The Flaming Lips Reveal Their "Dark Side"

[Published in the BU Scout on February 19, 2010]

When The Flaming Lips decide to cover other artists, you know you are in for some kind of bizarre treat.

The Flaming Lips fans can recall YouTube videos of lead singer Wayne Coyne shouting the lyrics to Black Sabbath’s “War Pigs” into a megaphone and crooning a haunting ballad version of Kylie Minogue’s “Can’t Get You Out of My Head.” But what exactly could any fan expect when The Flaming Lips announced an entire cover album?

In December, The Flaming Lips released a track-for-track remake for Pink Floyd’s “The Dark Side of The Moon.” They named it, “The Flaming Lips and Stardeath and White Dwarfs with Henry Rollins and Peaches Doing The Dark Side of the Moon”

I know what you want to do. Your initial instinct is probably to go crying blasphemy over even the idea of touching one of rock’s greatest albums. “Dark Side of the Moon” is the album that defined the studio concept album. It is the album that made Pink Floyd a staple in rock music and turned boring planetariums into psychedelic laser-light shows. Let’s not forget that even the cover art turned the color spectrum itself into a world-wide icon.

Who are The Flaming Lips to even attempt this feat?

Indie/Space-Rockers The Flaming Lips are not alone in their quest for the cover album, as their overlong title suggests.

They enlisted the likes of Henry Rollins, Peaches and Coyne’s nephew’s band, Stardeath and White Dwarfs. Rollins handles spoken-word parts of the album in a suiting monotone voice, while Peaches wails in the background on a few tracks. The album overall places a heavier emphasis on the ambient background, while Coyne’s characteristic airy vocals sputter in and out of tracks like “Breathe.”

Regardless how you feel about remaking an album that sold more than 45 million copies to date, the Flaming Lips did so fearlessly with their own style.

The Lips are experts at creating those operatic and atmospheric layers that are required for “Dark Side of the Moon,” and the whole album is overall entrenched with more funk and attitude than the original. Overdriven guitars and distortion reign supreme on most of the tracks, and whammy effects are used on many for that extra funk sensibility.

Many tracks, however, fall into the category of “Big Disappointment” or “Huh?” For example, “Money” is probably the most recognizable single off of the original, featuring looping cash registers, arguably the most intense sax and guitar solo of the album, and soaring vocals from David Gilmour.

The Flaming Lips version has no sound effects loop (Come on guys! That part was easy!). It has no solos at all, and instead of singing the unbelievably catchy tune, Coyne robotically recites the song’s lyrics with a disturbingly metallic effect. This song in particular is a huge disappointment and reminder how the album as a whole still pales in comparison to the original.

You can appreciate a band that isn’t too afraid to tackle an almost canonical album while maintaining their characteristic sound. The album’s conception still comes off almost as a dare – as if enigmatic Coyne himself was just trying to do the next “weird” thing. No word yet if the album synchs up with the “Wizard of Oz” or any other movie.

Lips fans will probably love it, but Pink Floyd purists will probably still go burning the album in heretical glee.

R.L. Stine Gives Readers A Halloween Scare

[Published in the BU Scout on November 2, 2009]

Goosebumps. Choose Your Own Scare. The Haunted Mask. Horrorland. Done nostalgically wallowing in the creepiest, spookiest corners of your childhood? R.L. Stine’s Goosebumps series permeated every literate grade-schooler’s life at a certain point. It was hard to avoid the frenzy: there seemed to be a new book out every week, a television series, movies, toys, fruit snacks, games and underwear…

Yeah, I’m pretty sure I had the Goosebumps underwear.

But anyway, it was pretty hard not to be drawn to these easy-to-read books with the cool covers where kids (just like me!) got into some pretty weird situations (Go Eat Worms!). I stumbled upon an old favorite…Attack of the Jack-O’-Lanterns.

Now I have to say, it isn’t the creepiest of Stine’s books like Night of the Living Dummy, the title is not as clever as Say Cheese and Die! And the cover isn’t nearly as impressive as a staircase dripping with Monster Blood, but hey; it is still a genuine Goosebumps book.

After establishing the main character as a mischievous and tough twelve-year-old girl - Drew, we find out that Halloween is her favorite holiday. But it was ruined two years ago by a couple of big fat jerks, Tabby and Lee. (These two pranksters faked a break-in and a strange hostage situation where Drew was forced to do pushups!) So this year, Drew has a plan to get even – thus begins the good ol’ fashioned revenge tale: Goosebumps-style!

