EMMIE Magazine Fall 2010

KING KHAN& THE SHRINES

HERE WE GOMAGIC

BLITZEN TRAPPERWIZ KHALIFA

CITIZEN COPE

PRIMAVERA

EMMIE ISSUE***.indd 1 11/2/10 1:06 PM

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Funded in part by the AssociatedStudents of Madison. ASM doesnot necessarily endorse the beliefs

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5Editor-in-Chief: Joyce Edwards

Assistant Editor-in-Chief: Meher Ahmad

^Josiah Savary

Layout Editor: ::

Features Editors:

WLindsey Kennedy

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^tJennifer BethDADATyler FassnachtAlex GrossmanZ'Allison HicksOlivia JakielEmma JelleyKatherine KehoeRenee Kramer Luke KrauseRusty LalkakaRyan Lehrman>Jay LutharKaitlyn Schnell>^Marilyn Waters

>^Katherine Kehoe>Ryan LehrmanDEric Walters

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7photo by: peter ALLEN


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and the shrines

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9and the shrinesKING KHAN concert.d

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/////WDme in the bathroom. And then I went in the / >

^Yeah, I mean, you know whenever I see her, /her not to check me out on the internet, but / /

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When I found out that Barack Obama was E/when they turned out to be true. Not Dmy favorite band, but the President of the h^/Ewould rise to the occasion.

dW E the hindrance of my physical ability to make it from the rally to the Orpheum on >D/at the theatre exhausted. I knew the KWbut had never heard of him prior to the EW/dEd //KW&& forced to drop the name due to tradet/

/ main event. I had been front row for the E>Dson crowd would be tame. As it turns E/bros started to barrel their way to the

bench more than /learned to accept

The band hit the with a heavy d,sdRunaway, immediately followed by a ' d his customary fashion: keeled over, talkD D exactly how honest the statement was.

dK/dist Bryce Dessner preceded Slow Show ddd d

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dd Dwith him. The band was not to leave so d dKperfectly, and a powerful performance of Mr. November, a nod to the President, E ddEcert of a band whose members know how

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The National Rallies Madison Fans

Photo: Whatspikelikes.com


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BLITZEN TRAPPER Conquers the High Noon Saloont/,E^d t

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When that sort of musical kismet oc d d&to the homemade charm of an apple the show.

Drummer Brian Koch decided to coninto the crowd, he politely asked that the crowd not steal his $3 purchase.

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The Rise and Fallof Georgie Fruit

Between Of Montreals last three albums, Hissing Fauna, are You the Destroyer?, Skeletal Lamping, and now False Priest, listeners have been getting familiar with lead singer Kevin Barnes alter ego Georgie Fruit. False Priest marks what could be the end of Georgie Fruit, and leaves listeners wondering where Barnes will go next.

A black, cross-dressing, pansexual socialite, the fantastical Georgie Fruit was a necessary escape for Barnes from his very real personal battles with depression and detachment from humanity. Hissing Fauna began with Barnes struggling to cope with his emotional issues while trapped by the burden of his own self aware insecurities and intense chemical depression. During the course of writing and recording the album, Barnes was adapting to his newly prescribed anti-depressants: the way they changed his mood, his thought process, and especially his comfort with writing personally. The pills likely saved his life, and have drastically changed the way hes approached songwriting.

Barnes has revealed that much of the album was written during DGLIFXOWWHPSRUDU\separation from his wife Nina. As she had been a massive creative and emotional support for him, it is easy to see how his lonely stay in Norway would lead to the kind of lyrics found the beginning of the album. Between con-cerns about his self

image ( Trying to restructure my character/ Because it had become vile to its creator), adjusting his personality through chemistry (So am I erasing myself? Hope Im not erasing myself), personal authen-ticity (All the party people dancing for the indie star/ But hes the worst faker by far), and rampant mood XFWXDWLRQV&KHPLFDOVGRQWDWWHQP\PLQG&KHPLFDOVGRQWPHVVPHup this time/ Know you bait me way more than you should/ And its just like you to hurt me when Im feeling good), it was clear Barnes was feel-ing crushed under the weight of his psyche.

