Arcade Fire - Funeral

2004-12-03T14:06:00.000-07:00

The Arcade Fire
Funeral
2004

Funeral, the debut full-length release of Canadian band The Arcade Fire, captivates from the first notes of "Neighborhood #1 (Tunnels)." The combination of an ultimately repetetive drum beat with a piano, adding to the almost reluctant feeling of the piece. The soothing background vocals topped by Win Butler's almost mysterious presence contribute heavily to the first track, creating inescapable premonitions of greatness for the album.

The second track, "Neighborhood #2 (Laika)," maintains the feeling of repetition the drums provide, adding an air of certainty to The Arcade Fire's unmatchable style. "Une Année Sans Lumière" starts in the way the first two tracks have -- fairly simply. As the song progresses, it builds into a nearly overwhelming mass, with a choppy, distorted guitar splayed across the musical canvas, perfectly foreshadowing the coming track.

The musical diversity of The Arcade Fire is made evident in "Neighborhood #3 (Power Out)," bells jumping over the wall of guitar and the once-again repetitive drums that are, this time, jumping from ear to ear. The sounds of tea kettles complaining of water boiling inside them on "Neighborhood #4 (7 Kettles)" are perfectly complimented by tremulous flutes and violins. Funeral is obviously not an album with traditional instrumentation, rather, it is an album that is not afraid to explore many of the orchestral instruments which are so often overlooked.

Though the elements of most of the songs on Funeral are basically the same -- repetitive drums, a soft intro seguing into a stronger, more bold piece, Butler's captivating vocal style, and a near-hidden melody, The Arcade Fire manages to keep each track interesting. The waltz "Crown of Love" displays this musical attitude with a romantic charm, stepping away from the traditional beat structure that has dominated the album before jumping into a four-beat percussion structure under a nine-beat string section in what is perhaps the most musically intense point on the album.

The lyrics on Funeral are strong, but not easily noticeable in most tracks. The greatest exception to this is the closing track, "In the Back Seat," fronted by Butler's wife, Régine Chassagne. Her mesmerizing voice echoes out, "My family tree's / losing all its leaves, / crashing towards the driver's seat, / the lightning bolt made enough heat / to melt the street beneath your feet." Though simple, the lyrics are packed with meaning and feeling, a feat not often accomplished by most lyricists, let alone in a debut album.

Easily one of the most successful debuts for any band in recent times, The Arcade Fire has more than enough potential to sweep the music world off of its feet, sending it in directions that even the dreamers have never dreamt.

Matthew Montgomery

The Snake, The Cross, The Crown - Mander Salis

2004-12-02T17:37:00.000-07:00

The Snake, The Cross, The Crown
Mander Salis
2004

Mander Salis, the first release of Equal Vision Records band The Snake, The Cross, The Crown, starts with an extremely synthetic feeling -- almost to the point of crossing into video game territory -- keyboard line leading into a dense spattering of distorted guitars and vocal refrains. "An Honest Misappropriation of Funds" opens Mander Salis in a big way, a true pace-setting piece. This track leads into "Empires," a track whose guitar meanderings that surely reflects on the Southern roots of the band, who formed in Huntsville, Alabama.

The Snake, The Cross, The Crown shows itself as a band that isn't afraid to make its roots known, as the unique style of the band seems to draw influence from Southern rock and folk, among other styles of music they likely grew up listening to. "On the Threshold of Eternity" echoes with folk influence; clean guitars backed by a tamborine and a keyboard that later overtakes the song, leading into an atmospheric wandering across the stars.

"A Brief Intermission" is an excellent example of the band's more mellow style and influences. This track is, just as the title states, an intermission from the dense, atmospheric sound that dominates the album. It also gives the lyrics a greater chance to shine, which is the most regrettable feature of the sound, as the vocals largely just blend into the guitars, keyboards, and drums.

As evidenced by the following excerpt from "A Brief Intermission", The Snake, The Cross, The Crown have potential not only as musicians, but as lyricists: "She just smiles and nods her head 'oh welcome home' but oh those mines / can't you see, we're just much too deep for your sins / though you buried them beneath the mountaintops where are you going with the cold skin blues." The overwhelming feeling that the music tells some sort of story could easily drive the music, but too often, the vocals get lost in the depth of the music.

The largely instrumental progressive and psychedelic-tinged nine-minute track "Echolalia" is, perhaps, the high-point of the album. Starting with smooth, flowing guitars and a repetetive percussion section that somehow manages to be powerful enough to drive the song -- after all, it consists mostly of a single large bass drum for the majority of the piece, "Echolalia" is a dazzling experimental track that shows a glimmer of the full potential The Snake, The Cross, The Crown seemingly possesses.

Mander Salis makes a mark as The Snake, The Cross, The Crown's first full-length album. At times, it is apparent that this band has not yet reached maturity. Some tracks, like "The Sun Tells the Moon" and "Gates of Dis" don't quite match up to some of the more outstanding tracks -- "Echolalia" and "A Brief Intermission" are two such tracks that make a definite positive impact on the listening experience. Even so, Mander Salis is an excellent debut album, and shows much potential for this band's future efforts.

Sparklehorse - It's A Wonderful Life

2004-11-29T17:48:00.000-07:00

Sparklehorse
It's A Wonderful Life

Sparklehorse's It's A Wonderful Life opens with a dreamy, cloud of a song. A string section echoes underneath the voice of vocalist, Mark Linkous, and the soft, melodic sound of bells create an omnipresent mood, giving this album a very strong sense of style. The following track, "Gold Day," is a warm, flowing piece that takes the sound introduced in the title track and expounds upon it. From this point, "Piano Fire" stands out as a departure. Fast-paced and upbeat, "Piano Fire" is an issuing of the flexibility of Sparklehorse's sound.

It's a Wonderful Life was co-produced by Dave Friddman, bassist for Mercury Rev and co-producer of many releases by The Flaming Lips. His influence on the album is obvious; the psychedelic stylings of The Flaming Lips can be heard throughout. Another vital influence is Tom Waits -- though it is certainly not heard in the vocal stylings, excepting the track "Dog Door," which features the infamous Waits performing in the style that has defined his music over three decades. This is a monumental collaboration for Linkous in particular. ("Without Tom Waits, there wouldn't be Sparklehorse," he commented.)

Sparklehorse has created an introspective, focused masterpiece of an album with It's A Wonderful Life. This is one of the few great albums that listening to a mere half of it can truly inspiring. Listeners will discover that each of the tracks stand firmly on their own ground, but when combined into an hour-long work, they create something much more powerful and grandiose. From the gentle meanderings of "Eyepennies" to the tight rhythmic feeling of "Comfort Me," It's A Wonderful Life is a spectacular album that shows that Sparklehorse has enough potential to reshape the face of music entirely.

Matthew Montgomery

The Conspiracy Complex

2004-11-23T15:46:00.000-07:00

The Conspiracy Complex

What drives the human obsession with conspiracies? Is it a grasp for a greater overall meaning to the seemingly meaningless events that make up our lives, or is it because we have been so conditioned over many years of being lied to by supposedly superior powers?

Many conspiracies are composed of miniscule links between the small things that make up our lives. Most of these events are actually not connected in any realistic sense, but, nonetheless, people attempt to prove something that so blatantly cannot be true. Why, then, do we persist in perpetuating these conspiracies?

One very large reason for the perpetuation of these false conspiracies is the fact that so many conspiracies that were once very largely unprovable have found themselves proven in recent times. Up to 1963, the Mafia was quite unknown to outsiders until their existence was revealed by Joe Valachi in a testimony to a congressional committee. Until their ousting, the Mafia, or La Cosa Nostra, was practically invisible, despite the very large -- and very clandestine -- role they played in US politics and economics. The Mafia were able to transform Las Vegas from a sleepy city in the desert to the gambling hub of the world through investments, signifying their true power and influence. The fact that they went from being relatively unknown to a world power has contributed heavily to this conspiracy complex that exists within our society.

Another conspiracy that has very strong roots in reality has taken place during the 2003 Iraq War. Theories floated around Iraq and the US, among other locales, that there had been a secret deal between high-ranking US and Iraqi military personnel in which Iraqi elite had been bribed to stand down. This theory arose largely from the fact that Iraqi resistance was strong at the start of the war and quickly collapsed, but this was largely ignored or ridiculed in US media. However, in late May 2003, General Franks confirmed in an interview that the United Sates government had in fact paid off high-level Iraqi military members.

One very famous, but almost undeniably false conspiracy theory is the "Paul is Dead" theories surrounding The Beatles. The theory stated that bassist Paul McCartney had died and was replaced with a look-alike. Clues were searched for by Beatles fans across their albums after McCartney was mistakenly announced as having died by a solitary radio DJ from Detroit. From one earnest mistake, a complex conspiracy was formed. Lyrics were examined, artwork was picked apart, and audio was reversed, all in search of clues to McCartney's death that never took place. Perhaps this is because ardent fans often find it much more interesting and time consuming to find small clues to some non-existent conspiracy theory, allowing themselves to bask in their obsession.

