By Lynn Riley

To an appreciative Drexel community crowd including students, faculty, friends, alumni and family, the Drexel Fusion Band held a CD release party celebrating their new album “Cold Duck Sauce: The Best of Drexel Fusion Band” Nov. 11 in the lobby of Creese. 

Recorded last spring by Drexel Music Industry students, the performers are former and current members of the Drexel Fusion Band.  It includes 12 original arrangements by Director Lynn Riley (Adjunct Instructor in the Performing Arts Department) of Jazz, R&B, Latin and Rock songs such as “Summertime,” “What’s Going On,” “Ran Kan Kan” and “Moondance.”  On this festive night with pizza for all, the Band performed cuts from the new CD as well as some newer arrangements. 

The title “Cold Duck Sauce” derives from a recording session of the Eddie Harris jazz standard “Cold Duck Time,” another of the tracks on the CD, accidentally labeled as Cold Duck Sauce by a probably hungry engineer who performs in the group. 

The CDs are available for $10 by contacting Lynn Riley at mcr27@drexel.edu or calling 215 895-2451.

***Media courtesy Michael Donnella

You will most likely never see a band member smile on stage as much as Anberlin’s frontman, Stephen Christian. His gleeful appearance makes it clear there is nowhere else he would rather be than on a stage singing to his fans. This radiant stage presence lifts the mood of the entire band and crowd. It is no wonder Anberlin drew such a dedicated and energetic gathering to their show at the Trocadero on Saturday, Nov. 1.

The second the lights dimmed in the venue, fans began chanting the band’s name. Anberlin emerged from backstage starting their set full throttle with energy that seemed to refuse to die down. Despite the fact that the current tour is in support of their new album “New Surrender,” the band did not overpower their set list with new songs. Instead they played a relatively balanced amount of titles from their latest three albums that seemed to please the crowd. Anberlin’s set lasted a little over an hour including a two-song encore. The entire set flowed together nicely with well-chosen songs and plenty of thanks from the band for the fans’ support. The set was seemingly flawless except for Christian accidentally calling the crowd, Boston, which ultimately just led to playful “boos” and laughter.

Probably the most impressive aspect of the concert was the undeniable connection between everyone in the venue. Fans were united and there did not appear to be a gap between the band and the crowd; the fans were just as much a part of the night as the band was. Anberlin’s set could not even be called a “performance” since that implies a disconnected audience. The “show” definitely involved each and every person present at the Trocadero. I heard quite a few people walk away that night claiming the event was one of the best concerts they had ever attended.

If you did not get a chance to catch Anberlin in Philadelphia this time around, I suggest you try to catch them live next time they make a stop here. In the meantime check out their latest album “New Surrender” as well as their older releases.

***Photos by Anna Clay

In 2002, the alternative rock band Anberlin was born in sunny Florida. The band has worked hard since then, landing them a deal with a major label, Universal Republic, in 2007. The band is fronted by sincere Stephen Christian, who cares about nothing more than creating honest music for his fans and that’s exactly what he does. Anberlin recently released their album “New Surrender,” which charted number 13 on the Billboard 200. The album is full of energy and honesty that yields songs that are sure to sound great live on their current tour in support of the release.

Need something to do this Saturday, Nov. 1? Catch Anberlin live at the Trocadero along with Straylight Run, Scary Kids Scaring Kids, and There for Tomorrow. Check back here after the show for pictures and a review.

After releasing a duo CD in September, Grammy Award winners Chris Thile and Edgar Meyer reunite on a tour scheduled to set up camp for one night in Philadelphia on Oct. 22. Thile, a former mandolinist of Nickel Creek, invites all music lovers regardless of musical preference—in other words, it is perfectly fine if bluegrass is mixed in with rap and hip hop in your CD collection—to join him and Meyer at the Kimmel Center for the Performing Arts on Wednesday night at 7:30 p.m. The event will take place in the Perelman Theatre of the Kimmel Center.

“My goal is to attract a music audience,” Thile said, “people where music is as vital a component as air. Having a variety of people in my audience means not being a demographic, but appealing to everyone.”

When speaking of his music as a demographic, or lack thereof, the 27-year-old mandolinist heightened his tone a notch or two. “Music making [today] revolves around music as a lifestyle accessory just as a certain person wears Louis Vuitton handbags, with such a clear cut musical agenda as opposed to making music that’s fun to write and fun to play. I have a much commoner agenda,” Thile explained.