His desperation reached a breaking point in the 12-minute The Past is a Grotesque Animal when he blamed his despair on forming a connection ZLWKKLVZLIHYLHZHGKLVOLIHDVDOPhe had no control over, and shouted the passionate verse, Lets tear this shit apart/Lets tear the fucking house apart/Lets tear our fucking bodies apart/Lets just have some fun! From then on, the album be-came Georgies nonchalant falsetto atop electrifying, funky bass, and painted a picture of a bizarre and

hedonistic social scene with Georgie at its center. While it was unclear if Kevin and Georgie were co-existing or if Georgie had taken fully over, it was obvious the songwriter in the latter half of the album was in a very different mindset from the former.

If Hissing Fauna was Georgie Fruits birth, then Skeletal Lamping was his coming of age and midlife crisis rolled into one. Starting with declara-tions of Im a motherfucking head-liner, bitch you dont even know it, DQGFORVLQJZLWK&DQWKHOSLWLILWVtrue, dont wanna be your man, just wanna play with you, Georgie Fruit was thriving in his new and glamor-ous life. The album was not without signs of inner turmoil though, best summarized in Death Isnt a Paral-lel Move in the verse, The identity I composed out of terror has become oppressive now/ I must defy this dark assignment/ Im over it now/ Im so over it now.

An interesting facet of Skeletal Lamping is that Barnes did not distinguish when he was singing as himself versus Georgie. In an interview with the blog You Aint No Picasso, when asked whose point of view the album was supposed to be taken from, Barnes replied, I dont even separate them in my mind. The Georgie Fruit character is not separate from Kevin Barnes. I cant really say oh that was just this role I was playing, because its just a part of my personality. All of it is just a part of me anyways. If this is the case, then the part of himself he was revealing had stayed fully hidden before. Prior to Skeletal Lamping, it would be hard to picture of Montreal having songs featuring lines like,

Photo credit: facebook.com/ofmontreal


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Im so sick of sucking the dick of the cruel cruel city, Youre the only one with whom I would role play Oedipus Rex, or We can do it softcore if you want/ but you should know I take it both ways. Besides the controversial sexual topics, the album also marked a major stylistic departure from of Montreals previous albums. Barnes wrote the album not on a song-by-song basis, but more as dozens of roughly one minute movements that

abruptly collided and overcame each other. The soul-baring, intentionally startling approach taken to Skeletal Lamping was, Kevin revealed in the same YANP interview, partly a response to the backlash over the bands Outback Steakhouse com-mercial. Amid longtime fans accus-ing the band of selling out, Barnes decided to go well outside his, and everyone elses, comfort zone.

False Priest continues the tensioned Kevin/Georgie duality, but has evolved both musically and narrative-ly. While Georgie Fruit once seemed to be the model of promiscuity, False 3ULHVWVKRZVKLPQDOO\LQDPR-nogamous relationship. Simply put,

the arrangement does not suit him. The joyous opener I Feel Ya Strut-WHULVWKHUVWRIYHU\IHZJOLPSVHVof a happy Georgie on the album. Mostly, both his relationship and ego seem to crumble around him as the album progresses, culminating in the heartfelt pleading of Famine Affair DQG&DVXDOW\RI

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Here We Go Magic

When Here We Go Magic arrived at the press tent, the sun had just peeked out /W,,

^W /,Wht not to NY at least on our home turf. All W

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Here We Go Magic

kind of spacious rock and it was kind of /have a full band but we were on the ^dD

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Kt/ent than you were before. Those are monumental, and those are happen/ dtactually have one in Paris that was really Kof the show in Paris, we were shocked at how many people came and it was really hot and sweaty and one of those /t^ / could feel it in your body that you were

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ATMOSPHERE ,t D^

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d'W E st/as an innocent Boston teen, I fell in love W EEd W : /and the band have clearly pulled for mar dd t adore forever (somehow Paris (Ooh La >'WE

as it was in the days of the barefoot hippie dresses.

d/DK D / / E'/than intended, about ten twenty, but d dEdtEdz ,/ t' d D' / learned to further dismay that the opener had played a half hour set, followed by a ten minute set break, at which point

the dot. When in the history of music has /// t t four years here I have never been to a D / not the early bird special at Bluephies.

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KNOCKED SIDEWAYS @CITIZEN COPE

He walked on clad in a loose button-down, hair tied back in dreaded ends. Overhead, blue lights shone down on the two-story backdrop with the image of his new !e RainWater LP. His bearded face looked worn yet enduring; everything about him matched his name, Cope.