Another conspiracy theory that has permeated throughout our society is the "Apollo Landing Hoax" concept. Most versions of this conspiracy theory revolve around a fairly small number of factual -- if misunderstood -- observations and a large number of unsubstantiated claims that "prove" the theory. The pinnacle of this conspiracy's popularity was hit in 1999 -- according to a Gallup poll, at least 6% of the United States population believed the conspiracy theory, while nearly all scientists and historians rejected the claims. Though the possibility is there, it is infinitely remote. It has even been alleged that director Stanley Kubrick was hired to direct the first three moon landings, likely for his work on 2001: A Space Oddysey.

Why does our culture so strongly support the existence of these conspiracy theories? Perhaps it is part of the human search for deeper meaning in our life and surroundings, the same search which has spawned countless religions, inspired millenia of philosophers, and is arguably the driving force of humanity. While conspiracy theories may often seem outlandish, they encourage healthy thought and consideration of that which has been thought impossible. After all, isn't that what makes us human?

Matthew Montgomery

The Three Laws of Robotics and Humanity

2004-11-23T03:13:00.000-07:00

The Three Laws of Robotics and Humanity

Around the year 1940, Isaac Asimov established The Three Laws of Robotics, a hierarchial set of guidelines the robots in his stories were forced to obey. These rules were more than just operational guidelines for fictional machines, they are a set of ethics that reflected heavily on humanity.

The First Law states: "A robot may not harm a human being, or, through inaction, allow a human being to come to harm." This is easily the most vital of the laws, as it sets a very solid base for the other two. This illustrates the basic fear existing within humanity of the unnatural, of the mechanical and non-organic. For millenia, humans have lived without electronics, existing in environments crafted by their own hand. The homo sapien has lived largely independently from other organisms, save for the hunting of food. By creating machines that are capable of even low-level logic, we have, in our own mind, created a non-organic organism.

Though most computers or machines are not organisms under any stretch of the definition, our mind conceptualizes the processing of logic as an organic method, and computers have this in overwhelming quantities. Computers approaching extremely high level logic and organic methods of existence have broken down these rudimentary barriers that humans see as the point of seperation between us and these machines, and that has given a rise to the fear of machines, or mechanophobia. This fear is typically caused by the realization that we are not in control of our fate, and our fellow humans are the cause.

Typically, humans see machines as devices created for one purpose only: to serve. In essence, they are slaves. While this is acceptable by most standards under current conditions, the whole situation is turned upside-down when the possibility of sentient thought in robots is introduced. When robots approach the values that make humanity unique among all creatures of the earth, we begin to fear that our usefulness will decline. One of the greatest fears among humanity is the fear of having no use, to be something that exists only for the sake of existing.

This issue was approached very heavily in the Science Fiction series Star Trek: The Next Generation through the character Lieutenant Commander Data. Data was an android created by the cyberneticist Dr. Noonien Soong, something truly unique in the Star Trek universe. He was capable of extremely high-level logical thought and was well known for his aspirations towards humanity. In the episode "The Measure of a Man," it was determined that Data was, in fact, a sentient being. This is only one example of the machine sentience that has frightened humanity for decades.

Another famous example this fear is present in the 1999 film by Andy and Larry Wachoski, "The Matrix" and its universe later portrayed in various mediums, the least of which includes two additional movies and a series of short animations. In "The Matrix", human-created machines have gained sentience, and, seeing with their new-found humanity that they are merely slaves to humans, begin what would later become an all-out war that ended with the ultimate slavery of humanity in an almost shocking reversal of roles.

Ultimately, Asimov's First Law of Robotics illustrates the natural fear of that which is far more powerful than one's self. By creating this First Law, Asimov illustrates an intense understanding of this concept and an overwhelming refusal to allow human cultures to reject scientific progress in favor of the preservation of self identity.

The Second Law states: "A robot must obey the orders given to it by human beings, except where such orders would conflict with the First Law." This is a logical extension of the First Law in that it allows humans a greater control over robots. Without it, robots could easily be stubborn, utterly useless creations of metal and silicon, serving no purpose whatsoever. By creating robots, humans have historically expected some sort of service from them. A robot which is built for no particular purpose is, in the current mindset, a useless robot.

Historically, humans have always strived for power. This is one of the few constants of humanity over time, and it has led to the fall of many an empire. Though it is certainly not an unusual phenomenon among humanity -- but a recent and poignant one -- slavery in the United States illustrates this concept with ease. Not always limited to the African American culture, this slavery was the ultimate exercise in control over others. Similarly, robots have thus far undergone a similar situation. Though they are not truly sentient by any stretch of the imagination, they are slaves to a master that ultimately has control of everything they do.

When Asimov decided that humans would possess complete control over robots under The Three Laws of Robotics, he issued a very clear statement about our nature: humans desire one thing above all others: control.

The Third Law states: "A robot must protect its own existence, as long as such protection does not conflict with the First or Second Law." This law reflects very clearly on the animal nature of humans and also confirms the animalistic existence of robots. All creatures are "programmed" with one specific goal in mind: self-preservation, whether it be long or short term.

Through this, nearly all animals exhibit a symbiotic existence with their environment, the most obvious exception being humankind. This relationship allows the further long-term existence of a species, and is thus an essential law to be introduced into robotics. If sentient robots were to surrender themselves to a form of death -- unless ordered to do so, as per the hierarchial order of the laws.

This law illustrates the fact that humans are, in fact, animals at their very base, and as such focus very much on self-preservation. This is ultimately the law that creates the humanity of the robots, providing for sentience in a very perceptive way Asimov was infamous for. On a surface level, this law protects the interest of humans, it more specifically ensures the continued existence of robotics.

The Three Laws of Robotics may outwardly seem like a very human ploy to ensure that their creations continue to service very human interests, but it is also apparent that these laws reflect very strongly upon our own human existence. Essentially, the Laws confirm that a sentient robot is much more than a system of wires and processors, they confirm that a sentient robot is as human as any of us.

Matthew Montgomery

Seven Years Old in San Francisco

2004-11-22T10:01:00.000-07:00

Seven Years Old in San Francisco

When I was seven, I lived on Treasure Island, a man-made island right off the coast of a little town some called San Francisco. Treasure Island, originally built for the 1906 (?) World's Fair, had been changed to a military base. Once, while on a field trip to the local museum, I learned that, in my seven year-old words, "naked ladies danced there." I was both shocked and apalled; I was as morally outraged as a seven year-old can be.

My father had joined the Navy several years earlier, and, as such, we had been relocated more than once. This was our third home in California, the previous two having been in Monterey and Valejo. Though Monterey was easily my favorite place to live, San Francisco provided me with many insights on the human experience.

One Sunday, during the summer when my aunt came to live with us (she was 13, which now seems young to me, yet infinitely old at the time), we started driving to church, only to find that our frequented roads were blocked. It turns out that we had failed to realize that it was Gay Pride Day, and we were unlikely to be able to get through the celebrations and the parade in any short amount of time. When we passed the Adam & Eve, a strip-joint, my mom instructed myself, my brother, and my sister to close our eyes, which I promptly did. My seven year-old brain had no idea what was going on -- I barely understood heterosexuality, let alone deviations from it, so I did as I was told. My aunt later declared herself homosexual, and a part of me wonders if this encounter was at all influential in her decision.

Our house on Treasure Island was fairly small -- but for my tiny body, it was more than enough. We had two cats -- Edison and Sassy. Edison was a black and white tabby, quite a furry little feline, if I recall. Several times we thought we had lost him -- he was a cat that remained indoors, excepting the times when his determination got the better of us. Once, during a fierce rainstorm (not an infrequency in San Francisco), he darted out the door. We assumed he was lost, but within a few days, our beloved pet returned. He knew his way around the neighborhood, it seemed.

Our other cat was named Sassy, and with good reason. In my memory, Sassy was, quite simply, a bitch. She was a moody Siamese and perhaps the only childhood pet that I remember in a truly bad light. I may miss Edison and his calm, friendly antics -- unlike typical cats, he loved water -- but I am far from missing Sassy.

We lived in Clark Court, and across the street lived my friend Tyler. We were in the same first grade class; our teacher was Mrs. Hayes. Like many kids, Tyler wasn't always the nicest person to be around. I was very soft-spoken, and, as such, the combination of these two elements often led to disaster.

One particular incident occured the day Tyler was holding a party, probably for a birthday, but the meaning of the event escapes me. On our way walking home from school, he had said something along the lines of "Everyone whose name starts with an M is stupid" or another equally childish obvious derision towards my name. Quick on my feet -- or tongue, more appropriately -- I responded with "Isn't your middle name Morris?" (I can't imagine having such parents to name me as such, it all seems rather cruel now.) The incident ended with me in tears to my mother, crying about being poked fun at. Later in the day, Tyler came by to apologize, and I grudgingly accepted.

Later that day, he came by with a couple of friends. Noticing the water guns in their hands, I immediately slammed the door. My mom came running out to see what the commotion was about. "They had water guns!" I exclaimed. She chastised me for my rudeness and told me to open the door, which I did. Tyler merely wanted me to come to his party and told me I could use a SuperSoaker(R) in the water fight they were having. My mom obviously wanted me to enjoy a full childhood, and off I went. Unfortunately, I wasn't aware that you had to pump these weapons to increase the air pressure, and before I was able to even fire off a shot, another kid decided that my turn was up, promptly stealing the toy. I walked back across the street and went home with an upset disposition for the second time that day.

