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.

Gleason showcases local arts in celebration of 50 years

October 17, 2019 by Jesse Villaverde Leave a Comment

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.”

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.