Something to Amuse

 
photo courtesy of Matthew Pop

Cloned from the 80's revolution meets Rivers Cuomo emerges Matthew Pop, who specializes in reminding us about one thing: what rocks (and pops) about being 'old school.'

While his lyrics merely scratch the surface and his voice is not exactly what you'd call perfect quality, you still find yourself just moving along to his music just like it's an old Spice Girls album. The Generation Y vintage feel creates a sound not normally found in the mainstream college market. And not a moment too soon for the philosophical and mundane: this album just tears up all that screams 'college intellectual.' And finally gives us something fun to enjoy instead of overanalyze.

From the ukulele-laden opener of "Belgium Baby" to the raunchier "The Bartender's Daughter," listeners are not bound to be disappointed. Even 80's-esque hit "Promise" gives you that feeling to throw your hair up in a side ponytail and embrace spandex. 

With "The Bartender's Daughter," Pop breaks out of the stereotypical shell and enlightens the listener with a tale of why he will no longer pursue the aforementioned woman. It is songs like this that break up the bubble-gum pop image that Matthew Pop exudes up until this point.

Even "Something To Abuse" reaches into that inner-punk and pulls it out just long enough to get drunk, smash some guitars, and make out with some muscle guy's hot girlfriend without the black eye the next morning. Here, Pop keeps it simple, yet isn't afraid to embrace a different kind of sound from the other songs. It certainly gives one a reason to give this album a listen.

But it isn't until "Lights Out" that we truly get a taste of ballads on The Great Demise. Pop surprises us here again by changing up the pace and feel of his album. It's like punk on Prozac, but done in such a way that you can't help but admire the beauty and simplicity. The repetition of "if I can't go on" really builds despondence, the complete antithesis of the rest of the album.

From rough and raunchy to poppy and peppy, Pop makes it pop.

Jenn's Grade: B+

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Battle of the Blands

On March 4, 2006, Marymount College of Fordham University's English Department sponsored a Battle of the Bands, a fundraiser for the new Cormont Magazine. There were four locally-based rock bands and two acoustic performers to go on that night. And to top off the night, Q104.3 had offered their own PA system, as well as goodies for the audience to take home. Yet while there were a decent amount of bands and a highly well-known radio station backing the event, there was still one issue: the performance itself.

While it was fun and entertaining, most of the performances were either hindered by bad sound system, or average talent. The bands were slightly forgettable, just meant to amuse the audience and nothing more than that. It accomplished just that. There was lack of real inspiration. But that's not to say that there's no potential for the "up and coming" at the Battle of the Bands.

There were two great breakout groups. Performances by Suspyre and Cover Story truly hit home, with rocking power chords and energetic band members. Various audience members rocked along in their seats, or for Cover Story's sake, got up on stage and jumped around with fellow band members. While Suspyre was more well-known for their own original-penned tunes, Cover Story held to their namesake, covering such hits as "Beverly Hills" or "I'm Not Okay (I Promise)" with a more-than-willing audience.

With acoustic performances, it was Mike Cuntala who was the "secret weapon" of the night. Complete with devilishly handsome looks and unforgettable off-stage charm, Cuntala took to the stage and managed to blow us away with a voice that reminds you a little of a gruffer Dave Matthews. He was even able to create a more intimate scene, asking the various audience members to join him closer to the stage.

American Graveyard Dance also held their own, with originality and style, but I don't know whether they appealed to the proper audience. With guitar player, bass player (an actual bass folks, NOT a guitar), and a piano, their haunting melodies and emo-inspired lyrics was just enough to mellow out the withered and dwindling crowd. But that's not to discount their amazing talent and unique sound, especially lead singer Adam Scott's voice. Unfortunately, it was just the wrong crowd to try and appeal to.

Jason Emery, the first acoustic performance of the night, was about average, although it was during this time that the PA system itself lacked the ability to let the audience hear the voice of the performer over his acoustic guitar.

Unfortunately, the "lemon" award goes to less than normal, a NY-based band. While they have the potential to aspire to better music, they fell flat of audience participation and movement, as well as a sense of unprofessionalism with their hasty exit after performance. I feel that maybe a few more years of performances, as well some band etiquette classes, will smooth off the rough edges and really show what less than normal is capable of.

All critiquing aside though, I must admit: it was fun and entertaining.

Jason Emery: B

Less than Normal: B-

Suspyre: A

Mike Cuntala: A-/B

American Graveyard Dance: B

Cover Story: A

Jenn's Overall Grade of Performance: B

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Not Too Far Away for Rising Star Beilis

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