My friendship with Tyler ended one day when I decided that it was time that I share my religion with him. I was a faithful LDS kid (something that certainly changed as time went on). Having been taught that the only way to enter the "Celestial Kingdom" was to be a faithful, obedient member of this church, and I couldn't stand to let me good friend merely make it to a lower level of this Heaven. One Sunday I gave him a copy of The Book of Mormon, the book from which a fair amount of LDS teachings derive. Only hours later, his father came to the door with quite an irate look on his face. Apparently angry that I had wanted to share what I thought was right at the time, Tyler's father told my mom that he didn't want me giving my son any more books and returned my gift. A few days later, his mother invited my mother and I over to their home so that she could apologize for the incident. I can still remember the wicker basket filled with books they had sitting on their light-beige carpeting.

My family invited the local missionaries over for dinner on a strict schedule -- usually once a week. At times, we had to cram the six of them assigned to the San Francisco mission into our Chevy Impala -- quite a difficult feat, I would imagine. It is odd to realize that some of these young men were mere months older than I am now, and that they somehow managed to keep themselves out of trouble in the big city, at least as far as I knew.

Also in my first grade class was a kid we called Chuck. He was a fairly heavy kid-- once, whilst on a field trip to a theater, he got himself stuck in his seat. He also seemed to like me a lot, what with the hugging and kissing he sprung upon me at random times. This made me quite uncomfortable, so I told my mom about it. I expected her to take care of it, but, like a mother indeed, she told me that I needed to write a letter to my teacher and explain the situation. Once I did, the affection stopped, and life was as normal as it could be.

Another classmate that year was Tarron. He had orange hair and a friendly attitude, and because of this, we got along very nicely. I considered Tarron my best friend. We would draw pictures of each other during our allotted "free time." I usually drew him wearing his favorite Ninja Turtles t-shirt and with his fiery orange hair poking every which way. Though definitely unrealistic, it was the summation of my perceptions. He wasn't in my second grade class, and we grew distant, like kids often do. Just before I moved to Hurricane, Utah, I told him I was leaving, we said goodbye, and that was all.

My second grade teacher, Mrs. Dixon, was gone for most of my stay. She was having a surgery of some sorts, so we had a permanent substitute. We called her Ms. M, and she was quite a nice lady. Unlike Mrs. Hayes, she never made us fingerpaint, dissect octopus, or sat us in front of a TV to watch The Hobbit (a story I would come to appreciate much more as my comprehension and fascination with fantasy grew), and I appreciated that. I thought I was in school to learn, not to waste my time with television.

One of my first friends in second grade with Mrs. Dixon was Kim. We sat at the same table on the first day of school that year, so I got to know her as well as a second grader can in one day. I saw her drawing, and, noticing her "realistic" depiction of the San Francisco pigeon, the seagull, I complimented her, and she offered to teach me how to depict these birds. It turned out easier than I thought -- it was really just a variation of the letter M. She also watched the popular science fiction show, Star Trek: The Next Generation, much like myself, though perhaps not as frequently or enthusiastically as myself. I discovered this one day when she pulled her hair band across her eyes and dubbed herself Geordi after the beloved Chief of Engineering.

There was one other LDS family in the school, and two of their children went to Treasure Island Elementary School. My favorite was Kelsey, who was probably my first crush as a kid. Like Kim, she also watched Star Trek, and this tickled my fancy. We would play together nearly every recess, spotting each other from across the playground. Sometimes we would draw mini-episodes of "Star Trek: The Next Next Generation" on pieces of paper we had scrounged together. It was really quite romantic in reflection, although I would have certainly denied it at the time.

Next door to my family was a family with one child -- I believe his name was Wesley, and he was probably 12 or 13. When my parents wanted some time alone, he was my babysitter, and we would play games and watch television. He was also a fan of Star Trek, and, to my shock, had Star Trek trading cards. He told me where I could buy them, and, to my delight, my mom went out and bought a few packages for me. I still have the cards, tucked away in a shoe box, along with many other Star Trek trading cards I would collect over the years and the Star Trek action figures I cherished.

One Christmas, my parents bought me several Star Trek action figures -- Lieutenant Commander Data, Lieutenant Worf (this was still several years before his promotion to Lieutenant Commander), and Captain Jean-Luc Picard in his casual grey uniform. they came complete with miniature PHASERs (with a red beam shooting from it) and tiny tricorders -- to scan other toys for intelligent life, I suppose. I would play with these toys for hours on end, creating my own episodes and turns of events that were likely very similar to what I was on TV.

I remember writing -- or often typing (in a program by The Learning Center, the company who made some of my favorite games at the time, the Super Solvers series) -- stories as M. Howard Montgomery, in homage of L. Frank Baum, author of The Wizard of Oz. Often these stories would turn out to be no more than slight extensions of Baum's infamous series. Looking back on this, I realize that my love for writing may stem from this time, if not earlier.

All in all, I remember being a good kid that just wanted to read, use the computer, do what was right, and watch Star Trek. I had my interests, and if people didn't share them with me, I didn't care much. If they did, I embraced them -- it was rare to find a seven year-old that enjoyed Star Trek: The Next Generation at that age. For some reason, I sincerely hope that not much has changed over the eleven years I have lived since then.

Matthew Montgomery

Tom Waits - Real Gone

2004-11-19T03:21:00.000-07:00

Tom Waits
Real Gone
2004

After Tom Waits released and toured in support of his simultaneous releases Alice and Blood Money in 2002, he entered the studio to record Real Gone. A departure from all of his previous musical ventures, Waits eliminated all traces of keyboards from his music for this album. This creates an interesting and adventurous new style -- something Waits has definitely demonstrated he is keen to. If anything, Tom Waits is the embodiment of change and progress within his 30-plus-years on his musical journey.

Real Gone has a definite focus on rhythm, with the most melodic elements of the music usually consisting of a sole guitar and his unmistakeable voice. Managing to create a sound that is unique even to himself, he demonstrates his innate propensity for the creativity and innovation that has driven his career. The ten-minute track "Sins of my Father" is an excellent example of this innovation Waits is known for best -- aside from his voice. A repetetive rhythm track drives this, offering little variation within the piece, while a very bluesy guitar resonates across the sparse percussion. The spoken stylings of "Circus" provide a film-noir feeling, and somehow, Waits manages to make the music sound mysterious and black and white.

Waits has obviously not lost his lyrical mastery, as evidenced strongly in the track "Day After Tomorrow," a wartime letter home written by a soldier -- obviously a piece about a current political situation. On the opener "Top of the Hill," he issues in a style that can only be described as his own the lyrics "I need your moon to be the sky / Sky against / Don't get your trouser button / Stuck on the fence / Diego red and bedlam money are fine / Why don't you come up here / And see me sometime," affirming that though some may try to replicate his lyrical style, none can ever match it.

Expanding on the work of both himself and others, he takes listeners on a musical train ride. The sights may be familiar, but everything is slightly different -- to some, they are improved, to others, they may appear harsh and inescapable, but such is the beauty of music. From the rhythmic chanting on "Don't Go Into That Barn" to the gentle guitar work on the softer "Green Grass," it is obvious that the wisdom Waits possesses has matured over the many years he has spent crafting his sound.

Waits described Real Gone as "cubist funk," a title than certainly fits with the oft-manic style of the record. This style description reaches its pinnacle with "Metropolitan Guide," a piece that would fit in perfectly with Pablo Picasso and Georges Braque's greatest works. Perhaps in the future, there will be galleries devoted to 20th and 21st century music styles. If so, it is inevitable that Tom Waits will be recognized as one of the most innovative and influential artists of his time.

Matthew Montgomery

Maybe in an Alternate Dimension

2004-11-18T15:01:00.000-07:00

Maybe in an Alternate Dimension

Occasionally we have a dream so vivid that upon waking, we wonder if any of these often too-good-to-be-true occurences were real -- or even assume that they, in fact, are. Given a few minutes of waking, we come to realize that our subconcious has, once again, fooled us, or so it may seem. Perhaps, though, our subconscious is more than the center to what makes us human, but rather, something more -- an interdimensional gateway.

The concept of a multiple realities is not a new one, dating back to at least before the 1960s. In 1995, of 72 leading physicists, 42 believed the relatively new many-worlds interpretation of quantum mechanics. In brief, the theory states that each choice branches off into multiple decisions, and, upon many iterations of choices, there are nearly infinite states of existence.

The many-worlds interpretation has been utilized extensively in science fiction. In the television series Sliders, a crew travels between parallel universes after damaging a "timer" capable of opening vortices to these universes. They are in constant search of their own universe, "sliding" from universe to universe, hoping to once again, encounter their home.

This theory has also been explored numerous times in the Star Trek franchise. In the mid 1960s episode "Mirror, Mirror" of the original series, Star Trek, the crew is transported to a very similar reality, excepting that each person is, quite simply, evil. The crew formulates a method of returning to their universe once more, finding that a switch had actually taken place across the universes between several members of the crew. This universe was explored in more depth in the series Star Trek: Deep Space Nine, which is placed approximately 100 years in the future from in the franchise timeline. Transportation between the two universes is a realistic choice -- albeit not very a highly accepted one.

