Music

The genre-less treasure of underground music: Ghostemane’s ANTI-ICON

November 15, 2020 by Sonja Michaels 1 Comment

Sonja Michaels | Editor-in-Chief

This album starts out with a deep, sounding bass. As the bass drones on, it takes the listener’s mental landscape to the gray, clouded side of an isolated mountain. A drum begins to slowly pound, guiding the first steps down the mountain. Pausing, a moment of silence occurs. It erupts into chaos before fading out into whispers.

What a way to start an album.

Track two, “Vagabond”, takes us back in to some “usual” Ghostemane. There’s a pleasant variety of sounds going on. The listener is led to believe they’re hearing rap, but pounding drums come in at 1:20 and launch the listener back to early 2010s Warped Tour.

Three songs in, we reach “Lazaretto.” Is it metal? Is it hardcore? It’s hard to determine.

Ghostemane, or Eric Whitney, has roots in hardcore punk and metal. A Florida native, Whitney, played guitar and drums in multiple bands early in his musical career. Leaving Southern Florida seemed to coincide with a shift to a more rap-oriented career; Whitney moved to Los Angeles in 2015, and has formed or participated in numerous projects outside of Ghostemane.

So far the hallmark of this album is the careful manipulation of all the sounds. Yes, there are harsh sounds, but they all feel intentional. They are foiled by some soft, distorted vocals whispering to the listener at transition points. Ghostemane walks the line between grating effects and smooth soundscapes.

“Sacrilege” deserves to be listened to with an excellent sound system. The mix of real drum sounds and hyper-computery processed synths is the best whiplash between metal and synth-pop. The word pop isn’t the first you’d expect to hear in a Ghostemane review, but the first half of the song is filled out enough with danceable synths that harken back to the ‘80s that it’s hard to ignore.

Each song on “ANTI-ICON” has a different feel, but there are some uniform sounds and feelings. These songs are all part of the same journey through the album’s soundscape. In some places it is more organic, with acoustic and natural-sounding instruments evoking images of storms and empty nature, where in others the listener can only envision a hardcore band rocking out in a garage.

“Fed Up” stands out, mostly because Whitney shows restraint when it comes to the rapping. The lower, gravelly mumbles blend well with a video-game like bass tone. His higher-pitched, clean vocals are well mixed, not overly contrasting with one of the calmer songs on the album. It is just powerful enough. A minimalist, metallic outro ties this song off. “Fed Up” is understated – and for that, it can’t be overrated.

“The Winds of Change”. Right away a more organic instrument catches the listener’s attention. The sounds and tones evoke images of ‘90s alternative and emo bands like Sunny Day Real Estate or Twelve Hour Turn. This is the kind of song that makes you want to lay on the floor, stare at the ceiling and drift away into your thoughts for a while. A developed musician knows where an instrumental break belongs – Ghoste nailed it with this one.

Slower parts or songs like “Melancholic” demonstrate Ghoste’s versatility. Sure, you can defy a genre – but he takes it to the next level by showing diversity even in his own fantastically strange sound.

This album is diverse, but a common vibe exists. While paces and instruments vary, familiar bass tones and synth instruments appear throughout. Many of the lyrics are classic Ghostemane, addressing the dark themes he is known for.

Whitney takes the influences of rap, hardcore, punk, and more, pulling them all together to create an album that defies any one genre. Past Ghostemane albums have been unique, creative, and well-done; “ANTI-ICON” enters a new realm, acting as the carefully crafted, complete and refined work of a skilled artist.

In music: Pretty Hate Machine is 30. It says a lot about our 20s.

November 15, 2019 by Sonja Michaels 1 Comment

Nine Inch Nails performing in 2017 at the Joint in Las Vegas. Photo // Las Vegas Weekly

Adolescence is well-documented in music as the time in our lives that we are stuck in Whatever-town, USA, feeling invincible.

The one thing that’s harder to write music about is what comes next: our early 20s.

Nine Inch Nails’ “Pretty Hate Machine” details this phase of life with vulnerable lyrical content laid over a foundation of alternative rock and—perhaps more unexpectedly—80s dance music.

Official album art. Photo // TVT Records

The album just turned 30 this October, and it’s as powerful as ever.

By the time we hit our 20s, we are much more free to choose where we are and what we do, yet we can still get lost in the search for our identities.

We may not know what it is we want to do, and we may struggle to understand why the people or forces in our lives do what they do.

While “Pretty Hate Machine” doesn’t answer these questions, it certainly details that confusion, and the personal growth that comes with it, with refreshing poignancy.

For the sake of cathartic listening, that might be more important than answers. “Really, ‘Pretty Hate Machine’ was born from tinkering around in the studio at night,” frontman Trent Reznor told Kory Grow of Rolling Stone in 2019.

Reznor was the sole official member of the band until the addition of English musician and composer Atticus Ross in 2016.

The pair are longtime collaborators, with much of their work consisting of film scoring.

They won the Oscar for “Best Original Score” in 2010 for “The Social Network.”

“I was up above it/now I’m down in it.”

The “it” in “Pretty Hate Machine’s” debut single, “Down In It,” is never specified, but there are plenty of high places in life that one can come crashing down from.

