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Capture the ND Spirit

A distinct and unique musical spirit has long been a part of the Irish people and their culture, and certainly music has been central to Notre Dame's own tradition, with its "greatest fight song in all the land" and the oldest collegiate marching band in the United States. This idea was reflected in Notre Dame's recent $2 billion "The Spirit of Notre Dame Campaign" with the production and release of a two-part album aimed at capturing the musical identity of the Fighting Irish called "The Spirit of Notre Dame." The album features two different discs, the first of which is an upbeat, tailgating-minded collection entitled "Celebration." This first part is mostly a fun, fast-paced collection of Celtic and Notre Dame-themed songs. John Tabis, a 2000 graduate, and Ken O'Malley create the jig-inspiring melody "Irish in the Yard" by altering the lyrics of the commonly known tune, "Whiskey in the Jar" to suit this year's Irish football team. "What Are You Fighting For?" by Emily Lord, a 1996 graduate, is a moving and uplifting ballad of finding purpose, and "Wearin' of the Green" by the Notre Dame Bagpipe Band is a rousing bagpipe and percussion ballad. "Here Come the Irish" by John Scully, a 1980 graduate, and Jim Tullio is a song that will be familiar to anyone who's been to a Notre Dame football game, but the album updates it with an opening introduction from University president emeritus Fr. Ted Hesburgh that, as most things Fr. Hesburgh says, carries a gravity that will give listeners the chills.   "Here Come the Irish" and another song on the album, "Warrior" by 2007 alumnus Jeffery Stephens and 2005 alumnus Lawrence Santiago, class of 2005, was featured on the Jumbotron during Notre Dame's football game against Miami at Soldier Field on Oct. 6. The second disc, "Reflections," is a more contemplative look into the Notre Dame spirit. "Notre Dame's Prayer to a Guardian Angel" by Roberta Lee Halladay, a 1974 graduate, combines the religious tradition of Notre Dame with a slow, introspective and peaceful tune. "With All Your Heart Believe" by 1994 graduate Tim O'Neill, is another touching and emotional song that evokes the seriousness and sentimentality of Notre Dame. "Too Rah Loo Rah Loo Rah" is sung by one of Notre Dame's most famous alumnus, Regis Philbin, a 1953 graduate. The album, which features a total of 33 songs from a number of alumni from many different generations, was a project spearheaded and produced by Tim and Ryan O'Neill, 1994 and 1997 graduates, respectively. "It's basically the biggest music compilation project in Notre Dame history," Tim O'Neill said. "I'm thankful that Notre Dame asked my brother and me to produce the project." The two brothers are a highly successful musical team, having sold more than two million CDs so far in their career, with horizons broadening beyond their alma mater. But Tim O'Neill said their true passion is for Notre Dame. "What we really love are these Notre Dame songs, and we just really love to get the word out about some of these talented alumni," he said. "It's a Notre Dame family project that's going to sell a lot of music, but more importantly connect a people back with Notre Dame and get them emotional about the place and hopefully the donate their time or money."  