Though far-fetched, the portrayal of the many-worlds interpretation in science fiction is fairly accurate. It is not as simple or easy to explain as often portrayed, but the concept is real -- there are, in fact, alternate realities to our own. A fairly easily understandable example of this was demonstrated on July 6th, 2004 in the New York Post. US Representative Dick Gephardt was inaccurately reported to be presidential candidate Senator John Kerry's running mate in the 2004 election. Kerry had actually chosen Senator John Edwards, effectively splitting the universe into two universes. Likewise, there are an infinitesimally small number of universes where somebody reading this edition of the Post is actually the running mate of Kerry, by some strange run of coincidences. There are also universes where Republican President George W. Bush is the Democratic presidential candidate and Senator John Kerry is the Republican president. Though not entirely sound in theories of quantum mechanics, this provides an illustration of the theory.

By ascribing to a many-worlds interpretation of quantum mechanics, we are affirming that our dreams are more than just that -- they are realities. Whether the dreamer becomes a guitarist for the band Radiohead or Mikhail Gorbachev triggered an all-out nuclear war, these things have happened and will happen -- in an alternate dimension.

Matthew Montgomery

An Eternal Sunshine

2004-11-13T06:18:00.000-07:00

An Eternal Sunshine

"Sand is overrated -- it's just tiny little rocks."
Joel Barish,
Eternal Sunshine of the Spotless Mind

Sand, by definition, is "small loose grains of worn or disintegrated rock." When these grains are amalgamated into a whole, one grain is indistinguishable from another, effectively creating a whole. These grains form mounds, these mounds form hills, these hills form dunes, and an individual grain of sand is no longer visible, the whole is the only reality.

Our lives consist largely of disjointed memories -- photographs, if you will. Like specks of sand, each photograph, depending on the vividness of the memory, is either easily recognizable or a mere haze. The more vivid the memory, the more our senses are involved in the recollection of such. Smells, sights, sounds, emotional responses -- they all mold together to form a collage that exists only in the mind. More than just magnitudes of positive and the negative, this collage -- this dune of sand -- is stored deep in the subconcious.

When examining our life, we are often unable to distinguish a single life changing event. Like sand, the events of our lives flow together, creating our memory. These memories are the single most controlling factor in the creation of a human being, from nightmares as a toddler, to teenage love, to the irrevocable effects of old age. Assuming that we live only one life, the collage of our memories is only complete at one point in our life: death. The ultimate irony is that once our painting of life is finally complete -- once we are a complete human being, we are no longer able to perceive any of its effects, be they positive or negative.

It is akin to the predicament of artists: their work has been completed, their masterpieces created, but recognition and fame comes only years after death. Still, painters paint, sculpters sculpt, and very few of them achieve the widespread recognition they deserve. Perhaps, then, it is not merely the end result that is key, but the journey taken to arrive at such a point. French author Jacques Anatole François Thibault put it beautifully when he said, "If the path be beautiful, let us not ask where it leads."

However, if we do live multiple lives, perhaps in the sense of reincarnation, are these collages simply erased, the slate of a mind that is our lives wiped clean? Or, perhaps, do our memories remain, deeply lodged within our subconcious, exponentially affecting again our lives? In some regards, the idea that, even if reincarnation is more than just a simple possibility, the subconcious holds our past lives may seem slightly preposterous.

There is obviously more than our concious at work in creating who we are. Our thoughts, our memories, our imperfections, our silly little quirks -- they all play a role in creating a human being. As Plato wrote, "The life which is unexamined is not worth living." To deny our memories, to not accept them, to not learn from what they teach is to simply accept a reality in which we do nothing but live from day to day, a stagnating, rotting mind inside an imperfect body, and we, like a sand dune in a wind storm, will simply allow our essence of being to float away, our humanity collapsing into nothingness.

"How happy is the blameless vestal's lot!
The world forgetting, by the world forgot.
Eternal sunshine of the spotless mind!
Each pray'r accepted, and each wish resign'd..."
Alexander Pope,
Eloisa to Abelard

Matthew Montgomery

Alice in Videoland - Maiden Voyage

2004-11-09T14:54:00.000-07:00

Alice in Videoland
Maiden Voyage
2003

Maiden Voyage is Swedish Electro band Alice in Videoland's debut album, released in 2003. Formed in 2002 and christened after a 1984 Commodore 64, Alice in Videoland is one of the most refreshing acts to hit the Electro scene since early pioneers of the genre first envisioned a radical new style. Mixing elements of Electronic, early Punk, and Industrial, Alice in Videoland presents an album that screams influences and creativity.

Lead vocalist Toril Lindqvist switches between her native language of Swedish and English in her interesting vocal style, accompanying the beat-oriented music that defines Alice in Videoland. Although sometimes sounding reminiscent of acts from the 1980s, Maiden Voyage refuses to be shelled into being a one-trick pony like so many other bands creating innovative sounds. Elements of Power Pop and New Wave are decidedly present in songs like "Video Girl" and "Lay Me Down."

It is not mere happenstance that this band derived its moniker from a video game from the mid-1980s, rather, it was a cleanly and logically executed decision reflecting their influences and creative style. There are moments on this release where the decidedly rhythmic keyboard lines feel like they've been ripped from an early videogame and expanded upon. Though the concept may not be entirely new, the clean and precise execution gives this band a distinct advantage over the mere rip-off artists that pervert the electronic scene.

The unique atmosphere of Alice in Videoland's debut, Maiden Voyage, is the most evident advantage over its peers, providing a sense of something new, despite the evident fact that most of their influences began life more than twenty years ago. All in all, this album is successful on many levels. On a very cerebral level, it interests and inflames the senses; on a more base level, it proves to make excellent background or dance music. Whether you're interested in Synth Pop, EBM, New Wave, or any number of musical styles, Maiden Voyage is engaging and worth at least one listen.

Matthew Montgomery

Computer Geeks: Not Just Geeks

2004-11-08T22:57:00.000-07:00

Computer Geeks: Not Just Geeks

There are those who would have you believe that computer geeks are just that -- geeks. They often contend that computer geeks lack any athletic ability, perpetuating the stereotypical image many have when picturing the people that write the programs that literally millions rely on in their everyday lives. They fail to realize that computer geeks are, in reality, a diverse group, some of whom are amazingly athletic and talented in physical practices.

These stereotypes were brought into effect by the assumption that computer geeks must operate on the same amount of sleep as the average human being. These assumptions are false; the computer geek is a complex being whose blood has been improved upon with elements of caffeine and sugar, his or her mind improved by long nights of complex coding, and the most acerbic of wits derived from online conversation.

There are some computer geeks that participate in what is typically considered "the bane of computer-geekdom" by outsiders, organized sports. Some may enjoy recreational jogging or running, others, simply exercising on a regular basis. There are numerous computer geeks who enjoy more "rebellious" sports such as snowboarding and skateboarding. Some may sweat profusely while performing music in front of throngs of listeners.

To put it simply, the stereotypical computer geek is dead and should be rejected from the system like a nose rejects small, floating foreign objects. Perhaps, once upon a time, the majority of computer geeks were scrawny, wimpy little folks who spent all day in front of a screen, but it is no longer the case. Much as the stereotypical rock musician is slowly being banished from society, it is time that the stereotypical computer geek be likewise banished and replaced with a much more accurate stereotype: superior forms of life with enhanced brain power who enjoy a variety of activities, many of them laying within the physical realm.

Matthew Montgomery

Ship-in-a-Bottle: The Internet Hyperreality

2004-11-06T01:54:00.000-07:00

Ship-in-a-Bottle: The Internet Hyperreality

Disney World, a Las Vegas casino, and the Internet have one very distinct common thread: they are all hyperrealities, a plane of life and existence beyond true life. Unlike the first two examples, the internet was not created with the intention of being such a massive hyperreality. In its original forms, the internet was designed primarily for the advancement of scientific research; in its current form, it is the most massive hyperreality in existence. It surpasses any cultural hyperreality by amalgamating people of all cultures into one superculture, one massive hyperreality. If the United States is a melting pot, the internet is a witch's cauldron, boiling, spurting, and constantly overrunning its assumed boundaries, spilling over into other pots and pans.

Like most expansive hyperrealities, the internet has become a true ship-in-a-bottle, a world within a world. From an outside perspective, the internet is merely a connection of computers based in the physical world, connected across the planet, communicating and interpreting signals, much like a ship in a bottle, it is merely a system of parts and subparts. From the inside, however, this is not the case; both are completely oblivious to the reality outside.

The internet hyperreality has started to permeate into our cultural hyperrealities, with shocking results. Hearing terms such as "Google" and "blog" in day-to-day conversation is growing ever-more commonplace, and this hyperreality is showing no signs of slowing expansion. Perhaps, one day, it will replace our cultural hyperrealities and, in time, our reality. Over eight years ago in the infamous comic strip "Dilbert," Scott Adams predicted that someday printed news would become obsolete, that online news would take the place of the traditional newspaper. This is already showing signs of being true, less than a decade later.

This Internet ship-in-a-bottle scenario was very elegantly portrayed in modern popular culture through the science fiction film "The Matrix" and its two sequels. In the film, audiences are subjected to the possibility of a nearly impenetrable hyperreality. There were few that were aware that, in reality, humanity had been reduced to power generation. An overwhelming amount of minds were only aware of the hyperreality presented to them, and even those that were growing cognitive to the reality of their situation were only vaguely aware that there was "something else."

As the internet expands into more portions of our reality, the hyperreality we are constantly experiencing overtakes more and more of our mind, though, as of current, not in so literal a fashion. Perhaps, in time, we'll find ourself facing an unimaginably immersive hyperreality, and perhaps we won't want to leave.

