music

Evan Olsen interviewing Salem Murphy at the showcase.
Crimson // Jesse Villaverde

At a school like Florida Tech where STEM is highly valued, the highlight of local arts and new technology within community made its debut at its own auditorium.

Gleason Performing Arts Center held their first arts showcase on Oct. 4 presenting an array of space-themed paintings and the display of their new lighting system and LED screens.

The showcase also celebrated the 50th anniversary of the auditorium, with about 86 attendees at the event.

William O’Steen, the general manager, and Jeffrey Richardson, the assistant manager, created this showcase to not only show their new direction for Gleason but also to display their new equipment and abilities.

“We wanted to find an opportunity to thank the campus and community for taking part in the upgrades and improvements we have made,” Richardson said. “It was our way of inviting everyone to a free and inclusive event where we could show some of the types of events our building can support.”

According to Richardson, this was their first event that focused on their own creativity, with an attempt on utilizing their own production knowledge.

The front lobby was decorated with giant paintings from local artists Christopher Maslow and Mark Gilliam, as well as having a
lighting control booth for guests to interact with featuring colored spotlights.

Big LED screens were hinged on the front wall, presenting advertisements and graphics from Florida Tech College Players and Florida Tech Video Productions.

Before the main event, a special VIP event was held on stage for donors and the school’s administration to meet with Gleason staff and the keynote speaker, Salem Murphy.

Paintings of a galaxy cluster and a rocket were displayed at the showcase. Crimson // Jesse Villaverde.

The showcase opened up with Anja and The Band, an alternative/pop/rock group, for the first thirty minutes.

The performance was then followed by the keynote speaker, Salem Murphy, an actress and producer known for her role as the principal in season one of “Stranger Things,” as well as “Abe” and “Reckless.”

Murphy graduated from Florida Tech in 1986 in business and finance and was invited through the Office of Development for the showcase.

“I was honored to be part of the showcase,” Murphy said. “It was a wonderful opportunity to see all the ways in which Florida Tech has thrived throughout the years.”

Evan Olsen, assistant director of dining services, presented Murphy as the keynote speaker and interviewed her on stage.

“It was a great experience for me as an MC,” Olsen said. “It was my first time being a formal speaker outside of my dining services circle.”

Murphy explained her experience at Florida Tech, her personal growth and her journey in becoming an actress in the industry.

“Just to see how many wonderful things are happening here at Florida Tech is pretty cool,” Murphy said.

Olsen said that he would like Gleason to have more events like these geared towards the student body.

“After this event, I’d say there is an opportunity in doing showcase events of various talents, such as comedians and bands,” Olsen said. “Even though it’s utilized more for formal events, I would like the students to get more involved with Gleason.”

Richardson heard this type of feedback from the audience and is looking into making this showcase a recurring event.

“Much of the new equipment we use in our building is shown frequently at events around campus,” Richardson said. “We make every event we support on campus a way that we can show off some of the new creative equipment that we desire.”

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.

music

Gleason showcases local arts in celebration of 50 years

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