Post-Potter effort vacant of magic

Magic. It's what defined the Harry Potter series, both in the literal and figurative sense. There were the wands, the Quidditch, the dragons and the Horcruxes - that's all magic, to be sure. But what truly captivated the reader's mind was the literary magic author J.K. Rowling conjured up - a richly-textured world, finely detailed environs and most importantly, meticulously developed characters. Sadly, Rowling's first post-"Potter" effort, "The Casual Vacancy," is, for lack of a better term, casually vacant of any magic. The characters may be well thought out, and the tiny fictional English village of Pagford that the novel takes place in may seem like a terrifyingly real place, but something is missing - literary magic. A post-"Potter" hangover of sorts may have been expected from Rowling - after all, her series of books is the best-selling of all time, having sold more than 450 million copies worldwide. But at the same time, Rowling is one of the most talented authors of her generation, having enchanted readers of all ages with her Hogwarts tales. Why should she not have succeeded with her first foray into adult novels? Unfortunately, "The Casual Vacancy" tries too hard to be just that - an adult novel. The premise of the story sounds interesting. A town councilor dies of a brain aneurysm, and the ensuing election for his replacement brings to a roiling boil what had previously been simmering class warfare in Pagford. Along the way, Rowling tosses in every calamity and societal malady available - drug use, suicide, rape, infidelity - like a sickening shopping list of the warts of humanity. It isn't bad to show the underbelly of society - "Harry Potter" dealt with some pretty mature themes - but the nonstop barrage lacks focus, as if Rowling was looking to check off a list, hitting every one of mankind's woes with no real thought to how they contributed to the overall plot. Part of the magic is lost in "The Casual Vacancy" when Rowling not only loses focus in trying to portray the dregs of small-town English society, but also when she does not provide a central character that draws in the reader.. Imagine if "Harry Potter" only had an ensemble of Seamus Finnigan, Dolores Umbridge, Ollivander and no Harry, Ron or Hermione. No one, not even the die-hard "Potter" fans, would ever enjoy such a tale. I found myself spending more time than I should trying to iron down in my mind all of the characters in "The Casual Vacancy" when I should have been enjoying the book. Compounding this issue is the fact that the reader simply does not care for the characters in the novel. Every single character has a signature fault, whether it is pomposity, promiscuity or addiction. Characters certainly should never have to be painted as good or bad in black and white terms. One cannot deny the heroes in "Harry Potter" were flawed - Harry was proud, Hermione was a know-it-all and Ron was, well, Ron - but these flaws were balanced by positive traits. On the other hand, by the time I was able to sort the multitude of characters in "The Casual Vacancy" apart, I was only able to distinguish them by their unpleasant traits, not their names. It is hard to fully enjoy a book when every single one of the characters is so unabashedly dreadful. I had high hopes for "The Casual Vacancy." I was expecting a black comedy of epic proportions, an exposé of small-town British life. Instead, I received 503 pages of misery. It may be harsh in comparing the book to "Harry Potter" when Rowling should in no way have to match the magic she conjured in the series. After all, I wouldn't want to have to live up to say, my illustrious performance in my high school European history class. But as an avid "Potter" fan, someone who rereads the seven books every summer and dressed up for multiple midnight movie premieres, I cannot help but be more than a little disappointed with Rowling's effort in "The Casual Vacancy." In a way, I am not so much upset with the book itself as I am with Rowling. If any other author churned this book out, I would say the characters are dreary, but nevertheless the pages kept turning. But seeing the name "J.K. Rowling" on the cover comes with astronomical expectations. I wasn't expecting magic in the literal sense, but was looking to be charmed by Rowling's pen. Unfortunately, there was no literary magic within the pages of "The Casual Vacancy."  

West Coast, Best Coast

As a bit of a disclaimer, I must go out of my way to inform everyone this: being from California, I have a natural inclination toward things West Coast-related -- the music, the culture, the In-N-Out and, once again, the music. With that said, I tried to inject little bias into my examination of Kendrick Lamar's major label debut under Interscope Records, "Good Kid, m.A.A.d. City." And despite my bias, I have found only good things about Lamar's debut effort, as he exceeds the expectations that the hype seemingly unfairly placed around him. With superb presentation and extremely captivating substance, he provides a refreshing album, yet still pays homage to the "old-school" style of West Coast hip-hop that consequently gets nods of respect and appreciation from fans all over.   The songs in "Good Kid, m.A.A.d. City" are compiled into a story, which presents the narrative of Lamar who struggles with the decision to either transcend the dangers and temptations of his city Compton, Calif., with his music, or succumb to the daily traps that his friends and everyone else seem to be a perpetual part of. His music chronicles his time in an environment that veils the opportunities of the rest of the world to its people. The story opens with the track "Sherane a.k.a. Master Splinter's Daughter," telling the story of Lamar falling into temptation with Sherane, where it is revealed that Lamar was simply deceived and ambushed.   From there comes a total sequence of tragedies fitting for scenes out of the Compton classic movie "Boyz N The Hood," where the story falls like a tumultuous set of dominoes, one folly leading to a disaster leading to a heartbreak. The first-person narration that Lamar provides is truly impressive, never missing a beat in story telling (except for a single curiously placed song "Don't Kill My Vibe," a solid song, but one that really has nothing to do with the overarching story). Each track provides a different partial ambiance to the overall story of the project, perfectly capturing the mood appropriate to its portion of the narrative in a way that really allows the listener to relate to the song not just for the message being delivered, but also the feel of the song. The feelings evoked by each song are so pure and raw that the strings of the guitar in "Don't Kill My Vibe" pull at some heart strings and the crescendo of Lamar's roars in "Backseat Freestyle" are felt in the chest.   Yet there's also a versatility factor to "Good Kid, m.A.A.d. City" that makes it so beautiful, where the songs can also be standalone songs as well as sequences to the stories. Obviously, lead singles "The Recipe" (produced by and featuring West Coast legend Dr. Dre) and  "Swimming Pools (Drank)" are standouts as individual hits, but other not-so-obvious songs impress. "Don't Kill My Vibe," "Money Trees" (featuring fellow Top Dawg Entertainment artist Jay Rock), "Poetic Justice" featuring Drake, and "Now or Never" featuring Mary J. Blige are automatic hits. One can definitely make a case for any song being the standout song, which only speaks to Lamar's ability as a musician and artist, and the effort he puts forth in each song as well as his passion and pride in his work to avoid any filler songs.   The fervent rapping ability combined with insightful material that has come to be known as Lamar's standard of product is alive and well, pure and untouched in his major label debut.   While "Good Kid, m.A.A.d. City" does have its faults, they are far and few in between, as Kendrick Lamar seamlessly flows into his debut in his own style and his own comfort zone. And if my bias shows a little, feel free to prove me wrong, and purchase the album and try to find a counter-point. You just might appreciate it after all.  