Matthew Montgomery

the postmodern self-portrait: a hyperreality.

2004-11-04T20:32:00.000-07:00

the postmodern self-portrait: a hyperreality.

The Postmodern self-portrait: camera in hand, pointed at a mirror; perhaps there is a flash of light, a click, a whirr, a buzz; a photo is taken. Smiles gone from faces, lips pursed, and all elements of joy dissipated, a bland, meaningless self-portrait has been taken. In the frame a camera is visible, unafraid to make its presence known; it is both an affirmation and a deconstruction of reality; it is the creation a portrait of a self-portrait.

The Postmodern self-portrait is taken from the view of a third-party, it portrays truth from only one view. Supposedly nuetral, the self-portrait is a hyperreality -- the subject of the photograph is detached from reality. In attempting to create something that feels much more real than a traditional portrait, it becomes hyperreal -- "The authentic fake," as Umberto Eco said.

The Postmodern self-portrait is posted on the immense hyperreality that we know as the internet; the hyperreality of the portrait is extended. No longer is this merely a portrait of a friend or loved one, it is a composition of bits describing a person you may have never seen. It is, in essence, like a dream world: there is no confirmation that any of it is real, that anybody is who they claim to be.

The Postmodern self-portrait is, in essence, an attempt to combat the hyperreality of the internet, to transform it into a much more real place, to confirm their own reality. In doing so, the hyperreality of the internet is enhanced, expanded into something greater and more powerful. This is in part due to the nature of our culture and the hyperreality it presents; it is inevitable that vague attempts at confirming reality would only support this simulation.

The Postmodern self-portrait is similar to a Las Vegas casino, each supporting a different hyperreality. The primary purpose of each is the same -- support a constructed reality. The Postmodern self-portrait supports the hyperreality of an individual, a casino supports the hyperreality of the environment as a whole. When stepping foot into a casino, one's perceived reality is altered; the perception of time is lost along with a sense of self-awareness. The constructed hyperreality of a casino is not dissimilar to the constructed hyperreality of Disneyland or other amusement parks.

The Postmodern self-portrait is a representation of greater socially constructed hyperrealities: it is a harrowing sign that the cultural hyperreality in which many of us reside is growing; it is becoming the all-encompassing construction. It is growing ever necessary to take the occasional bow into reality, to step away from the mirror, put the camera away, and live.

Matthew Montgomery

It's Fate

2004-11-04T11:32:00.000-07:00

It's Fate.

What is fate? The simple statement "It is fate" lacks a reference for the introductory pronoun. Some of us may believe that fate controls our lives, that it is why we met the cute girl or guy at the supermarket two weeks ago and experienced that sensation referred to as "love at first sight," which, at its very basis, operates on the assumption of fate. Perhaps it is fate that you approached them, asked for a phone number, and found some startling connections and similarities -- maybe he or she knows your cousin in Long Beach or has extremely similar music tastes. Is it fate, then, that two individuals should meet?

Perhaps not in the traditional sense. Fate is an amalgamation of the stars -- the stars of our mind. Upon meeting somebody, our mind flies. Do you like Radiohead? Where are you from? Do you want to hang out sometime? The mind, in a very animal state, immediately starts asking these questions immediately. Curiosity flourishes and we immediately enter a primitive state. High level thinking is erradicated during this time, we care only to "catch our prey," so to speak. Much like a lion on the prowl, the human mind is constantly on the lookout for anything from which it can ascertain meaning. What comes from this meaning?

In Greek mythology, the Fates were the three godesses that controlled human destiny. Answering to Clotho, Lachesis, and Atropos, they were the answer to many of life's questions for the Greek civilization. "Why did mother die?" a child would ask his father. "The Fates, son," was a way for both the father and the child to determine that there was a meaning for events both fortunate and unfortunate. It is from this creation that our modern concept of fate has arised. Our mind, attempting to determine meaning for an event, often simply slaps a label on it: "FATE." From our ascertation that there must simply be meaning to an event, we issue a form of self-confidence that we cannot gain elsewhere.

Perhaps, though, our idea of fate derives from much deeper in the subconcious than a simple explanation for events. By giving our subconcious reign over these events -- letting fate take its course -- we allow our deepest thoughts and feelings to be exercised in situations where doing such conciously is simply not possible. Fate, for some, may be an uncontrollable element, but as long as power is exercisable over our own mind, it is not just an explanation, but something we can control.

Matthew Montgomery

The State of 2 Irate Pirates

2004-11-02T19:25:00.000-07:00

The State of 2 Irate Pirates

August 22nd, 2003 saw the introduction of a force so great, so powerful, that millions have been trampled in its path. From the very beginning, grandiose visions of complete and utter success had entered the heads of the "Irate Pirates," and have not left since. Though the visions may have, at times, seemed dark and grim, they have existed since the beginning of time. We expected to be well-read and well-liked, or, at least, we hoped that would be the case. Fortunately, it appeared to be so. Distribution increased every week, submissions were being made, and controversy raged. This "2 Irate Pirates" -- was it the school newspaper? Hardly, but it seemed to act as an interim to such. Not school run and certainly not very conservative (at least, in the first few issues,) 2 Irate Pirates somehow grew in popularity.

Run by a furry dictator and an oversized teddy bear, 2 Irate Pirates was initially politically-infused by the contributions of the most weasely of characters, and there was originally a very evident focus on technology. This focus soon faded, and political contributions ceased before the tenth issue was even distributed. Around the fourteenth issue, 2 Irate Pirates became more of a showcase for aspiring writers than a newsletter with any true social or political aspirations. Quality increased, and once again, 2 Irate Pirates was on the scene to provide entertainment once again.

Issue 20, the final issue of the 2003-2004 school year, was unfortunately very lowly distributed -- it is estimated that a mere three copies made it out the door in time for any distribution. It is unfortunate that the most prominently high-quality issue of the first two-thirds of 2 Irate Pirates history was dismally left in the dust, and, for one oh-s0-brief summer, the worries of 2 Irate Pirates were forgotten. With the two most irate of pirates working full-time jobs, little progress was made. A single issue was prepared for the beginning of the 2004-2005 school year and was met with a fair amount of success.

Issue 21 featured a new, higher quality design and featured a new logo, complete with an Irate Pirate. When a massive hard drive failure caused the loss of Issue 26 (a multiple of 13, you see,) a new design was embarked upon for Issue 27. This design lasted for a total of one issue before being scrapped -- for one, the templates would not transfer to new versions of the software used, but, in addition to computer problems, the design was just not up to snuff with 2 Irate Pirates quality. Thus, yet another new design was embarked upon -- the fifth distinct design for the still-young newsletter. The design has remained for three issues thus far, and is likely to last at least another ten. Perhaps when Issue 40 will be produced a sixth and hopefully-superior design will enter the fold.

In terms of mere word count, 2 Irate Pirates has evolved immensely. With over 51,000 words printed to this point and an increased number of words an issue, 2 Irate Pirates is no longer a seedling. The very first issue had a mere 1,394 words, Issue 8: 1,528, Issue 23: 1,592, and Issue 29: 2,105. Perhaps 2 Irate Pirates is best described as "A Paper on the Grow."

With all this in mind, keep a lookout for the 2 Irate Pirates Anthology, which should be produced by Christmas 2004 or early 2005, which will include the first 40 issues in their entirety -- complete with original typos -- as well as a variety of features you are not likely to find elsewhere.

Matthew Montgomery

Savatage - Poets and Madmen : A Review

2004-11-02T03:49:00.000-07:00

Savatage
Poets and Madmen
2001

Savatage, a Progressive Metal outfit from Florida, album Poets and Madmen opens with an enormous crash, a lone keyboard leading into the guitar-heavy "Stay With Me a While," setting the stage for the 12th and most recent album from this near-legendary band. Also their fourth concept album, Poets and Madmen proves to not only astound listeners with extreme lows and highs, softs and louds, but also to provide a listening experience that is not only entertaining, but interesting on a much ethereal plane of music. Produced by Paul O'Neil, Poets and Madmen has left an indelible impression upon the Progressive Metal scene.

The epic ten minute piece "Morphine Child" is perhaps the most musically significant track on the album. With its dazzling highs and brooding lows, it opens with an interplay between piano and guitar that sets an ominous tone for the song. The rhythmic pounding of the bass behind heavily distorted guitars and simple, clean piano provides a feeling unique to the song. Jon Oliva's powerful vocal melodies give "Morphine Child" a focal point, and vocal harmonies reminiscent of Queen will surely leave listeners amazed at the versatility Savatage so skillfully demonstrates. The power of lyrics is not underestimated by this group, unlike many other Metal bands; it is clearly shown with the lines "I am the morphine child / The dream defiled / The never ending metaphor / I am the wizard Oz / Result and cause / Never look behind that door."

This album, however, if not without its softer moments. The clean guitar of "The Rumor" provides a few minutes rest from the heavy guitar work before ripping into one of the more outstanding solo moments of the album. The extremely dark introduction to "Man in the Mirror" features some of the most outstanding vocal moments on Poets and Madmen, and with this, Savatage once again proves their ability to produce music that is not only heavy and powerful, but simple and beautiful. From the beautiful Spanish guitar-influenced stylings of the instrumental "Surrender" to the news-clip ridden "Back to Reason" to the oh-so-heavy metal sound that is "Awaken," Poets and Madmen is an album that exemplifies the skill and power of Savatage and sets a higher standard for many aspiring musicians.

