A Different Kind of Pop

Chapter 6's second album, Swingshift, reaches out to all audiences. The christian accapella group, aware of their diverse listeners, targets not only christians, but non-believers as well. As a followup to their debut album Live, Swingshift pleases both old and new listeners.
Their eight minute version of "The Wizard of Oz" is something both the young and the young at heart can enjoy. Other classics include "What a Wonderful World" and "Don't You Worry 'Bout a Thing".
But don't worry, they are not a cover band. The CD includes originals such as "Lost in Canada", the tale of the aftermaths of a wrong turn in Ohio, and "The 7th Wheel", the woe-is-me story of their seventh member.
There is even something for those who enjoy standard songs with a twist. "Variations on It Don't Mean a Thing if it Ain't Got That Swing" features the great jazz song sang in ways most people wouldn't think, such as hip hop, salsa, a love ballad, and even a gregorian chant.
While Chapter 6 also sticks to their Christian roots for songs like "God's Love", Swingshift is definately an album everyone can appreciate, even those who aren't usually into accapella. The classically trained musicians create a new kind of pop, one pleasing to everyone's ear.

Bernard Melts Faces

Artist: Bernard
Album: A view beyond a cave
Label: Floodgate Records
Myspace.com/Bernard
Reviewed by: Tommy Good

I have never so instinctively bought a CD after hearing only half of a song live. I heard a few of their last chords just because I went to see the band playing after them, and I started kicking myself as soon as I walked under the tent that I hadn’t come to hear them. Bernard is a fairly new band under the fairly new Floodgate Records, which is a “new-age” ambient Christian rock.
I expected a lot from the album after I heard them live, and I got just that, and then some. “A view beyond a cave” is best described as ambient, atmospheric rock that completely sweeps you away into another world. Bernard’s melodies are so beautiful and melodic, whether I am happy, down, spiritual, or angry, there is never a time when they are not the perfect band to listen to.
Bernard kicks off their awe-inspiring album with a 54 second intro with a continuous crescendo of dazzling synth and stunning guitar, which ends with a subtle cymbal splash to begin their first real song. After hearing their first song with the steady build up of piano, guitar, synth, Jonathan’s mollifying voice, and eventually an amazing drum and bass combo, you think that the rest must be downhill. You soon discover how painfully mistaken you are when the rest of the album plays and you find yourself nodding and tapping along, stopping whatever you were doing to give them both of your ears to experience all the beauty and bliss that Bernard has to offer in this album.
The only negative thing I can say about this album is that it is too short, having only 7 songs, not including the intro. I definitely would not have minded a couple more spine-tingling tracks.
You will be seeing big things from this trio!

the review i chose:

Hello ADULTS,

Heres a link to the review for Wednesday's class.

And since we talked about in Tuesday's class, heres a couple of links to sights with info pertaining to people/bands/terms in the article you may not be familiar with:

The Shaggs

Carrie-Brownstein/Sleater-Kinney

Ziggy Modeliste

Gertrude Stein

-Dennis Fuller


don't you want to know how we keep startin fires??

The first time I heard the theme song to “Barney,” it's loving message enveloped me, and I knew I was destined to be a musician.

Just Kidding.

Actually, in an episode of the television version of “Madeline,” one of the characters takes up the violin. You’d think one of the Parisian friends of Madeline would be a natural at the instrument. She sucked. It was comparable to handing Garfield a violin. I remember flowers drooping in reaction to the squawks she produced. The girl continued to practice as her music began to draw crowds. I was attracted to this concept of improvement and wanted it for myself.

This, combined with desires to show up the kid at school who played “twinkle twinkle” at the talent show each year, sparked my interest in Violin. I began lessons.

I slithered through the Suzuki books, admiring my development as a musician. But I felt physically uncomfortable with the instrument. I was terribly aware of the violin itself; each day became a battle to see how long I could stand the teeter-tottering of the instrument on my collarbone.

Meanwhile, I became a fifth-grader. I joined band because I thought it was cool. We were sent home with instrument forms, and my mom granted me permission to try trumpet (my idea) and flute (her idea).

