Tag: Peter Keough ’20
Ridin’ Solo: Lindsey Buckingham Leaves Fleetwood Mac
by The Cowl Editor on October 25, 2018
Arts & Entertainment
How Individual Projects Can Impact the Band Dynamic
by: Peter Keough ’20 A&E Staff
By definition, a band is a group of individuals who come together to make music as a cohesive unit. Often, these individual members have their own personal ambitions and ideas. While many of these ideas can contribute to the group dynamic of the band and make it into their music, they can also become the root of deeper issues.
Despite being the main guitarist for legendary rock outfit Fleetwood Mac for the entire 43 years of their existence, Buckingham was suddenly fired by his peers on April 9, 2018. Now, some months later, Buckingham has decided to sue his former bandmates.
In an article for Rolling Stone, Andy Greene writes that this firing came as a result of Buckingham asking the band to delay their tour. When the other members denied this request, Buckingham agreed to postpone his solo effort but asked his bandmates if he would be allowed to do solo shows in between the band’s shows while on tour. It was allegedly this request that became the deciding factor in Buckingham’s removal from the band.
Clearly, in the case of Fleetwood Mac and Lindsey Buckingham, the desire to focus on solo musical efforts caused a permanent rift between band members. This story is by no means unique to this case either. Other notable group-splitting solo endeavors include Justin Timberlake’s departure from *NSYNC, Sting’s split from The Police, Phil Collins’ shift away from Genesis, and the infamous supposedly Yoko-related departure of John Lennon from The Beatles.
However, this sort of all-or-nothing response is not always the case when artists attempt to make solo careers. Much like Fleetwood Mac, fellow high-profile rock band The Killers have had a fair amount of experience with members desiring to produce individual art. Lead singer Brandon Flowers has released two solo albums—Flamingo in 2010 and The Desired Effect in 2015—and drummer Ronnie Vannucci created his side project called Big Talk in 2011 that has released two albums as well.
Now, Richard Bienstock reports in Rolling Stone that Killers’ guitarist Dave Keuning is gearing up to release his first ever solo effort, entitled Prismism, under the name “Keuning.” In Bienstock’s article, he quotes Keuning saying, “I was always happy just being the guitar player…That’s all I ever really wanted to be.” But now, much like his fellow bandmates, he is ready to attempt his own individual quest into the musical world. Buckingham, however, is a prime example of the effects solo pursuits can have overall on a band.
What determines the success or failure of solo efforts, it seems, may be the attitudes with which the members of the band approach this possibility. While bands like The Killers and contemporary funk-rockers The Internet have found success in the solo ventures of their individual musicians, other groups such as Fleetwood Mac and The Beatles have been unable to handle this sort of undertaking. It appears, though, that solo projects will remain a part of the world of music, and it is up to each individual band how they choose to respond to these potential outgrowths.
Grunge-Rockers Basement Polish Their Sound
by The Cowl Editor on October 18, 2018
Arts & Entertainment
Underground British Band Makes Major Label Debut
by: Peter Keough ’20 A&E Staff
Since their inception in late 2009, the UK-based group, Basement, has been viewed as a member of the punk rock and grunge-revivalism crowd. Their fuzz-filled alternative style of rock has evoked feelings of a mix of 1990s mainstream grunge and elements of early 2000s emo and punk. This sonic consistency is present in each part of their discography thus far.
However, with their newest release Beside Myself, listeners find the band more streamlined and consistent than ever before. Beside Myself, released on Oct. 12, is Basement’s major label debut. After releasing their previous three projects on Boston label Run For Cover Records, the band signed with pop-punk powerhouse label Fueled By Ramen in February 2017.
With this new label signing comes a refining of Basement’s rough and raw sound. Where front man Andrew Fisher’s vocals used to be more focused on volume rather than melody, his voice shows more control and melodic intent on many of this album’s songs. The instrumentation follows in this same vein, as it seems more well-developed than in their earlier work.
This is not to say, though, that Basement has lost their unique and identifiable sound. They still maintain their brand of emo-rock that defined their tone and gained them a following during their formative years. The band does not trade the raw originality of their roots for auditory clarity, but instead achieves a solid mix of these elements on their fourth album.
Thematically, Basement finds themselves treading on familiar ground. Tom Connick of NME writes, “that penchant for rose-tinted revivalism comes into singer Andrew Fisher’s crosshairs time and time again—a feeling of alienation and the sense of self his most frequent muse.” Fisher’s vocals remain focused on these topics of self and longing, while often straying between the past and present, highlighting the struggle between the two.