Thile’s intense passion for music parallels that of his partner’s. It is no coincidence that these two musicians have come together.

“I look for musicians to collaborate with on what music really is and what it means to make it,” Thile said.

This is not the first time the duo have joined forces.

“I met Edgar when I was 16 at a Bluegrass Festival in Colorado. He was my hero since I was 12. I made a solo record called ‘Not All Who Wander are Lost’ and we played on that together and had a duo concert three years after that.”

Meyer, 48, a double bassist and composer, is predominately known for his album “Appalachia Waltz,” in which his talent on the bass earned him recognition throughout the music industry.

The duo’s concert at the Kimmel Center will feature styles of country/bluegrass along with jazz and classical influences from their self-titled CD. Tickets for the event are $30 and $42. Students with ID on the day of the performance may be able to take advantage of Student Rush, depending on the availability of tickets.

***Media credit: Michael Wilson

It’s only Wednesday, but it’s already been way too long of a week! Why not get away from campus and head over to Johnny Brenda’s to grab a local brew and check out one of the blogosphere’s most talked about bands, Ra Ra Riot. First joining together at Syracuse University, the group (seven members!) known as Ra Ra Riot has really made a name for themselves amongst the inner-web of music nerds and critics alike. With similarities to Vampire Weekend, Love Is All and The Spinto Band, Ra Ra Riot will most surely put on an entertaining show.

But before Ra Ra Riot hits the stage, let’s take a look at the openers: Walter Meego and The Morning Benders.

Get dancing to the electro-sounds from duo Walter Meego! Their songs “In My Dreams” and “Forever” were featured on the television show “Ugly Betty” and by the second chorus of the latter, everyone in the audience will be singing along to the catchy, infectious track.

Kicking off the night, The Morning Benders from California will bring listeners some good ol’ pop music. The quartet sound like the love child of Ben Kweller and The Beatles. With their recently released covers album, “The Bedroom Covers,” expect to hear an awesome rendition of The Cardigans’ hit “Lovefool” or The Smiths’ “I Won’t Share You.”

See you at the show!

The Morning Benders, Walter Meego, and Ra Ra Riot- Johnny Brenda’s (1201 N. Frankford Ave.)- Doors at 8 p.m.- $10- 21+

***Media credit: Columbia Records, Walter Meego’s YouTube, and Timothy Norris

Looking for something to do this weekend? Check out:

Details:
When: Saturday, October 11, 2008 @ 7:00 p.m.
Location: The Cherry Pit, 1431 Cecil B. Moore Ave @ Broad St.

This remarkable lineup features:
Dr. Fameus (Allen Aucoin of The Disco Biscuits)
Lo-Life (Clay Parnell of Biodiesel)
CIA (Clay Parnell, Ian McGuire of MJ Project, and Allen Aucoin)
Push

DJ sets by Labl’d and Tech.9-Tony.
Plus visual stimulation by Chet Jagwire.

MAGIC HAT will be providing free samples of their fine ales and odd notions from 7-9 p.m., and there will be $3 pints all night!

About ten years after disbanding, The Verve recently released their fourth album entitled “Forth.” For any fans in admiration of the band’s nineties psychedelic rock grooves, this album should not disappoint. The Verve succeeds in returning to their sound in this fully loaded reunion album.

With three out of ten songs exceeding seven minutes, the album devotes itself to trippy synthesized string and vocal effects underlying dance tunes to ballads. There’s a strong start in “Sit and Wonder” which begins with a slow crescendo of spacey distorted loops before crashing into a driving beat. Richard Ashcroft delivers catchy lyrics throughout, with vocal styling reminiscent of Radiohead’s Thom Yorke. The energy is maintained through “Love is Noise”, an easy dance beat sing-a-long, and “Rather Be”.