Last spring was the "rst time I saw singer, songwriter, guitarist, and producer Citizen Cope, whose real name is Clarence Greenwood. !e performance was so amazing I was later found breathing spasmodi-cally out of a brown paper bag a#er the show. His eclectic blend of hip-hop backbeats combined with $own melodies is unequaled. When I heard he was coming to Madison, it was a given: I was going.

I made up my mind that there would be nothing less than front row, no matter the elbows I would have to throw or screaming girls I would have to brush out the way. I met up with my brother and another friend at the Union doors, checked tickets and went into the theater. Astonishingly, it was not crowded. We walked straight up to the front of the stage, curling around it to watch the instruments glimmer under the lights. People trickled in. Two girls next to us had made the trek from Green Bay to witness Cope for

the "rst time. !ey came three hours early because they thought lines would be out the door. Open seats were ev-erywhere. !e girls and I could not understand it.

Cope and his band, consisting of two talented keyboard players, a bassist who keeps better time than Big Ben itself, and a pocket drummer took the stage a half hour late, naturally. I couldnt help but imagine that the vacant upper balcony was a bit disappointing for them. However, they kicked open the "rst set with the apt O% the Ground from their !e RainWater LP, which released earlier this year. Within moments, the upbeat organ hits and percussive rolls pulled my body into a soothing sway. Cope sang without his guitar, his hands earnestly wrapped around the mic as though he were con"ding in a close friend at a co%ee shop.

Soon stenciled light projections $ashed over the backdrop as Cope strapped on his Martin acoustic and jumped into one of their older,

better known songs, Bullet and a Target. Backward-hatted frat-bros, hippy girls in long pattern dresses and an adult-lescent woman wearing a questionably lowcut shirt were all chiming together, What youve done here is put yourself between a bullet and a target. !ere wasnt a single person around me who didnt have their feet moving.

Cope, however, moves in his own modest and minimal

Photo: citizencope.com


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Cope-kind-of-way. When he sings, his mouth barely opens and his lips are still; melodies ring out with an air of utmost ease. Only his wrist moves as he strums sultry guitar chords, his "ngers drawn in unique shapes upon the frets. Standing back, he is stoic and telling. Not only Cope but all the band members move and lock down their own groove. !e music seems to both harness them in their own pocket and tie one another together. Seconds into Holdin On I could see this intriguing bond materialize: grounded by the drummers gunshot snare the bass player sweetly plucks, carrying the pop licks of the key-boardist as the overarching organ holds take wing; Cope, li#ed in more ways than one, ties it all back in.

An electric Sons Gonna Rise suddenly broke loose. I peered through the jumping bodies to see my friend with a wide smile and hands skybound. A premature breakdown sent the crowd screaming for more, but before we knew it Cope and the band unleashed the chorus. !ey ended their "rst set with energy levels high.

When Cope re-emerged, it was just him on guitar. He began with a so# yet powerfully evocative piece called Salva-tion, which connotes Copes struggle against a drug-related betrayal. !e solemn mood continued for a while in the acoustic set until Cope debuted an unreleased tune that even by its title One Lovely Day (Bill Withers, anyone?) was refreshingly upli#ing. My mind began to swim in the vocal reverb and major chords.

!e band returned on stage and as any good Cope fan would expect, he let the drummer kick. His weaving of woodblocks and tambourine hits into the robust groove gave an ambient edge to hip hop style beats. Ghost notes, which are so# unaccented hits, and explosive snare-cracks alike reverberated through the audience. !en, the

soundtrack to oh so many of my summertime car-rides and late freshman nights started to play. Sideways, one of their last songs of the night, blew from Copes gui-tar into me and if I couldve stayed in that euphoric musi-cal coma, I certainly would have opted to.