This lyricism is consistently backed up by solid instrumentation from the entire band. Guitarists Ronan Crix and Alex Henery trade off between melodic, acoustic strumming and heavy, infectious electric riffs and solos. All the while, bassist Duncan Stewart and drummer James Fisher provide the steady beat of the songs, usually up-tempo and punchy.
While the album as a whole stands as cohesive and unified, certain songs stand out as more notable additions to Basement’s repertoire. The lead single and opening song of the album, entitled “Disconnect,” showcases right off the bat the sleeker sound the listener should expect from the album as a whole. Later songs, like “Nothing Left,” provide listeners with a more traditional, loud, and in-your-face sound, while other standouts like “Changing Lanes” and the closer “Right Here” offer the softer, more refined side of the band.
The album’s themes of alienation and longing, while not completely resolved, do find some form of closure by the end of the 39-minute runtime. While Fisher laments losing himself in the moment in the early song “Be Here Now,” album-ending “Right Here” finds him repeating “I will be right here.” Although their sound harkens back to the early 2000s, it still seems relevant and original in the here and now.
Let’s Rant: Vinyl vs. CDs
by The Cowl Editor on October 4, 2018
Arts & Entertainment
by: Peter Keough ’20 A&E Staff
Vinyl records are outperforming CDs in the physical music industry. In a world dominated by streaming giants like Apple Music and Spotify, it is difficult to envision physical copies of music holding a seat at the table. However, in the realm of physical music, an interesting revolution is taking place: vinyl records, once popular before the advent of CDs, are now in the midst of a full-scale resurgence.
In his opening remarks of the “Recording Industry Association of America Mid-Year 2018 Revenues Report,” RIAA President Mitch Glazier states that, “Music continues its comeback story, powered by great new music, talented artists and a re-invented record industry.” And according to the statistics presented in this mid-year report, Glazier has evidence to back up this claim.
Based on these RIAA stats, there has been a 12.6 percent increase in the number of units shipped of physical EP (extended play) and LP (long play) vinyl records. Similarly, the dollar value of these records increased by a margin of 12.8 percent from the first-half report from 2017.
Conversely, the sales of CDs declined drastically from the first half of 2017. The RIAA reports a 46.9 percent decrease in units shipped, as well as a 41.5 percent decrease in dollar value of this physical form of music.
So, while the CD begins to fade into the background of the world of physical purchases, traditional vinyl-pressed records keep these forms of music relevant. Amy X. Wang of Rolling Stone writes, “Vinyl…is breeding optimism in the industry.” She continues on to quote Jack White, ex-White Stripes musician and vinyl advocate, as stating, “I definitely believe the next decade is going to be streaming plus vinyl – streaming in the car and kitchen, vinyl in the living room and den. Those will be the two formats.”
What Wang and White are claiming is a widely-held sentiment among fans of vinyl. Given the superior sound quality and nostalgia associated with physical EPs and LPs, many believe that the sale of vinyl will continue to rise in the years to come. These optimistic fans believe that records are coming back, and that they are coming back in a big way. If the trends highlighted in this RIAA report continue in the way that they are going, people like Wang and White just might be correct.
The Evolution of BROCKHAMPTON
by The Cowl Editor on September 27, 2018
Arts & Entertainment
iridescence is a Culmination of the Band’s Struggles and Rise to Fame
by: Peter Keough ’20 A&E Staff
BROCKHAMPTON, the amorphous 13-member Los Angeles via San Marcos, Texas hip-hop collective, openly brands itself as “The World’s Greatest Boyband.” After releasing three interconnected and consistently improving albums within the span of 2017, the group gained rapid fame and attention. This Saturation trilogy of albums—titled Saturation, Saturation II, and Saturation III—shot the self-contained “boyband” into the spotlight, garnering a massive fan base and media coverage.
The success of their self-produced trilogy of albums earned them the chance to sign with RCA Records in March of 2018. It was also around this time that the group announced they were working on their fourth studio album, titled Puppy, which was slated for release during the summer of 2018.
However, the band’s momentum halted abruptly in May of 2017, when they separated themselves from central member Ameer Vann due to sexual misconduct accusations. This decision had a visible impact on BROCKHAMPTON and their fans, as Vann was such an important part of their rise.