The blood-dripping chapter numbers of the book flew by as I read the book at a record pace. Almost every chapter ends in a mini-cliffhanger where someone gets scared because a big gruesome monster is biting its razor sharp fangs into Drew’s flesh…only then does she realize that it is a Halloween mask. If you get frightened at all at the end of these chapters; it’s okay. Just turn the page and the benign phenomenon will be explained instantly.

Back to the story: Drew somehow convinces Tabby and Lee to go trick-or-treating - which is strange since they seem to be mortal enemies. You see, Tabby is a little stuck-up *#&@ and dresses like a princess every year, and Drew is a bit of a tomboy. Oh, and Drew also has a tendency to growl at people… I counted seven “Grrrrr’s” throughout this 113-page turner. She’s got a bit of a complex and is described as small and elf-like, which lends itself to her deep resentment of almost everyone. This is Drew’s last chance for revenge, and last time to trick-or-treat because apparently you have to stop the moment you hit the teenage years.

While tick-or-treating, the gang meets up with what they assume are their twin friends, Shane and Shana. They got these real great pumpkin head masks, with real flames in the jack-o’-lanterns! Tabby and Lee are real scared once it becomes clear that these pumpkinheads want them to keep trick-or-treating…forever!

I don’t want to SPOIL the ending for you, but the pumpkin heads really were their friends the whole time: they just happen to be shape shifting aliens who have been abducting, killing and eating fat adults in their town for the past few years. Oh, and if you are wondering if that little jack-o’-lanterned dog (the one on the cover) appears in the book, don’t bother looking. He is nowhere to be found…the only disappointing moment of reading the book.

The Silversun Pickups Band to Bring Unique Sound to Expo Gardens

[Published in the BU Scout on October 23, 2009]

Few indie bands have made quite the same kind of impact in only a few short years as the Silversun Pickups.

Even if they are hearkening back to some grungy elements of the ’90s, the Pickups bring enough fresh talent and themes to the table to make them a musically legitimate powerhouse.

The closest genre you could classify The Pickups would be shoegaze.

Named to describe bands like My Bloody Valentine and several others in the late ’80s, the term comes from describing how the bands typically performed in a detached, almost bored manner. For such loud distorted guitar rock, it was odd to watch a band basically stand on stage “gazing at their shoes.”

The Pickups, however, put on a fantastic, energy-filled show that differentiates them from their earlier influences.

The music of the Pickups sounds almost dense, with multiple guitar tracks, but it still remains almost minimalist. Distortion and overdriven guitars contrast heavily with the almost ghostly vocals.

They sound a lot like the Smashing Pumpkins at moments, but have a more uplifting and optimistic sound.

After initially getting your ears blasted with multiple layers of overdriven guitars on their first album “Carnivas,” you will immediately notice the otherworldly voice of Brian Aubert. The signature vocal effects of his voice construct a strange childlike sound worthy of being a unique instrument on its own. One moment the song may lead you through a sweet, almost feminine voice, then a gut-wrenching scream during a chorus cuts through to deliver the real emotion.

“Lazy Eye” was the mega-hit off their first album, with a dr e amy and addictive hook that spirals into a frenzied state as the song’s storyline takes a life of its own.

The band’s sophomore album, “Swoon” came out this summer and is better in every way. The title of the album is perfect – it exemplifies that immersive feeling put forth by almost every song on the album. The loud parts are louder, the soft parts, more sweet this time around, with an added bonus of a strings section on a few tunes.

“Panic Switch” and the recently released “Substitution” are the first two singles off the album a n d encapsulate very specific, yet relatable moods.

The band is coming to Peoria’s Expo Gardens on Wednesday. I’ve seen them live at Lollapalooza and they are definitely worth seeing. The group appreciates its fans and loves a good crowd.

The Silversun Pickups truly need to be experienced, because you might miss something if you simply give them a casual listen. Songwriter Aubert is that artsy kid in the corner of the crowded room, one day hoping to shyly reveal his poetry to the girl of his dreams. Paired with harmonizing female bassist Nikki Monninger, the pair produces an eerie but beautiful beast that equally snarls and croons its love songs.

Their music is intricately layered, and you can pick out the multiple guitar tracks and appreciate each one in its own way where they build up to be “just on the right side of the white noise.”