Matthew Montgomery

The Beta Band - Heroes to Zeroes: A Review

2004-11-02T01:09:00.000-07:00

The Beta Band
Heroes to Zeroes
2004

Heroes to Zeroes opens with the thick, weighty "Assessment," providing an excellent introduction to this Scottish band's latest effort. At times, the sound in this album is so incredily thick that listeners are forced to wallow through it like waist-deep mud -- and that's not necessarily a bad trait. In fact, Heroes to Zeroes is one of the most distinctive albums of 2004. When The Beta Band released The Three E.P.'s in 1998, they were met with a fair amount of acclaim; the song "Dry the Rain" was featured in the Cusack-produced film High Fidelity. This is the same band that created this record, although an obviously more mature version of such. This shows through in their latest -- they may have grown up, but they're still the same band they were six years previous.

One standout track, "Easy," can be noted for its very unique and very obviously Funk influenced bass lines and rhythm section. Though not quite at the same level as, say, Parliament, The Beta Band demonstrates that three white guys from the United Kingdom can create Funk music as well as nearly any musician. As evidenced by the twelve tracks comprising this album, The Beta Band's diverse style is in full form for Heroes to Zeroes. From space-rock to dense indie rock to a very unique style of trip-hop, The Beta Band demonstrates their unique ability to rise above most musicans and create something that is not only captivating, but strangely beautiful.

When all is said and done, Heroes to Zeroes is one of the most distinct albums of 2004. For the most part, it is an album that takes its influences, examines them, and throws them out the window. The Beta Band's influences have made a definite impact on the music, but are largely just that -- influences and not guidelines. The final track, "Pure For," is a blissful piece that will echo in your mind long after the final four minutes of the album have passed. "I'm so glad you found me," it echoes over a booming bass and hypnotic keyboards. Quite frankly, I'm glad I found you too.

Matthew Montgomery

The Good Life - Black Out: A Review

2004-11-01T20:55:00.001-07:00

The Good Life
Black Out
2002

The Good Life: both the Nebraska state motto and Omaha band fronted by Tim Kasher, better known for his work with Indie outfit Cursive. Their sophomoric release, Black Out proves that Kasher is no one-trick pony. At times, elements of Cursive may waft in and out, but on the whole, The Good Life provides a much more melodic journey. Kasher's vocal style, as always, is unmistakeable, providing a sense of familiarity to the unfamiliar territory ventured into from piece to piece.

Black Out is more than just an album filled with emotion; it is an album with emotion bursting from the seams. This is made evident during the gentle interlude of "O'Rourke's, 1:20 AM" which features Kasher crooning "Hold on to me. I can hardly stand - much less the sight of myself." The pain echoing in his voice over a gently strummed guitar, Kasher demonstrates to the world that he is much more than somebody who can belt out harsh vocals.

The minimalist qualities of The Good Life shine through on this album, complimented by moments of nearly-chaotic keyboard and guitar interplay. Black Out is an album that is full of deeply introspective lyrics, clangy, clashy guitar riffs, and dense, echoing keyboards, but, amongst the layers of instrumentation, Kasher's powerful vocals shine through.

Black Out is one of the most powerful albums Kasher has produced. The emotional journey this album sets out on may begin at track one and end at track 14, but it is never truly over.

Matthew Montgomery

William Shatner - Has Been : A Review

2004-11-01T16:25:00.000-07:00

William Shatner
Has Been
2004

William Shatner, infamous for his role of Captain Kirk on the original Star Trek series, has tried his hand at music in the past. Covering such hits as "Lucy in the Sky with Diamonds" and "Rocket Man," Shatner was heavily criticized for his choppy vocal style and lack of musical prowess. His infamous.. speaking.. style.. was exaggerated and became a household joke. In his 2004 album, Has Been, he turns his back on his musical mishaps, but embraces his speaking style in such a way that it becomes a style, rather than a gimmick.

Has Been opens with a fast paced, upbeat cover of Pulp's "Common People." Shatner's spoken, unmelodic vocal style lends itself remarkably well to the piece, showing that he is, primarily, a story-teller and not a vocalist. Shatner puts emotion and feeling into each of the tracks, providing a listening experience that can prove to not also be humorous, but also heartwarming. The title track proves to be an interesting rant -- "Lifetime guarantee? Whose lifetime? Not mine. I haven't that much time left. Let's make it yours. Everybody's got a longer life than me!" he rages. The piece "It Hasn't Happened Yet" is a reflective analysis of both his life as a star and his life as a normal man.

Though many Star Trek alumni have gone on to produce music -- Leonard "Spock" Nimoy, Nichelle "Uhura" Nichols, Brent "Data" Spiner -- William Shatner's latest proves to be not only interesting among the usual celebrity suspects, but it is an intelligent, enjoyable album. Produced by Ben Folds, famous for his solo work as well as in Ben Folds Five, Has Been proves that Shatner is capable of much more than portraying a 23rd century starship captain.

Matthew Montgomery

The Music Tapes -- First Imaginary Symphony For Nomad

2004-11-01T01:35:00.000-07:00

The Music Tapes
First Imaginary Symphony For Nomad
1999

First Imaginary Symphony For Nomad: the very title of this album issues a distinct warning. "Beware, this album is full of whimsy and has been known to cause a carefree feeling in listeners. Do not listen to when operating heavy machinery." From the opening beats of "Song for Soon to be Sailor" that echo back to Pink Floyd's "Breathe," First Imaginary Symphony For Nomad is an album that proves that it doesn't take tens of musical layers to create a very dense-sounding piece. With the utmost of precision and care, musicians Julian Koster and Robbie Cucchario have created a masterpiece among the whimsy stylings of lo-fi and psych-pop.

The influence of bands like Of Montreal and The Olivia Tremor Control is apparent when listening; this is in part due to the fact that members of the Elephant Six collective have contributed heavily to the works of this album.

This album was created over a period of four years; it is remarkable that these two young musicians did not lose interest like so many others have. Their journey is embedded into this fine album, allowing the music to take listeners on a journey through dense soundscapes and spacey, atmospheric pieces. Unlike many albums this ambitious, First Imaginary Symphony For Nomad is warm and inviting.

First Imaginary Symphony For Nomad is an ambitious work of art; it is a musical canvas splayed with fuzz, violins, accordians, pianos, and guitars. It is unlikely that you will ever encounter a work like this in your lifetime; it is space-age music with a composition from the stars.

Three AM Muffins

2004-10-31T03:36:00.000-07:00

Three AM Muffins

It's nearly three AM, and I just put a batch of muffins in the oven. You'd think I would be asleep at this hour, but I'm not. The window's open; it's a little cold -- the ground is covered in an inch of snow, after all. The leaves on the tree outside are wilting a little bit, and its pitch black outside, except for those pesky lights that keep the light at a perpetual 20% dim when I try to sleep.

The muffins have bits of blueberry in them -- my favorite. A little butter melted into the steaming hot pieces of bread, that's all I need. You may be wondering why I'm making muffins in the middle of the night, and to be dreadfully honest, it is because I am hungry. I'm no insomniac, mind you, I'm just a little bit on the weird side. I also don't call myself an insomniac for show, to do so would just be silly. No, I woke up at 4pm this morning (afternoon, rather,) and, as such, am not quite ready for sleep.

The funk is blaring over my speakers but nobody's complaining -- why would they? Nobody is here tonight to complain, anyway. Muffins, the Funk, and a nice cool breeze; it makes for a good night in my book. Issue 29 of 2 Irate Pirates is nearly complete (Issue 28 was finished earlier tonight,) so what better to do than put listen to a song about "The Monkey That Became President"? My thoughts exactly. In the distance I hear a beeping, indicating that my muffins are ready for consumption. You know what that means. In the words of Captain Bee-Bop of the Starship A-Funk, "Until next time, babies, hang copacetic."

Matthew Montgomery

The Internetcronym

2004-10-30T21:53:00.000-06:00

The Internetcronym

When FOX TV dubbed its Sunday Prime-Time lineup (which included such hit shows as The Simpsons and Malcolm in the Middle) "LOL Sunday," the Internetcronym became an inseperable part of our everyday lives. LOL, as you likely know, simply means "laughing out loud" and is used -- sometimes overused -- in casual Internet conversation to indicate that something said is humorous.

LOL, in and of itself, is a hotly disputed item. There is a very vocal group that argues that LOL, due to immense overuse in "AOL-style chat," is meaningless and trite. Others continue to use it on the ground that it best portrays the emotional response to humor, while others prefer to use "Hehe" and similar quips because they are easily vocalized.

The rise of the Internetcronym has created an atmosphere completely unique to online conversation. Never, while speaking to an associate, would you hear "LOL. OMG, did you hear about John's promotion? pwn'D! LOL so funny! He's his own boss now. ROFLMAO! Well, BBIAB, B/C baby is crying. BRB" This would be largely unintelligible to the average non-internet-savvy fellow.

There are advantages to this, though. The speed of conversations has improved greatly, if just because typing a measly three letter acronym is much, much more efficient than typing fifteen letters of text. With this increased efficiency, we are more free to explore all the internet offers, be it good, bad, or ugly.