The so-very-80s dance beat contrasts with the themes of loss of identity and change, which come to a head in the concluding lyric: “And what I used to think was me, is just a fading memory/I looked him right in the eye and said goodbye.”

A debut album is a special thing. It exists without any expectations based on previous albums or a band’s public persona; there’s a unique honesty to a first album.

Reznor touched on this honesty in the same Rolling Stone interview: “Once I got over the hump of, ‘I could never say that out loud to other people,’ there was an authenticity and truthfulness that I think resonated.”

It must have resonated, as nine full-length albums later, the band is 13-time Grammy nominated, and is a Rock and Roll Hall of Fame nominee for the third time.

The album itself was remastered and repackaged in 2010.

Reznor performing / 1994 Photo: Frank White.

Those following albums from Nine Inch Nails show no hesitation on personal or controversial subjects.

This initial pursuit of authenticity on “Pretty Hate Machine” opened the door for more aggressive albums like its 1994 successor, “The Downward Spiral,” and its themes of identity and one’s relationship with the world are prominent in 2004’s “With Teeth.”

And just as the album must have come, in part, out of the sounds of bands like Depeche Mode, its influence can be heard today—in some surprising places.

In 2019, the Netflix series “Black Mirror” featured a pop remix of opening track “Head Like a Hole” performed by Miley Cyrus.

Rapper Ghostemane’s 2018 album “N/O/I/S/E” echoes “Pretty Hate Machine” in synth selections and lyrical content. “Pretty Hate Machine” endures as the first glimpse into the influential industrial project Nine Inch Nails would become.

This album came out before Nine Inch Nails found their fame, and before Reznor and Ross became awardwinning film composers.

It is the work of a 20-something guy working as a janitor at a recording studio, figuring out who he was as a songwriter.

As 20-somethings figuring out who we are in our own lives, “Pretty Hate Machine” is a powerful work of music.

Street Dance Club wins talent show for the third year in a row

October 29, 2019 by Xiao Liang Leave a Comment

Street Dance Club dancing on stage as the last performance of the talent show.
FITV // Brett Twery

Florida Tech’s Street Dance Club was spotted not once, but twice on this year’s homecoming talent show podium stage.

Taking home gold in overall performance was the Street Dance Club’s individual performance, but they also came in second place for lip-sync through their partnership with Lambda Chi.

Beating SDC and Lambda Chi in the lip sync competition was Campus Activity Board and Phi Sigma with their satirical piece to songs from Moana, Aladdin and Lizzy McGuire.

They highlighted changes that have occurred since the founding of the university, such as the rebranding.

They also poked fun at landmarks such as the atomic toilet and the Crawford Tower.

On Oct. 24, 11 groups of students and organizations put on a show for their peers, showcasing their talents, performing lip-sync or both.

“I don’t usually come to events like this, but I very much enjoyed it,” said Samir Kazi, a senior. “Everybody is just having fun, and it really brings the homecoming spirit out of us.”

A wide variety of talents were seen throughout the show, such as the exotic performance by the Belly Dance Club, acapella take on The Pina Colada Song from the Players in Harmony and jazzy swing dance brought by the Swing Dance Club.

Alpha Omega Tau and the cheerleading team perform on stage. FITV // Brett Twery

“It’s really interesting to see people you know performing on stage,” said George Rodney, a senior. “You really don’t know what tricks they have hidden up their sleeves when in school, and I’m glad that they can have opportunities like this to express themselves and have fun at the same time.”

Other group performances also stood out as many greek life organizations paired with other clubs or athletic teams to best address the theme of “Bringin’ It Home.”

Some pieces featured “International Love” by Pitbull performed by the women’s swim team and Chi Phi, as well as “Promiscuous Girl” performed by Pi Kappa Alpha and women’s volleyball.

Furthermore, Alpha Tau Omega and the cheerleading team had a mixed musical, ballet and cheerleading along with their lip-syncing performance to hype up the crowd.

Anthony Roberts, a sophomore, said, “I wish that the show was a little longer and more people would participate. It’s really entertaining to watch and I almost can’t get enough of it.”

While the talent show was the sixth event of homecoming week, it allowed students to come out and support each other as well as provide comic relief for some and showcase the talent of others.

Alt-rock goes Gothic with The Pixies’ “Beneath the Eyrie” Album

September 26, 2019 by Sonja Michaels Leave a Comment

Alternative rock veterans the Pixies took to a converted church to record their seventh album, “Beneath the Eyrie.”

The influence of gothic styles and indie tones supplement the albums alt-rock core, bringing unique accents to the Pixies’ signature sound.

The Pixies turn to their expert use of dynamics throughout the album, showcasing a balanced interaction of quiet and loud.

The few tracks that do not stand on their own are still part of the album’s excellent production, maintaining a cohesive sound all the way through.

“In the Arms of Mrs. Mark of Cain” opens the album with a perfectly blended mix of crystal clear percussion, grungy guitars and rich, crackling vocals.

It sets a vibe that brings words like “creepy” and “sinister” to mind.