Monkeys Mature and Release Humbug

[Published in the BU Scout on September 9, 2009]

For a band hailed as the next big thing out of the U.K. since Oasis, it is still surprising that more people haven’t heard of the Arctic Monkeys.

With its third album, “Humbug,” released on Aug. 25, the lads from across the pond are steadily entering into American consciousness, though longtime fans may be disappointed.

Those of you still wondering “Who The @*%! Are The Arctic Monkeys?” look up its first two albums.

The debut album “Whatever People Say I Am, That’s What I’m Not,” and breakthrough single “I Bet You Look Good On The Dancefloor” came out in 2006. Through constant touring and Internet fan pages, it became the fastest-selling debut album in British music history.

Sounding like the recording came straight out of the garage, the raw energy and unpolished nature of the band appeals to any fan of the do-it-yourself attitude. Each song in “Whatever People Say,” composed of what seems to be several tunes hacked together, evolves beautifully with its own beginning, middle and end. Singer Alex Turner is an observant and sometimes bitter wallflower – commenting on situations with a strong Yorkshire accent that adds a charming flair to his otherwise brooding nature.

The Monkeys’ sophomore album, the significantly heavier “Favourite Worst Nightmare,” perfected its unique formula to make a CD that sounds fantastic from start to finish. The album is much more polished than its predecessor, but still maintains that sound of controlled chaos with songs like “Brianstorm” and “Teddy Picker.”

As a third album, “Humbug” in its entirety may seem to be a bit of a disappointment, though it only appears so when compared to the Monkeys’ previous works.

Produced by Queens Of The Stone Age frontman, Josh Homme, the Monkeys introduce a new dreamy background ambience of sound that was only hinted at with Turner’s side project, The Last Shadow Puppets.

Also, fans of producer Dangermouse will appreciate the introduction, but it might alienate those waiting for another dance number.

The first single, “Crying Lightning” weaves dreamy guitars and clever wordplay into a grand showcase of what the band does best. Pulling together Turner’s storytelling genius and the band’s penchant for a living, breathing musical backdrop, “Lightning” is the best song on the album.

Halfway through the album, long-time Monkeys fans expecting something more dynamic and danceable will find it in “Potion Approaching” and then “Pretty Visitors” with more familiar, funky rhythms.

Most of the songs are missing that defining vitality that allowed each song to unfold into several different rhythms and melodies.

Perhaps it is a sign of the band’s maturity, to make a song as consistent as some of these are, but I miss the almost haphazard combinations of song elements. Of the ten songs on the CD, only a handful follow the usual configuration.

It is unfair to say this is a step back for The Arctic Monkeys. Instead think of “Humbug” as a slight sidestep exploring only a certain vision of the band.

Fans can appreciate that the Dylan-esque social commentary-through-storytelling is still there, further defined in soulful ballads like “Cornerstone.”

While “Humbug” would indeed complete the collection, fans of the first two albums are better off looking up the multitude of unheard B-sides, which are all masterpieces in their own rights.

The Dead Weather Displays New Shade of White

[Published in the BU Scout on April 3, 2009]

Of all the words you can use to describe Jack White, predictable is not one of them. He’s an actor and one-time upholsterer, but he’s mostly revered for his involvement in several genre-crossing musical endeavors since the early 1990s.

There was the Grammy-winning rock duo, The White Stripes, with the single “Seven Nation Army.” There was the Academy Award-nominated soundtrack for Cold Mountain, to which White contributed several songs. There was the massive hit “Steady As She Goes” by the industry-proclaimed supergroup The Raconteurs.

It seems that his latest supergroup will be no different in terms of success, talent and all-out awesomeness.

They call themselves The Dead Weather. Indie-rocker Alison Mosshart of The Kills fronts the band as the lead vocalist. Dean Fertita of Queens of the Stone Age contributes on keys and Jack Lawrence from the Raconteurs rejoins Jack White on bass. White himself takes a step back to return to his first passion: drumming.

While they may not seem like the typical supergroup to many, the mere presence of Jack White amongst fellow musicians seems qualification enough.

It’s been over a decade since the rock duo emerged from the heart (or bowels) of Detroit. Comprised of only singer/guitarist Jack White and his companion drummer Meg, The White Stripes attacked eardrums and industry standards with such tenacity that they changed the face of popular music.