Matthew Montgomery

Online Music Beyond Downloading

2004-10-27T15:40:00.000-06:00

Online Music Beyond Downloading

The essence of online radio is that music should be free. Not necessarily in the sense of free-for-all-downloading, but free in an artistic sense. The focus of most online radio stations is the quality of the music played, unlike the focus of most analog radio stations. In the analog radio scene, a very sizable chunk of stations across the nation are own by media conglomerate Clear Channel Communications. This gives the large, corporate, money hungry major labels an increased opportunity to easily exercise their influence across the nation, assuring that their artists are at the top of the playlists. As a a result, a listener traveling from Cincinnati to San Francisco would hear the same music across his journey on different stations.

Online radio stations typically feature a much wider variety of artists. These stations come in many flavors, and most are created in support of a particular style or styles of music, including, but certainly not limited to, Progressive Metal, Ambient Pop, Classical and Romantic eras, Electroclash, Shibuya Kei, and endless other genres and styles. On computers running the Windows operating system, media players such as Winamp and Windows Media Player feature a variety of streaming stations easily accessible within the program. Apple's Mac OS X is home to iTunes, which features a fair amount of stations, including a personal favorite, Progged Radio (http://www.proggedradio.com.) For those running the Linux operating system, many media players, including XMMS, will play online radio given a stream. Streams are available at http://www.shoutcast.com and will play on any compatible player, regardless of operating system.

Explore the world of music that lay before you, there is much more than you realize.

Matthew Montgomery

How Many Licks?

2004-10-21T15:03:00.000-06:00

How Many Licks?

There are many questions in life we cannot answer, and one notable mystery is "How many licks does it take to get to the center of a Tootsie pop?" Taken literally, it is a question regarding a spherical piece of candy with a small chunk of chocolate packed neatly inside; but, as in all things, there can be something more.

Perhaps it is not just a question about the insatiable human appetite for candy, but a question about our own existence. A lick is not just a simple lap of the tongue across a chunk of sugar, but it is an examination of the human soul. The driving force of a human can never be discovered, no matter how intense our examination of what makes us what we are.

This is the nature of humanity: we should always be in examination of ourselves, our motives, our feelings. Without these things, we are merely as human as the beasts. Millenia have been spent attempting to discern why, as humans, we fall in love, why we experience pleasure, and why we betray. These things, for better or worse, make us what we are: sentient beings who have taken a powerful hold on our environment.

With all things in life, we should look beyond the simple answers. While we could answer "5,347” and simply be done with it, we would be denying what makes us human: our self-examination, our introspection. What is it that makes us human? *crunch* Perhaps the world will never know.

Matthew Montgomery

The Dark Side of the Moon

2004-10-18T23:56:00.000-06:00

The Dark Side of the Moon
The Success of a Progressive Album

One of the most powerful moments in music history: David Gilmour's breathtaking solo in the Pink Floyd piece "Time." It can be argued that this dynamic, nearly epic solo has spawned many a guitar player. Dark Side of the Moon has spent over 700 weeks on the Billboard charts -- or over 13 years. Consistently rated as one of the top albums of the 1970s, and often of all time, "DSotM" has captured the hearts of millions upon millions of listeners, whether it be through the classic rock radio favorite "Money" or the grandiose "Great Gig in the Sky." In fact, it is estimated that every 1 out of 14 people in the United States under 50 years of age owns a copy of this classic.

What has made this album a success? The Wall is certainly more grandiose; The Final Cut, more dark and dreary; Animals more political in nature; Meddle more experimental -- so what is it that has made Dark Side of the Moon such a classic in music culture?

Before such a question can be answered, one must ask how Pink Floyd became such a popular band. In recent times, so-called musicians such as Backstreet Boys, Jay Z, and Britney Spears have gone on to sell millions of records while lacking a discernable quality. Pink Floyd was, for the most part, a Progressive group producing progressive music. Lumped with bands such as Yes, Genesis, Emerson, Lake, And Palmer, and King Crimson, they posess a completely unique sense of style, much like all bands in the progressive genre. With epic concept albums, Pink Floyd drew listeners much like ants are drawn to sugar -- without much hesitation or forethought.

So, what made this album such a media darling? 13 years on the Billboard charts is no short time for any album -- let alone a Progressive concept album. Perhaps the world will never know. (*crunch*)

Matthew Montgomery

Ayreon - The Human Equation

2004-10-04T05:07:00.000-06:00

Ayreon
The Human Equation
(2004, Inside Out Music)

The Human Equation is a concept album with a star-studded cast of Progressive musicians, most of them vocalists, including Devin Townsend and Dream Theater's James LaBrie. Easily one of the most ambitious concept albums of the 21st century -- and quite possibly the 20th -- Arjen Lucassen, who is the core of Ayreon, created one of the most interesting albums of 2004, which is his sixth self-proclaimed rock opera.

Chronicling the inner emotional struggles of a man in a coma, The Human Equation is an amazing mixture of musical styles. James LaBrie, vocalist for the band Dream Theater, said "These other singers did a great job. Man, I got really excited about what I was hearing." LaBrie plays the main character who is known only as "Me." Having been in a car crash, "Me" enters a coma, and is watched over in the hospital by his wife, played by Marcela Bovio of the band Elfonia, and best friend, played by Arjen Lucassen, who, unbeknownst to "Me," are having a clandestine affair.

Lucassen also succeeded in creating an album that listeners wanted to purchase, not just download or copy. It comes in two varieties, a standard edition and a special edition, the latter being paired with a DVD (region free, at that) featuring behind-the-scenes work and several featurettes. The packaging on both is intricate in typical Inside Out fashion.

The Human Equation was quickly swept up by a large portion of the Progressive fanbase by appealing to a variety of listeners. The diversity of this album is demonstrated in the track "Day Five: Voices," which features a fairly mellow first half, complete with flute and electric violin arrangements, before slamming into a synthesizer-laced melody, and slowly progressing back to the first half melancholy feeling. In "Day Seventeen: Accident?" features a beautiful keyboard solo by Oliver Wakeman, son of the legendary Rick Wakeman.

The Human Equation features each of its vocalists as a character, all but three being emotions personified. The inner struggles of LaBrie's character are portrayed throughout the twenty days of the coma, and portions of his past are explored. The track "Day Eight: School" features LaBrie singing of memories of childhood, Mikael Åkerfeldt of Opeth portraying Fear, Eric Clayton of Saviour Machine as Reason, Magnus Ekwall of Swedish band The Quill as Pride, Irene Jansen, previously of Karma as Passion, Devon Graves of Dead Soul Tribe as Agony, and the amazingly flexible Devin Townsend as Rage. As Lucassen said, "I took a look inside man himself and explored the realm of emotions hidden within."

Somehow, despite the amazing flow of the tracks as a whole, each stands on its own as an easily listenable piece of music. This album is widely regarded as one of the most interesting pieces of music of this young century, and for good reason. It captures the heart of Progressive Rock with the utmost creativity and care.

"Ever since I first got into rock operas like Tommy by The Who and Jesus Christ Superstar, I always had the ideas to try something like that on my own someday."
Arjen Lucassen

Matthew Montgomery

A Switch

2004-09-28T01:33:00.000-06:00

A Switch

When examining a change in my major, I have encountered a number of choices. The first, and most obvious, is Computer Science. Another choice I have examined is Secondary Education, with a Teaching Minor of Computer Science. One final choice I have been pondering (at the moment) is English with a focus on Journalism.

Computer Science is the most obvious choice presented to me -- I've worked with computers for as long as I can remember. In Computer Science, I would have opportunities to explore new technologies and learn new programming languages. While this would very possibly be an intellectually stimulating field in some respects, in others it could very easily be lacking. Mental stimulation is nothing when it is only in one area -- I don't want to sit and program for eight hours, come home, and spend more time on the computer, my mind drained.

Secondary Education would be interesting because I would be given the opportunity to teach others, which would be a rewarding experience. Frustration is a possibility, but no more than with other jobs, just different forms. I could also exercise my expertise in Computer Science and perhaps make a difference in the lives of students. In Computer Science, making any difference would be difficult. Education would also be a job that would vary from day to day -- never would I have to spend months working on one project.

Professional writing has always been a dream of mine, and I have considered Journalism as an outlet for this. For more than a year now, I have written for a self-published newsletter, and found it to be an intellectually stimulating experience. I would also be able to explore a variety of subjects. The biggest issue is actually getting a job; but I am confident that if I set myself to it, I can succeed in the market, so to speak. I don't want to live a career based on what has the greatest job availability, especially with fluctuating job markets (the Computer Science field has been shakey for the last few years, too.)

In essence, a switch is inevitable. It is imperative that I actually make a choice, and soon.

"Why couldn't you make me an architect? You know I always wanted to pretend that I was an architect."
George Costanza

Matthew Montgomery

An Essay About Nothing

2004-09-26T21:17:00.000-06:00

An Essay About Nothing

Writing without a subject is like eating when not hungry, channel surfing, or having sex without wanting to reproduce. Sometimes, it's best done for pleasure. Approaching writing without a subject, however, is difficult. A subject is necessary for some things, as shallow or pointless as it may be.

Take, for example, the classic sitcom Seinfeld. Seinfeld was "a show about nothing." It was not a show without a point, it was a show with no subject. Events would take place, but, at the end of each episode, it was a show about nothing. Jerry Seinfeld, who turns 50 years old this year, said "I am so busy doing nothing... that the idea of doing anything - which as you know, always leads to something - cuts into the nothing and then forces me to have to drop everything."