Download. Listen. Discard.

Download To say Macklemore and Ryan Lewis's new album "The Heist" was a breath of fresh air in today's rap music scene would be somewhat of an understatement.  I think more fitting praise would be given to the duo's lyrical and production wizardry combined with their ability to convey a gripping and relevant message through their music. It is this skill that is setting a new standard for the entire industry.  The bar has been set high - a bar rappers like Rick Ross can't reach and one crooners like Drake can only whine about. What makes "The Heist" such a fantastic and unique album is its variation between feel-good party tracks and gritty, serious songs that truly inspire reflection.  Funny songs like "Thrift Shop," in which Macklemore boasts about how his thrift shop purchases, such as old gator shoes and a used "fur fox skin," make him the best-dressed person at the club, are juxtaposed with songs like "Same Love," a heartfelt endorsement of gay marriage, and "Wings," a critique of rampant consumerism and its consequences. Macklemore and Ryan Lewis are irreverent yet sincere, vulgar yet also refined, jokers who also inspire.  You may not enjoy a particular song off their album, or may disagree with the message it conveys, but the fact remains it came from a place of genuine talent and conviction.  I hope the duo continues to make music for years to come, and that you support them by downloading "The Heist." Listen I'm not afraid to admit I'm a huge fan of Ellie Goulding.  Not only do I enjoy her music, and think she has a beautiful and distinctive voice, but I also have a slight to modest to moderate crush on her.  Okay, fine, I have a pretty big crush on her, so sue me. Despite this confession, I was nonetheless slightly disappointed by her latest album "Halcyon."  The album certainly has its gems, including "Anything Could Happen," a catchy, techno-inspired song you may recognize from recent headphone commercials.  I also enjoy "Figure 8," a track continuing Goulding's long-standing love affair with dubstep. (If you haven't heard the remix of "Lights," look it up, or hang your head and go back to the comfortable rock you likely live under.) The issue of dubstep brings me to my main critique of the album: Goulding at times sacrifices lyrical depth and creativity by leaning too heavily on slick production.  Some tracks are unmemorable and simply not worth more than a single listen. My favorite song, "My Blood," is the only song I believe showcases Goulding's vocal range and ability without overdoing it on the production end of things. Long story short, I think "Halcyon" didn't truly express the talent and charm that drew me to Ellie Goulding's music in the first place. However, the album is still definitely worth a listen. Discard Upon first listening to the steaming pile of musical garbage that is Gucci Mane's new album "Trap God," I can honestly say a small part of me died.  If Kevin Federline's ill-fated rap album "Playing With Fire" was a punch right to rap music's jaw, Gucci Mane's latest travesty took off the gloves and knocked it to the mat. All the songs on "Trap God" feature the stale, bass-heavy beat used by seemingly every wannabe, no-talent cookie-cutter rapper.  Lyrical creativity or any sort of authentic style is completely absent.   Gucci Mane is content to spend his time rapping about cars, guns and diamonds, occasionally showing flashes of musical genius such as rhyming "up" with "up" four times in a row. Not confident he could ruin rap music by himself, Gucci Mane assembled a cast of featured artists on the album that could be fairly called the musical equivalent of the 2006 defeated Detroit Lions. I don't know who rapper Little Scooter is, but I strongly urge him to never pick up a microphone again. In conclusion, "Trap God" is the "Norbit" of rap music. If you think I'm being too harsh, I would encourage you to give the album a listen. Actually, no. I wouldn't wish that fate on any person. Even Gucci Mane.  

