Quirky Moon Theory a diamond in the rough
by Erin Haick
Moon Theory's self-titled CD found its way into the Piolog office along with a half dozen others. While some of these disks will never see the light of day (and for good reason), Moon Theory came as a great surprise: an independent, intelligent band with clear influences, but with a sound all their own.
Vocalist Kaeti O'Ghara and producer TSO make up the San Francisco-based rock band. Lulling the listener with smooth, intricate beats and O'Ghara's flighty vocals, the songs nevertheless come around to punch the listener with a hard, tight chorus, never forgetting that they are a rock band first and foremost.
Opening with the guitar driven "Insomnia", Moon Theory quickly establish their sound: a complex blend of triphop beats and rock arrangement, all under the bewitching voice of vocalist O'Ghara. O'Ghara's voice combines elements of Portishead, Bjork, and No Doubt's Gwen Stefani, frequently filtered through vocal distorters. However, O'Ghara's voice is so flexible that actual machines are not often needed to achieve the warped sound emanating from the speakers.
Songs like "Shapeshifter" and "Primevil" establish Moon Theory's spiritual bent—a kind of new age mysticism mixed with cyber-age sensibilities. Other tracks, like "Thirst No More" and the particularly excellent "Feed your Master", which neatly equates capitalism and consumerism with a ravening, multi-headed monster, demonstrate the political leanings of the band.
The ill-placed and jarring "Blasphemy" is the album's most obvious problem. Starting as a fierce, guitar driven rant, the music is interrupted as "agents of the FCC" invade the studio where Moon Theory is recording, and struggle ensues while the band is dragged off on trumped up charges. While the song does have a disturbing element, and should be applauded as a statement against growing problems of the music censorship, in the context of the album, it knocks the listener completely out of the flow of music that has thus far been created. Such experiments are better left to hidden tracks, or an ending that can be programmed out.
The album might also benefit from one more strictly-rock number. After "Blasphemy," the sound slows into downtempo triphop territory, and while the songs are still good, the individuality that shows through so well in the earlier tracks is missing until "Shapeshifter" resumes, three songs later.
The closing track "Savior" moves away from the political or spiritual fare of earlier songs as a simple love song. The lyrical material is not overly ambitious, but the instrumental sensuality is still there, and Moon Theory finish with a flourish.
|
|
LC Jazz: small size, big talent
by Joe Clock
I went to Evans Auditorium on Friday evening, Nov. 15, expecting to hear big band jazz. The band that took the stage, however, was not very big. Although the Lewis & Clark Jazz Ensemble is smaller than it was in the past, it is made up of a group of talented musicians that both improvise well and play well together.
The band suffered its greatest losses in the brass section, and was left with only two trumpets and one trombone. In response Friday's program included many song arrangements featuring the saxophone section. Even with the small brass section, however, the band was still able to achieve an even balance between saxophones and brass.
The band covered a wide variety of musical styles in the ten songs that comprised the concert on Friday night, and played some obviously difficult songs very well. They stayed together through the fast, syncopated rhythms of some songs, and slowed to the softer ballad style of others.
Director David Becker said that the Jazz Ensemble had been focusing on improvisation this semester, and throughout the concert nearly every member of the band was featured.
The band's theme of improvisation culminated with their final number, "Mercy, Mercy, Mercy" a song that the band obviously knew well, and that featured a solo from nearly every member, including an improvised dialogue between Eric Miller's trumpet and Leslie Kernochan's saxophone.
Kernochan and Miller were two of the more impressive soloists in the concert overall. Miller's trumpet solos were varied and creative, and did not lose themselves in complexity. Kernochan is an extremely talented saxophone player, and each of her solos sounded smooth and natural.
The rhythm section has the most members in the Jazz Ensemble, and throughout the concert they matched the talent of the rest of the band. Drummer Jesse Brooke took a few solos, playing creative solos that started subtly. As his solos began I wouldn't really notice that the band had dropped out and I didn't miss them. The solos would build and filled their space well.
There were also some impressive bass and guitar solos Friday night. Bass player James Zdrowski played some interesting solos, and guitarist Dan Wilson showed off his talent a few times.
Pianist Galen Clark also played a few solos, demonstrating his musical skill and familiarity with jazz and the piano.
Several other members of the band had a chance to show off their talent, and none were disappointing.
The only problem the Jazz Ensemble showed came out of the strength of their rhythm section. At times, the rhythm section took attention from the saxophones or brass as they played the melodies and it would have been better if they had been a little quieter.
Although the Jazz Ensemble is not exactly a big band, it features several talented musicians, and can put on a fun, informal concert containing some high quality music.
|