Although I couldn’t get a sound out of it, I chose the flute because my mom spent a week telling mournful stories about her childhood wish to play the instrument. I became the proud owner of an instrument I couldn’t make a sound on.

Three weeks into flute class I became the last person to make a sound, but from there the music came naturally. Regardless, the next few years were the dark ages of my musical history. My middle school mind was preoccupied with strawberry-coconut lip-gloss and whoever had first chair. Then, one month before high school I decided I wanted to be the best flute player in school. It’s a matter of opinion whether I accomplished that, but I won first chair in our top band (we had 7). A rash crawled up my arms and neck the moment I finished my first band solo ever (fortunately, the rash was a one time occurrence). I set up my first flute lessons after freshman year and joined my first honor bands and college bands sophomore year. I learned about the Minnesota Youth Symphonies, and earned a spot for my last two years of high school. I had always enjoyed playing flute, but when I corresponded with a symphony for the first time I was on the high of a lifetime. I couldn’t shake the feeling I was in love and realized it was the music. Playing was no longer about competition and improvement (though they make good motivators) I spent the next two years filling a resume of summer programs, competitions, conventions and other various performance opportunities to thrust myself toward the orchestra world.

Unless I get bitten by snakes on a plane and need my arm amputated, I will one day be in a symphony orchestra. It will be a long road- but the whole point to a roadtrip is the drive along the way.

Self-proclaimed musician

According to legend, I started my musical life in first grade. The director of the “young strings” program came to class one day and described her orchestra program for students in elementary school. Well, I was pretty excited. Both of my older sisters played violin, and I always wanted to play like them. I went home that day and asked my parents if I could join the program. My parents finally decided I was too young to begin such an expensive undertaking, especially if I would just get sick of it and give it up in a few days.
However, I have never been one to listen whole-heartedly to my parents, and in this case the benefit was immeasurable. I singed myself up for the class at age six. I remember my teacher, Mrs. Farlow, handing me a small, hideous sounding school instrument every other day, and she always asked, “Emily why don’t you have an instrument of your own yet?” I usually made up some lie because I didn’t want her to know that my parents were unaware of my activities.
Eventually, she called home. I remember my parents’ shock at my determination to play the violin. They agreed if I wanted to play that badly, they would buy me an instrument. I was ecstatic. I have continued playing violin ever since, and I still do. I even brought it to college with me.
My foray into orchestra led me to want to be involved in music forever. In fifth grade I entered the ISSMA contest for singers. I had never sung solo before and I was terrified, but despite my doubts I learned the piece, “Getting to Know You” and won a first place ribbon. It was then that I discovered how much I truly loved to perform. I loved to portray a character through song, and I placed first in the contest the following year as well.
Once again, I took matters into my own hands. I decided that along with violin lessons, I wanted to have private voice lessons. I had to sign myself up for lessons again. This time, my parents trusted my judgment. I began lessons with Barbara Horine, at my school, in seventh grade. I tried really hard. However, I never felt like I was enjoying my singing. I didn’t know what I was doing wrong. My improvement was inconsistent and I knew I had not found my niche. Then, I tried out for the junior high school musical, Oliver!. I received the part of Nancy, and it was a huge scandal. A seventh grader getting the lead in the musical! The student body was really mad.
When I performed that role I realized what I had missed in my singing. When I was onstage, the music came to life. The music and I became one in the same. I loved the expressiveness of the theatre. I loved entertaining the whole auditorium. The musical was a huge success, and I managed to make a name for myself before entering high school. Since then, I have performed in many musicals at school and in the Indianapolis community.
The theatre made me relate and embrace the passion found in music. Suddenly, I wanted to do everything. I started to play the guitar, and later the piano. I couldn’t, and still can’t, get enough music in my life. Whether it is just sitting in my room listening to rock, or attending an opera, I love the concept of performance. I love being part of a room full of people who are all swept away by the beauty of music. To me, music is truly a way for souls to connect.