Copes music a%ords a new understanding once you see him. His songs are lucid re$ections of himself; his urban roots and poetic com-mand shine through what he writes. Cope & his songs are still yet moving. Simple and truthful. He is stripped down and reminds me of a musical version of Ernest Heming-way. Despite Madisons un-pronounced turnout, Citizen Cope graciously approached

the lip of the stage shaking hands with everyone who could get close enough; and a#er a night of Cope-ious melodies, front row, and a handshake, I, amongst others, was le# knocked sideways.

by ryan LEHRMAN

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Photo: blogs.suntimes.com


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z// tzsome comparisons to Eminem, however, he really shares more in common with the likes of Lil Wayne and recent colZ//h>Kh^out weird lines about a roadmap almanac. Honestly, if words could spark, Yelawolf would have burned the house down, but fortunately he ,tmade obvious when some people in the front tz /call, yeah, I know, I am excited for him too. His

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Iron &WineAt The Pabst 10/13

/t ^D Wdt Kt Beam was undoubtedly at his very best. Wvocalist Rosie Thomas, Beam played an latest record, as well as a few from earlier records

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All Photos: Liza Burkin

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All Photos: Julie Jarzemsky

Virgin Free FestLet me start by saying that the weekend of Virgin Free Festival involved a ridiculous amount of time in the car. It took us 15 hours to drive from Madison to Baltimore, Maryland, home to Merriweather Pa-vilion, the location of the free festival. !e daylong jam of bands ranging from throwback acts like Joan Jett to the one-album-in artist Sleigh Bells was well worth the drive. !e "rst act, Jimmy Eat World, set the mood for the day. !e energetic band had the whole pavilion singing along and throwing hands in the air in no time. Folksy buzz band Edward Sharpe & the Mag-netic Zeros kept the crowd engagedso much so that one fan clutched onto lead singer Alexs hand for a good 2 minutes.

!ere were however, some less enthusi-astic reactions to the artists. Yeasayer, despite keeping up with their usual high-energy performance quality, could hardly get people to bob their heads. Not sure if it was the heat or simply the East coast brat attitude, but Im sure the rigidity of the crowd would shock anyone who went to the bands show in Madison last spring. !e strange paralysis of the crowd at Yeasayer was quickly broken when

Chromeo started playing in a stage known as the dance forest. !e stage lived up to its name as Chromeos 80s beats and synthesizers sent fans grooving about.

!e evening acts of the festival came with some mishaps. !e dance forest was so heavily danced-upon during Sleigh Bells that kicked-up dirt "lled the air in monstrous dust cloud.

!ough seeing Alexis Krauss thrash & twirl to her guitarists catchy ri%s was probably worth it for fans, most were coughing up dirt by the end of the show. M.I.A, the very artist

who signed Sleigh Bells, was surprisingly disappointing. Starting several minutes late and with a prolonged DJ intro, M/\Y/\s act was hard to put up with. Luckily LCD Soundsystems set gave us an excuse to dip out on the noise being produced on M.I.As end of the festival. James Murphy. Now theres a man. He succeeded in reviving my friend who nearly had an allergy attack in the dust cloud. Dancing underneath a giant disco ball in the pavilion, embedded in fans throwing glow sticks, was an excellent way to tie up this priceless (sorry, couldnt resist) experience.

by julie JARZEMSKY

At Merriweather Pavilion


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^DDay OneKto Primavera Sound I stop dead in Z/d/Apparently I have stumbled into a /System (members of the Elephant ^/camera over to a band member and camera works for minutes. The lonable I become with my skinny arms /crowd.

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da technical mishap takes out the whole band. In response, D d: dtout of the hat when confronted with a problem leaves me impressed.

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LOLLAPALOOZAK>I fell into synch with my now standard s ' / &from fellow veterans. The Metra was t / t h /like war paint, and speed walked to the train as I considered a baseline of insanity for the weekend events. Will Arcade Fire and Phoenix live up to all of the t/in the pit for Wolfmother, Rusko, and The ^t/

&Z/zI met up with my bros from Louisville 'W D ^ pinnies, pastel shorts, and Ray Bans to the contrast of my all black uniform, we >

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SUNDAY:d^this band that their name has already been taken by the dd y:h^dpyrotechnics were out of control literally, and they had me for the rest of the day. But seriously, they RAWKED so /Et> /

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All Photos: Joyce Edwards


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MERIDENESomething Like Blood>$PEOH'RZQ5HFRUGV@8,220D^>dsound features the unique and memorable instru/ Eously.

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d/ ^d instead of Fatalist Tales. However, the ^,^'and Om band member Emil Amos. If Eddie Vedder had /The Wild, ^into the rural expanses of open country.

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EMMIE Magazine Fall 2010

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Transcript of EMMIE Magazine Fall 2010