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Sinister: Can't be unseen

If you want to be on the edge of your seat from beginning to end, "Sinister" is the movie for you this Halloween. That's not to say it doesn't have most of the horror movie clichés - a house haunted by dead children, a dark attic that goes bump in the night, electronics that inexplicably turn themselves on, a protagonist who walks around with the lights off at night and so forth. But that doesn't mean you won't be scared when bad things happen or won't be horrified and tense by the things that make the movie different and truly disturbing. "Sinister" follows a true crime writer and his family as they move yet again to a small town so he can write about unsolved crimes. The town, especially the police department, is tense and unwelcoming at his arrival, not wanting to reopen the wounds of the murders he is writing about. He makes the brilliant choice of actually moving his family into the house of the murder victims, where an entire family was hanged by a tree in the backyard. Everything starts to go wrong when he finds a box of Super 8 films and a projector in the attic. The films begin as harmless home videos, followed by entire families being murdered in their own homes. The grainy, amateur videos put a creeping terror into the audience that is hard to shake, even after the movie is over. Although these murders are not very bloody or violent, they are too realistic and domestic for comfort; there is something truly disturbing about seeing a mother, father and child being drowned in their own swimming pool or set on fire in the family car. The horror of these videos doesn't stop with just images either. While it is a staple of horror films for the audio to be the source of the scares, the score of "Sinister" goes a step further. The strange, unusual and undeniably creepy accompanying soundtrack burns the videos both into your mind's eye and ear. "Sinister" may use forgettable horror movie clichés, but the videos are something you'll never be able to forget once you see them. If you don't think you can stomach the home videos, don't go - they're shown frequently throughout and are a huge part of the plot of the film. Don't come if you can't handle constant tension either. Unlike most horror movies that begin with an ordinary introduction of characters and locations or has safe moments in the daylight, "Sinister" never gives the audience a break. The tone is set from the first second of the film with the home video of a family being hanged. Even when chatting at the dinner table with the kids, the shadowy lighting all throughout the film gives the audience an impending sense of danger. Movies like "Paranormal Activity" tease you by leading you to expect something when nothing actually happens; "Sinister" makes you feel like something is always wrong. In a way, something is always wrong: those videos can never been unseen by the protagonist, but you've seen them now too. The power of the supernatural comes from the viewing of the films, much like "The Ring," and the audience is part of the viewing too. "Sinister" is a well-made horror movie for using cinematography together with content to keep the audience constantly uneasy. Amateur murder videos, a reappearing demonic figure and a haunted house would satisfy horror movie demands. But "Sinister" makes every scene an ominous one by lighting only what is necessary in a scene, leaving all the rest to shadows. Even a cheerful family dinner is creepy when only the table is lit, everything else hidden in darkness. The daytime isn't much better when the house only seems to be lit by dim natural lighting, still casting shadows everywhere. The creepy score plays on even when the videos end. Rarely does the music allow you to feel safe, like you've escaped the possibility of something terrible happening or that something isn't about to startle you out of your wits at any second. The plot may be predictable enough for the genre, but together with the dilemmas of the characters, it will keep you entertained as you try to solve the mystery alongside the protagonist. You might guess how it ends, but it won't stop you from being shocked when you see it. With many of its producers from "Paranormal Activity," it blends the home video element together with the creepy, mystery-solving element of "The Ring," to give the film a relevant plot that instills an uncomfortable sense of terror. If you're a brave soul, see it at night. You might be able to sleep, but that doesn't mean you'll be able to control what you see when you close your eyes. Contact Claire Stephens at cstephe4@nd.edu 