Jerry Seinfeld is a respected comedian for his observations on the small things that make up our life. Many comedians rely on stereotypes of cultures and cocultures, Mr. Seinfeld just pokes fun at things we can all relate to. How he does it, the world may never know. But, as I said earlier, writing without a subject is difficult, so I'll end with some of Jerry Seinfeld's wisdom.

"Kids could always resolve any dispute by calling it. One of them will say; I got the front seat I want the front seat I called it And the other kid has no recourse. He called it, what can I do? If there was a kid court of law it holds up. You Honor, my client did ask for the front seat The judge says; Did he call it? Well, no, he didn't call it He bangs the gavel, objection overruled. He has to call it. Case closed."

Jerry Seinfeld

"The Swiss have an interesting army. Five hundred years without a war. Pretty impressive. Also pretty lucky for them. Ever see that little Swiss Army knife they have to fight with? Not much of a weapon there. Corkscrews, Bottle openers. 'Come on, buddy, let's go. You get past me, the guy in back of me, he's got a spoon. Back off. I've got the toe clippers right here."
Jerry Seinfeld

Matthew Montgomery

What is Real?

2004-09-25T03:34:00.000-06:00

What is Real?

"When once you have tasted flight,
you will forever walk the Earth with
your eyes turned skyward, for there
you have been, and there you will
always long to return."
Leonardo DaVinci

A mere thought is all it takes. The power of the human mind is astounding. Some call this power magic, while others think it impossible. A relative few believe that the human mind is more than just the controlling point of our bodies, but something capable of much more.

The human mind has many phases of power, and each must be fully realized before their use is a reality. The first is the power to control the body. This is an inherent trait of the mind -- autonomy. The will to survive is the immediate factor in any life. We breathe, digest, and move our limbs to perform simple functions. Over time, this phase of power is broadened, and we are able to perform many more operations. We see other humans speaking, writing, walking, and we realize that these things are possible.

These are, perhaps, the most basic traits of the mind -- to imitate what we observe. Our mind becomes more cognitive with each growing day, forming thoughts and formulating our actions based on past experiences. Beyond this is the power to stretch our mind beyond our body. Clairovoyancy, telepathy, telekinesis, and other supposed powers are all extensions of this.

Take, for instance, hypnotism. To the average person, hypnotism is a feat unimaginable. In essence, a hypnotist extends his mind to his targets, forcing, in essence, them to perform the actions he sees fit to perform. However, the subject's mind must be open to the idea, or these attempts will fail. This is an excellent example of the power of our mind: we control our bodies until we convince ourselves that others have more power over our bodies than we do.

More extreme powers of the mind can only come when it is truly unleashed. This is nearly impossible, because our understanding of existence is so simplified that we cannot truly comprehend what existence may truly be.

"The action required to sustain human life is primarily intellectual: everything man needs has to be discovered by his mind and produced by his effort."
Ayn Rand

Matthew Montgomery

Amazon.com: DVD: Belle & Sebastian - Fans Only (2004)

2004-09-25T00:25:00.000-06:00

Amazon.com: DVD: Belle & Sebastian - Fans Only (2004)

I want this... mmmmmm

TrekToday - Shatner's 'Has Been' Lineup Unveiled

2004-09-24T17:34:00.000-06:00

TrekToday - Shatner's 'Has Been' Lineup Unveiled

Can nobody stop this man? Actually, with Ben Folds on board, this could turn out to be quite an album... We'll see.

The Photographic Art of Family

2004-09-23T01:36:00.000-06:00

The Photographic Art of Family

As a child, my parents were prone to the "hurry, take a picture!" mindset, and thus there are a variety of photographs of myself floating around in boxes, books, and drawers. There are some of me at the computer, moving the relatively massive mouse and gazing up at the screen in wonder, my 14-month old face bright and cheerful. There are the obligatory "look, he's doing something cute!" pictures -- you know the ones, I'm sleeping on the stairs, or I'm giving my baby sister a kiss on the cheek, or I'm using the bathroom. As time went on, these pictures became less in frequency -- of course, I started to spend more time using the computer, and that just wasn't "cute" anymore. My sister, a year younger, and my brother, four years younger, had a similar experience. As a result, my family has amassed many photographs of babies and toddlers and significantly less of pubescent teenagers fighting amongst themselves.

My mother, Janet, fondly recalls to me, "You probably don't remember sitting board-straight, arms at your sides, feet still, being 'sophisticated' as you listened to Mozart, Bach and the other Masters." From the get-go, I was exposed to a variety of artistic ventures, as my mother expressed. As I grew older, I was given more and more opportunities to express myself artistically. My middle school art teacher, Mr. Fred Kulick, introduced me to the beauty of photography as an art form. He was a quirky, crazy teacher in his mid-50s that enjoyed teaching more than anything in the world, and it showed. He took his time with students, allowing them all the time they needed to complete projects or learn the concepts he was demonstrating. He was somebody who really connected with students more deeply than a mere letter grade.

With this respect for photographic art now instilled in me, I decided that I would "give it a whirl," so to speak. Picking up my parents' cheap 35mm camera, I would often be seen walking around the house, taking photographs of the most random thing I could find -- a lamp, the curtains, a shoe -- it didn't matter to me what it was, just that it was art. A week later, the local Walmart had processed and developed my film. Taking a twenty minute trip to sunny St. George, Utah, I paid for my film and walked back to the car with my mother. Gently pulling the pictures from the paper bagging, I slowly raised an eyebrow. What is that? I thought. Is that... a shoe? I chuckled to myself, learning an important lesson in photography: STAND BACK FROM YOUR SUBJECT.

I put away the camera for a few years, disheartened by the experience fresh in my mind. I focused my efforts on acrylic painting and computer programming, an activity which I found strangely artistic. For a time, there was little to no photographic action in my home. It may have been that my family didn't have the time, patience, or desire to "snap some shots," it may have been that the allure of remembering teenagers was basically nonexistant.

After three or four years, I picked the camera back up, loaded it with Kodak film, walked over to my guitar laying in slats of sunlight created by the blinds letting sunlight in to warm our home from the harsh winter air. I framed my shot, adjusted the focus, clicked the shutter twice, and walked away. Over the following days, I took a variety of photographs, but none rivaled the one I had taken in a moment of pure inspiration.

My family had always been one that was artistically expressive, especially musically. My dad plays the guitar and bass; my mom, the piano; my brother, low brass; my sister, woodwinds, and myself, the guitar, bass, and piano. I was taught early on that artistic endeavours were of the utmost importance, and this photo serves as a constant reminder of such.

Matthew Montgomery
Sidenote: Written for Honors 1110

He's TNT; He's Dynamite -- A Simple Analysis of Napoleon Dynamite

2004-09-21T23:28:00.000-06:00

He's TNT, He's Dynamite

Napoleon Dynamite -- the movie sweeping the nation in 2004. One of the breakthrough successes of the year, Dynamite features a zany cast of characters, a down to earth plot line, and a bucketful of laughs, this movie succeeds on a variety of levels. The first and most obvious level is basic humor. This movie is purported to be "full of laughs" and a "nonstop riot." Among typical teenagers, it is the only level that is explored in any depth at all.

However, this film proves to be a greater analysis of life than immediately meets the eye. The characters, while seeming outrageous, are genuine. This is in part due to the talented acting, but also because of the excellent writing. This movie is often compared to films produced by Wes Anderson such as Rushmore and The Royal Tenenbaums, which are infamous for their understated characters, intensely detailed scripts, and amazing acting. This is, perhaps, an unfair comparison -- Anderson's films are heavily influenced by European film and pop art, while Dynamite is a film that appears influenced in part by Anderson's films, but largely by rural Utah and Idaho life.

Having lived in Utah more than two-thirds of my life, I vouch that the portrait he paints is stunningly realistic. It is not even a look at LDS (Mormon) culture, but a look at rural life in Idaho; something which has proved impossibly hard to capture the true feeling of. The atmosphere that surrounds Napoleon Dynamite is almost mid-1980s in feeling, although it is actually set in the present. It is as if time has stopped in this sleepy town.

The characters in this film are amazingly genuine. Napoleon, the main character, is a quirky misfit, somebody who was never accepted in school. He befriends a quiet Mexican-American, Pedro, who later breaks through his emotional and confidence barriers. His awkward school boy crush on the equally quirky Deb is an excellent example of the reality of this movie.

People who have grown up in American culture can usually relate to the truths of this movie; hence its massive success. It is genuine: situations are real, characters encompass the same feelings you felt (or will feel) as a teenager. Napoleon represents our awkward and tumultuous emotions, churning about in pubescent stomachs and hearts. Pedro is the quiet, introverted person everybody feels like at times, and he shows this excellently with his quiet, monosyllabic responses to questions. Deb portrays the confident but shy realities of new situations, as well as the ability of humans to adapt themselves to new situations. Together, they break through these barriers, proving that even the most socially challenged can break through emotional and psychological barriers to make an impact in life.

I see you're drinking 1% milk. Is that because you think you're fat?
Because you're not. You could probably be drinking whole milk.

Napoleon Dynamite, Napoleon Dynamite

Matthew Montgomery