Then the album slows down with a series of long relaxed jams that would seem right at home on a David Gilmour album. “Judas” finally picks up a few minutes in after a lot of glass harmonica sustained synth to an R&B vocal and percussive performance. Squealing guitar allows the piece to transcend along with various smooth vocal over-dubs. The electric guitar intro to “Numbness” sounds pretty close to that of Pink Floyd’s “Breathe”, but then becomes somewhat of a blatant steal when the first vocals read “just breathe in the air, don’t be afraid…”

“Noise Epic” is the longest song on the album at 8:14 and contains colorful segments of almost grunge rock jams with Ashcroft’s vocals being barely audible within verses and sounding filtered through a loudspeaker. This is in turn followed by the shortest song on the album “Valium Skies” which is the closest that The Verve comes to another “Bittersweet Symphony”. An easy album favorite, it delivers a relaxed beat under suspenseful verses opening up into call-and-response oh’s and ah’s before rising into its orchestra assisted refrain.

“Forth” finds an appropriate closing song in “Appalachian Springs”, the honest attempt at a modern rock ballad with long segments of guitar soloing and the most versatile vocal display on the album. On the whole, these British rockers don’t rest on their laurels and this album stirs up a soothing reminder of The Verve that everyone knows and loves.

***Media credit: myspace.com/theverve

With the start of October, summer at Drexel and the excitement of moving in is finally coming to a long-awaited close, but you can’t let the months of warm weather pass without an introduction to the sweet chords of one of the most publicized bands of 2008, Thieves and Villains.

Produced by Paul Leavitt (All Time Low, Circa Survive, Senses Fail) with Victory Records, Thieves and Villains have been working persistently to promote their debut album “Movement,” which first hit the shelves in early July. Thieves and Villains started on the scene only a year ago, and have already made a significant splash in the music scene—playing Warped Tour 2007, touring with bands such as Mayday Parade, being featured on Fuse and imprinting in the pages of chief music magazines such as Alternative Press, Kerrang!, Spin and Revolver.

This young pop-punk band, hailing from Hudson Valley, New York, has created an incredible reputation for themselves in an extremely short time, marked as one of Alternative Press’s Unsigned Bands to Watch this past March. Thieves and Villains are presently set for a full-scale tour, which started out in June and will continue on through the end of the year. With their non-stop stream of charmingly introverted lyrics, surging, heartfelt beats, and swelling fan-base, Thieves and Villains is heading quickly to the top of the pop/rock genre, and will not be overlooked easily.

***Photo courtesy Corey Fillion/Victory Records

From the Associated Press:

***Photo credit: thecollegevoter.com

Have you ever wondered what the overly dramatic singing style of the villain’s song in a Disney movie would sound like if it were forcibly entangled with an extremely heavy dose of futuristic industrial rock? Yeah, me neither. Nevertheless, this concoction is real and interestingly enough, it’s not half bad. Reminiscent of the rock publicized by an older version of Powerman 5000 and the storytelling delivery of lyrics similar of Pink Floyd’s The Wall, this style persists through the soundtrack to Repo! The Generic Opera, a film due out on November 7th. With such an eclectic group of performers including Paris Hilton, Clown of Slipknot, Steven Perkins of Jane’s Addiction, and Melora Creager of Rasputina, it was surprising to find that somewhat of a consistency existed throughout the course of the soundtrack. Even more so, I was shocked to blatantly catch myself making a ton of connections to other, completely random songs, regardless of the fact that all of the tracks are original compositions.

Although the plot of the film is claimed to be a splice of concepts coming from “Rocky Horror Picture Show” and “Blade Runner”, it can be inferred that the plot is driven through the eerily familiar melodies, rather than the overly elaborate musical motifs that many other productions derive from. Furthermore, it can be stated that this musical breaks some of the molds of a “normal” show by dumping vulgarity everywhere, creating very graphic images in your head. I found myself laughing at the crudeness but also acknowledging the idea that this film may after all be a genuine rock opera it declares to be. All of the music debunks any signs of delicate pampering.

In the end, it’s really hard to make a judgment on the soundtrack without any context of the film. The tracks were always strangely recognizable in ways I cannot precisely comprehend, which only drew my attention. I also found myself getting into some of the sounds, particularly the ones that included some traditional opera with profound rock tempos. However, without perspective of the movie, I don’t know if I’d ever see myself listening to this soundtrack; the older Powerman 5000 stuff can still really fulfill my moods. But with consideration of the music after looking at the trailer, I can say that if you’re looking for a new movie that has huge potential to become the next big cult classic, this is definitely for you. It’s “Sin City” meets Broadway—even I’ve got to admit that’s going to be an interesting and twisted mess worth checking out.

***Media credit: YouTube.com