Loud, distorted blues riffs accompanied by simple-but-steady drumming were suddenly okay for the mainstream. Jack and Meg charmed fans with a portrait of innocent child-like companions on a journey through a three-colored world of red, black and white. Throughout their rise, they maintained their humble attitude and lost few fans to claims of “selling-out.” It was quite clear the Whites were just interested in making good music.

During their six-studio album career, The White Stripes came in a surprising amount of shades.

Early work focused mainly on garage-rock oriented riffs and southern blues-style slide guitar. Their third and fourth albums, most notably “Elephant,” launched the duo out of the garage and into the mainstream with more complicated song writing and advanced soloing from Jack. His voice morphed song to song from soothing boyish naivety to howling emotional shrieks. The latest two albums, “Get Behind Me Satan” and “Icky Thump” began branching out from their tried-and-true method of simple music composition. There are marimbas, bagpipes and even a full horns section in “Thump.”

Though their overall concept and simple, yet oh-so-sophisticated approach to music cemented the White Stripes as the king and queen of modern rock, Jack didn’t stop there; for there was music to be made.

The Raconteurs arose when he formed a full band with Patrick Keeler, Jack Lawrence, and fellow Detroit native Brendan Benson. Since all members had been in previous bands, the music industry instantly declared them a supergroup, though it was far more obvious who the famous front man was.

White shared his love for hard-hitting blues with new band mates, while delving deeper into the world of country and bluegrass in their two albums “Broken Boy Soldiers” and “Consolers of The Lonely.”

Jack’s touring with The Raconteurs left The White Stripes on somewhat of a hiatus, broken only with a single performance on the final episode of “Late Night with Conan O’Brien” earlier this year. With a lack of information lately, it came as somewhat of a shock to see Jack White producing yet another band, The Dead Weather, with a confirmed album release this June. While fans barely have time to recover from hearing of the band’s existence, the first single “Hang You from the Heavens” was released on March 11, along with a cover of Gary Numan’s “Are Friends Electric?”

“Heavens” features many characteristics of White’s most recent works with the Raconteurs, with thick, lurching guitars reminiscent of “Consoler of the Lonely.”

Alison Mosshart’s haunting vocals actually sound a lot like White’s as she stammers verses and sputters choruses. The b-side cover features the whimsically clunky organ-work you’ve come to expect on a Stripes track like “I’m Slowly Turning Into You.” The two songs are available for listening on thedeadweather.com, and their magnificence should make Horehound one of the most anticipated debut albums of the year.

Jack White’s illustrious music career has already declared him one of music’s greatest contributors, yet with each new album, you can’t help thinking that he’s just getting started.

Out of Batteries

This really is one of my favorite videos to date...I just think it turned out exactly how I wanted it to. I storyboarded it (I can't conceive of a project without proper storyboards), and shot and edited the thing, and got Mike Davis and Tom Sifuentez to star in it.

Shooting consisted of one, four-hour shoot that included all the indoors shots and outside parts. The inside shoots had few complications - there was a slight color-correction that was needed to get rid of blue hues in one of the rooms, and that was done during post-production. Since there was only one real scene to shoot outside (the final confrontation) it was overlooked that a mic of some kind would be needed. The on-camera mic would not have sufficed, so the audio was later dubbed over and syched up with the video.

Editing went smoothly, since the storyboards were done in a concise and professional manner. I had a slight dilemma with the audio. The project was conceived and designed around the musician Beck's 8-bit remixes of a few of his songs, but I don't exactly have the rights to his music. (Damn you UMG!) So I mixed my own audio track to emulate the feeling of those songs. Later, It was obvious that there was no subsitute for the REAL Beck, so an alternate version was produced utilizing "8-Bit Variations in B-Flat" and "Bad Cartridge". This was for a school project, so no one should get too mad at me...

If I had to change anything - I would of course get that microphone (boom mic) to get that famous one-liner.

Here is a direct link to the video with Beck's Music (UMG won't allow the video to be embedded on any website...jerks) Click Here!

Here is the video with the music I mixed:

Welcome to the blog!

This is the first post of the new blog...be sure to expect a detailed explanation on the production of all future projects (and maybe some older ones). The projects themselves will be on http://thekissilent.com since that is the portfolio. I will talk about the website's production in a future post! Also, I plan on sharing how I did my CSS/HTML hover animation on the main navigation of the website, and maybe repost some other stuff from my past. Check out the About Me section or click on the My Portfolio link!