The lead single “On Graveyard Hill” continues the gothic sound and theme the group intended for the album, according to lead vocalist Charles Thompson IV, widely known by his stage name Black Francis.

The sound is much more ‘90s than 2010s.

Pez Lenchantin’s work on the bass is outstanding here, and provides a backbone that encourages the listener to groove along with the “In the witching hour/In the witching hour” hook.

The gothic feeling is lifted, if only temporarily, with “Catfish Kate,” a bright, indie tune paired with a vivid music video to match.

The next track, “This Is My Fate,” pulls things right back into the dark style.

The precise mixture of bass and piano provides a deep, bouncing sound in the background, reminiscent of an upright bass.

“Silver Bullet” is excellently produced and creative, a shift from the measured, predictable “Ready for Love.”

One of the most outstanding features of “Silver Bullet” is its powerful guitar riff.

While the rest of the song has a generally calm demeanor, with soft guitars and relaxed percussion from David Lovering, this fueled-up riff brings power and substance.

In that sense, it is a classic Pixies track; the group has dynamics down to science, shifting from quiet to loud at just the right time.

The converted church setting the Pixies recorded in seems fitting when listening to a track like “Los Surfers Muertos,” and when looking back at the Pixies’ previous work.

As primary songwriter, Francis has long gravitated towards biblical imagery, dark aesthetics and unusual topics.

Unusual is a fitting term for “Bird of Prey” when compared to the album as a whole; behind the dark timbres of Francis’ vocals and Joey Santiago’s lead guitar, an almost country-like rhythm guitar fills out the sound space.

It is especially noticeable in the chorus and refrain, as the phrase “little birdie” is repeated softly.

The second-to-last track, “Daniel Boone,” maintains the dark aesthetic of the album, but ventures into brighter tones and timbres.

It is a relaxing track well-suited for a long drive, or even to sleep; while the song is not boring, its swelling, atmospheric instrumentals could definitely lull the listener to an indie-induced sleep.

Things are sealed off with the gothic-indie tune “Death Horizon.”

Bright vocal harmonies contradict the song title, and the instrumental is simple and well-blended. It is a short and sweet ending to the album.

Throughout this album, unexpected sounds and instruments come into play, while other instruments are measured and perfected.

While one or two tracks act more as atmospheric fillers than stand alone tracks, these are contrasted by strong tracks like “Silver Bullet” and “This Is My Fate.”

The album as a whole features creative choices and masterful songwriting.

“Beneath the Eyrie” sounds like the work of mature, experienced alt-rockers.

An Experiment in Metal: King Gizzard & the Lizard Wizard ’s Infest the Rats’ Nest Album Review

September 10, 2019 by Sonja Michaels 1 Comment

King Gizzard & the Lizard Wizard performing at Brookyln Steel. Photo by Andrew Blackstein.

Australian rock band King Gizzard & the Lizard Wizard released their fifteenth studio album, “Infest the Rats’ Nest,” on Aug. 16 as an experimental look back upon old school metal and psychedelic rock.

The album’s style is pleasantly cluttered.

There is a lot going on in the sound space, and not a single instrument is left unattended to.

Effects are used tastefully to create a balance of clarity and distortion.

Some of the more refined sounds call back to psychedelic rock, adding a trippy flair to familiar metal roots.

Powerful bass lines from Joey Walker blend with full, thrash-inspired guitars, driven by consistent all-out drumming from Michael Cavanagh.

The second track, “Mars For The Rich,” is a standout.

For four and a half minutes, it is impossible not to at least nod along to the groove, and the last minute or so of the track is likely to get you drumming on the nearest surface.

Though the album is categorized as metal on iTunes and other music platforms, there are many genres providing influence.

While metal fans will undoubtedly enjoy thrashing guitar tracks and frontman Stu Mackenzie’s gritty vocals, there are experimental elements at play that could certainly draw in fans of psychedelic rock, punk, surf rock and experimental music as a whole.

Each guitar track calls back to metal bands like Motörhead and Black Sabbath, with guitar credited to Mackenzie, Walker and Cook Craig in the album notes.

The metal mentality of this album shines through on tracks like “Organ Farmer” and “Perihelion,” that sound is contrasted by the slower pace of “Superbug.”

This lengthy track provides a rest in the middle of the album; there are frequent instrumental breaks, with an outstanding one coming in at 2:20.

“Superbug” is a perfectly timed change of pace from fast-paced vocals and driving instrumentals, readying the listener’s palette to dive right back into five more tight tracks.

It is followed up with “Venusian 1,” a heavy metal blitz with a quick enough pace and feeling to give any ‘70s punk track a run for its money.

“Perihelion” feels like a natural continuation from “Venusian 1.” Its intro might lead you to believe that the song is not going to impress, but it is saved by some interesting backing vocals that come in right in time to save the song and push things forward into the closing tracks.

“Infest the Rats’ Nest” serves as a tribute to the metal of yesteryear, but with crystal clear production and experimental influences from a range of genres.

The music refuses to pull at your emotions or sympathize with you at all, but that is not its purpose; it is an energetic, down-and-dirty collection ready for you to lock your door, pile on your darkest makeup or most studded clothing and rock out for a little over 34 minutes