Seven Psychopaths: Sickly Hilarious

It's violent, messy, vulgar, gruesome and side-splittingly hilarious. "Seven Psychopaths," a dark, dark, dark (seriously, it's dark) British comedy from the mind of Irish playwright Martin McDonagh released October 12, is without a doubt the funniest, if strangest, film of 2012 so far. Colin Farrell stars as Marty Faranan, an alcoholic Irish screenwriter living in California and dealing with a bad case of writer's block. His oddball friend Billy Bickle, brought to life (not just played) by Sam Rockwell, is devoted to inspiring Marty to finish his current project, an anti-action thriller titled "Seven Psychopaths." Billy is an unemployed actor whose main source of income is kidnapping the dogs of the wealthy and returning them for a reward. His partner in crime is Hans, played by Christopher Walken. The three run into trouble when Billy accidentally kidnaps the Shih Tzu belonging to Charlie Costello, played by Woody Harrelson, a gangster who kills just about anyone and everyone who gets in the way of getting his dog back. The movie devolves into a sort of metaphysical tongue-in-cheek critique of the action movie genre, and then reverts to a shoot 'em up for the climax, the results of which are in line with the dark undercurrents of the script. This is McDonagh's second outing as screenwriter and director of a feature film, following 2008's "In Bruges," also starring Colin Farrell. He's no amateur, though, as he's spent most of his career as a fulltime playwright, and is considered one of Ireland's most important living writers. His trademark sharp, witty, introspective and, of course, dark style shines through in "Psychopaths," especially in his characters, which are wonderfully and colorfully developed. It may be just a little sloppier than "In Bruges," and the ending may leave just a little to be desired, but McDonagh is a master of the art and it shows. The film succeeds mainly on the strength of the performances of Farrell, Walken and above all Rockwell. Thankfully Farrell plays an Irish national, so audiences aren't subjected to his infamously terrible American accent. He plays against type in this film, a subdued and observant writer instead of the more flamboyant character he's used to. Walken also plays out of his normal comfort zone as well. In "Seven Psychopaths," Walken is reflective and sentimental, straying away from what he's done since the turn of the century. The result is a fully-fledged enigma of a character, a religious man who mourns his dying wife and hides a violent and dangerous past. The other characters are also well-portrayed, especially Tom Waits as an aging serial killer who just wants to find his former serial killer girlfriend, but all are peanuts compared to Rockwell's Billy Bickle. The dog kidnapper is Patrick Bateman minus the pretentiousness and suits, plus a wickedly on-point yet entirely unintentional sense of humor. The first three-quarters of the film set an extremely high bar that the climax fails to hit, but closes out well enough to make it one of the best films of the year. Contact Kevin Noonan at knoonan2@nd.edu 