Following this development, many wondered what the band would do next. They teased a new album entitled The Best Years of Our Lives during their debut television appearance on The Tonight Show Starring Jimmy Fallon on June 20, where they performed a new single entitled “Tonya.” They then released a trio of one-off singles over the duration of the rest of the summer, entitled “1999 Wildfire,” “1998 Truman,” and “1997 Diana.” It was not until Aug. 26 that they officially announced their upcoming album, iridescence, would be released on Sept. 21.
With the release of iridescence, fans have been able to get a substantial first look into post-Ameer and post-fame BROCKHAMPTON. Charles Holmes of Rolling Stone writes, “Their fourth album…is their ‘fame album,’ the one that directly addresses their meteoric rise.” The album is not only an evolution for the band, but also a glimpse at their maturation since acquiring fame.
Recorded at the historic Abbey Road Studio in London over a 10 day period, iridescence finds the boyband more experimental and more vulnerable than they have ever been before. Although their production and lyrical style has always been somewhat unorthodox, their uniqueness is extremely evident in this newest venture. The sound fluctuates from abrasive to smooth, loud and in-your-face to subdued and personal.
Not one member hogs the spotlight either. The musicians and producers utilize their full range of abilities: singing, rapping, and refusing to be constrained to one sound or flow. This variation is done masterfully, making the 48-minute runtime of iridescence seem fluid and connected.
What is most impressive about this project, though, is the tenacity with which the group attacks it. Being in the position they were in, it would not have been surprising if it took the band more time to regroup and decide how to move forward. But this was not the case.
Sputnikmusic.com reports, “BROCKHAMPTON are evolving: they’re not hand-holding the audience to the happy and sad parts of their albums anymore.” This is where iridescence shines. It is not an album that seeks to validate the band by sticking to the strengths of their earlier works, nor is it an attempt to overtly ignore the trials they have faced. The album ventures off into unimagined territory, and in doing so illuminates that BROCKHAMPTON is not done by any stretch.
On multiple songs throughout the album, a voice is heard prominently declaring “Take it all or leave it.” On iridescence, BROCKHAMPTON does the former rather than the latter. They take all they have been confronted with and churn out 15 songs that show that they are, in truth, just getting started.
Getting Serious…But Not Too Serious: Netflix Original Bojack Horseman Returns With Successful Fifth Season
by Kerry Torpey on September 20, 2018
Arts & Entertainment
by Peter Keough ’20
A&E Staff
Originally airing on Netflix in 2014, Bojack Horseman, one of the streaming site’s most lauded original creations, is back for a fifth season. Created by Raphael Bob-Waksberg and starring the voices of Will Arnett, Amy Sedaris, Alison Brie, Aaron Paul, and more, Bojack is known for its unique ability to blend the airiness of smart humor with the heaviness of serious topics.
This aspect of the show is front and center in the most recent season, as its ensemble of characters attempt to navigate their lives while dealing with a myriad of realistic and burdensome issues. The 12 new episodes explore issues such as strained relationships, divorce, drug addiction, asexuality, identity, loss, adoption, and, most topically, the #MeToo movement.
It is the delicate balancing of these more serious topics with the comedic aspect of the show, however, that prevents the episodes from getting bogged down in deep issues. Samantha Nelson of The Verge addresses this in her review of season five, stating, “This is heavy material to cram into 25 minutes, but each episode succeeds through a mix of sharp dialogue and the goofy humor inherent to a world equally populated by humans and anthropomorphic animals.”
Through the excellent writing and witty humor that is incorporated into every one of Bob-Waksberg’s episodes, the viewer is able to both reflect on, and be entertained by the storylines of his characters. While a viewer may be contemplating the morality of a character’s actions one minute, he or she may be laughing at the concept of, for example, actual fleas shopping at a flea market in the next scene. The interplay of these dueling facets of the show is exactly what makes it work.
Bojack Horseman boasts relatability and shock value, keeping the viewer hooked and giving them some incredibly complex characters to both sympathize with, and critique along the way.
While it keeps the actions and feelings of its anti-hero protagonist front and center, it does not expect the viewers to always side with Bojack. This is especially present throughout the fifth season, as much of what occurs with the title character is controversial and thought-provoking.
As a whole, season five of Bojack Horseman delivers on the promises of previous seasons. It continues to walk the tightrope of blending humor with adversity and succeeds beautifully, giving viewers yet another season to brood over upon completion. It is a show that will make viewers laugh one minute and reflect the next, and because of that, Bojack continues to be one of Netflix’s greatest successes. All five seasons of Bojack Horseman are available for streaming on Netflix.