Indie Music Map

Welcome to Philadelphia, the City of Brotherly Love and the next stop on our Indie Music Map. As a PhilliePhanatic, I have a special place in my heart for Philadelphia. The city is full of rich history, having once been our nation's temporary capital and the site of many an important meeting on the road to independence and events soon after. It is also home to other wonderful things like the Liberty Bell, cheesesteaks and "Rocky." But let's hone in on the thriving indie music scene in this bustling city. I have a soft spot for the ethereal and dreamy; I love getting wrapped up in lingering, echo-y vocals and synth beats and just forgetting about the 5 billion things that are going on around me. That's where Sun Airway comes in. Comprised of vocalist/guitarist/keyboardist Tom Barthmus (formerly of another Philly band, the A-Sides) and drummer Patrick Marsciell (also of the A-Sides), the band delivers a healthy dose of electronic pop for avid effects lovers. They released their sophomore album "Soft Palms" just this year, adding to their budding repertoire. If you're looking for a more eclectic style, than Dr. Dog is the right band for you. Toby Leaman (bass guitar), Scott McMicken (lead guitar), Frank McElroy (rhythm guitar), Zach Miller (keyboard) and Eric Slick (drums) compose the band, with Leaman and McMicken alternating on lead vocals. Dr. Dog's style is highly influenced by 1960s pop, weaving in elements such as lo-fi and sounds reminiscent of 1990s era indie-pop. The band has two EPs and seven full-length albums under its belt, having released its most recent album, "Be the Void," in February of this year. Their prominence in the indie music world was kick-started when they toured as the opening band for My Morning Jacket in 2004. Dr. Dog provides listeners with a great mix of the retro, the psychedelic and the quirky with a well-rounded catalog of catchy and groovy tunes. One of my personal Philadelphia favorites is Matt Pond PA. I first heard the band when they came to Legends here at Notre Dame in 2010 (I remember being super jealous of how effortlessly cool the female guitarist was). Since then, I can't get enough of their music. Matt Pond (lead vocals/guitar) has really been the consistent member throughout the many transitions the band has gone through, though Chris Hansen (guitar/vocals/keyboards) is also regarded as another core member. Matt Pond PA has released eight studio length albums and eight EPs. It seems of late, singers enjoy locking themselves up in remote cabins in the wilderness for musical inspiration (a la Bon Iver in his beloved Wisconsin woods). Matt Pond did the same for his 2010 release "The Dark Leaves." This idea must really be working, because the album is fantastic. It personifies Matt Pond PA's expansive sound that has featured everything from cellos to keyboard effects, with the right touch of backwoods flair that you would expect from an album conceived in the solitude of a country cabin. (I'm just waiting for Kanye's wilderness experience with a new release: "My Beautiful Dark Twisted Forest Oak Tree.") Everyone loves a comeback story, and Wanderlust has the potential to be one of those comeback stories. The band originally formed and recorded in the mid-1990s but was dropped from its record label in the midst of recording its sophomore album. However, they reformed in 2011 and released their album, "Record Time" this year. The power pop/alt rock group is comprised of lead vocalist and guitarist Scot Sax, guitarist Rob Bonfiglio, bassist Mark Levin and drummer Jim Cavanaugh. Wanderlust had achieved an avid following during their time in the 1990s, but will they do so again? The War on Drugs is Sonic Youth meets Bob Dylan. Vocalist Adam Granduciel and former guitarist Kurt Vile (who now plays his own solo act) happened to meet at a party where they bonded over their love of Dylan's music. The band currently consists of Granduciel (vocals/guitar), David Hartley (bass/guitar), Robbie Bennett (keyboards/guitar) and Steven Urgo (drums/percussion), and has released two albums and two EPs to date. Their sound combines elements of shoegaze, alt rock, and touches of Americana, particularly in their earlier EPs. Dylan influences are evident in Granduciel's vocals and contemplative lyrics. And for those who like candid, uncomplicated alternative rock, there's Blood Feathers. Formed in 2005, the group is comprised of founders Ben Dickey (vocals/guitar/piano) and Drew Mills (vocals/guitar), as well as Clay Simmons (bass), Patrick Marsciell (drums and also of above band Sun Airway), Sam Murphy (guitar) and Tracy Stanton (saxophone/percussion/keyboard). They have released two albums thus far, showcasing their rock-and-roll sound featuring bluesy guitar and touches of twangy folk. On the playlist I have also included a few "bonus tracks": Dead Milkmen's "Punk Rock Girl" and "Gonna Fly Now" from "Rocky". "Punk Rock Girl" is a MTV hit that is just a great, upbeat, satiric post-punk song to jam out to and sing off-key. As far as "Gonna Fly Now" goes, if this song doesn't make you want to find a staircase to run up and make you feel like you could take on Apollo Creed, Mr. T and Ivan Drago at the same time, there is something seriously wrong ("Rocky" fans, you catch my drift). And so we reach the end of our music tour of the City of Brotherly Love. If you ever happen to find yourself in Philadelphia, delve into the city's rich history, cheer on a Philly sports team and grab a soft pretzel while you explore a fantastic city. On to the next stop on our Music Map ... Contact Lizzy Schroff at eschro01@saintmarys.edu The views in this column are those of the author and not necessarily those of The Observer.  

Affleck Shines in 'Argo'

At equal turns darkly comedic and chillingly suspenseful, "Argo" brings vividly to life the little known story of the rescue of six U.S. diplomats from Tehran, Iran in 1979 in the middle of the Iranian hostage crisis.

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Powerful performances in 'The Perks of Being a Wildflower'