14 I FRIDAY, J. 15, 2010 `Contra' Reviewed by Lindsay Cryer COLLEGIAN STAFF WRITER Vampire Weekend's new album, "Contra," gives fans reason to stay close by as the band takes its music into a more electric realm. The band has added to its already addicting sound by complimenting a synthesized rock feel with electro-pop spices, such as sped-up Auto Tune in the track "California English" and 'Bos-inspired tempos in multiple tracks, including "White Sky." High-tempo string instruments in "Taxi Cab" and instrumental breaks which uncannily resemble Nickelodeon's "Rugrats - theme song in the opening track "Horchata" make "Contra" remi niscent of the band's song 'A -Punk" from its self titled album, released in 2008. T. s ~I EIZECEEI Bound to be the biggest hit of the album, - Cousins" attracts the ears of not only those who love Vampire Weekend's steadfast rock beats, but also a more eclectic crowd who will enjoy the awkward and sporadic background vocals. The addicting chorus will prove to be one that - me and my cousins and you and your cousins" will all enjoy. . . While the themes of the songs ring a bit cliché -- including songs about California escapes and city-found love the mysteriously honest lyri cism shines through. with the band even daring to rhyme "horchata" and - balaclava - in the open ing track. It may be the album's title, but the word "contra" in - I Think Ur a Contra" remains undefined. Still, the message one of heartbreak in the making is clear. Listeners will continue to find difficult-to aecipher lyrics in readily relatable songs. Vampire Weekend's triumph lies in its decision not to try to change its sound —that's improve ment enough. The vibe is more vivacious, the beats - - though somewhat similar in a few tracks are more bubbly and the lyrics are still genuine. Vampire Weekend fans from the start will not stray too far with "Contra," and those who weren't have now been given a reason to join the fun. Grade: B+ Download: "Cousins," "Diplomat's Son" To email reporter: Ibcl46@psu.edu `Cairo Modern' Reviewed by Stephanie Goga COLLEGIAN STAFF WRITER Although Naguib Mahfouz's "Cairo Modern" was published in 1945, it remains just what the title alludes to: a modern, timeless tale. The novel, recently translated from Arabic, paints a glorious picture of Cairo in the 19305, replete with cruises down the Nile River and elegant parties. Of course, socie tal and governmental changes also emerge, making the story a realis tic portrait of Eqpt at this time. Despite some minor amazon.com problems with the plot' flow, "Cairo Modern" remains a stunning historical novel and one that isn't easily forgotten. The storyline follows Mahgub, a student in his last semester of college. Mahgub's father sudden ly takes ill and has little money to spare for Mahgub's living expenses. While Mahgub is learning how to pinch pen nies, he's also searching for the elusive post graduation job a subplot that makes the novel immediately relatable to college students. Desperate to escape his life of poverty, Mahgub accepts a life of luxury: a high-level government job. an arranged marriage and paid living expenses. But the agreement comes with a price. His new wife, Ihsan. is actually the mistress of another government worker, who pays for all expenses in return for Mahgub's silence. Mahgub swiftly gets swept up in his own greed which naturally swirls into conflict throughout the rest of the novel. The idea behind the novel is innovative, and Niahfouz's gift as a storyteller shines through his characters. Even while the protagonist does some unsa vory things lying to and abandoning his desti tute family, for instance the reader somehow remains endeared to him. He may be too self absorbed for his own good, but he is also delight fully human. The novel is sometimes stalled by the asides of some of the secondary characters, which calls to mind a subtle Shakespearean influence. These lulls often leave the reader yearning for the action to return to Mahgub's tribulations. For readers unfamiliar with world literature, - Cairo Modern" may be an appropriate starting point. The prose flows in such a way that its Arabic origins are virtually unrecognizable. In case any Arabic phrases slipped past the translation though, a glossary accompanies the novel and explains some words, like Mahgub's favorite and perhaps overused catchphrase, - tuzz"- - a contemptuous interjection." Thus, the reader can indulge in "Cairo Modern's" engaging plot while also picking up some Egyptian slang: an added bonus to an already intriguing novel. Mahfouz has passed away since the publication of this novel, and the Cairo that is illustrated in this novel probably has, too. Fortunately, readers can escape to this thrilling time period and indulge in the scandalous plot by picking up "Cairo Modern" no passport required. Grade: B To e-mail reporter: scgso2s@psu.edu dolikoplo‘ liost — • / Rz 1-t4k' akms, Cu' nave 111 The Flaming Lips bring a new sound to Pink Floyd. Reviewed by Nick Weingartner COLLEGIAN STAFF WRITER The new royal family of psyche delic jam -rock has paid its dues. After years of talk around the indie-rock water cooler, The Flaming Lips has joined forces with Stardeath and White Dwarfs to offi cially release an entire cover of Pink Floyd's timeless "Dark Side of the Moon - and with astounding results. Also helping them on their mis sion to conquer the psychedelic Mount Everest is Peaches and Henry Rollins. Peaches. most known for ridicu lously sexual albums like 2006's "Impeach My Bush" which included the seminal "Tent in Your Pants" lends her surprisingly angelic voice to jams like "The Great Gig in the Sky-. Rollins is the notorious lead singer of Black Flag and an occa sional actor/TV personality. With this, he provides an ongoing mono logue that includes potential killing methods, maniacal laughing and philosophical statements like "There's no 'Dark Side of the Moon' really ... matter of fact, it's all dark." The album swirls and dips with keyboard textures galore. But this isn't to say the album isn't full of rock. too. On "Money," the original chimes and register ringing is replaced by glitchy computer sounds. Any Colour You Like" easi ly sounds the most like the Flaming Lips --- especially its last album. In IF "Embryonic" and is probably the most rockin' track on the record as a whole. The album artwork is also much cooler a baby shoots out rain bow-lasers from its eyes-- and 36 years of improvement in recording technology didn't hurt either. But there's a question to be asked, whether the Flaming Lips intended to invite it or not: Is it bet ter than the original? No. But it's still pretty amazing. It's difficult to gauge the great ness of an album that pulls from some of the strongest source mate rial the human race has manufac tured since the Industrial Revolution. When covering a masterpiece. do you automatically make a master piece? No. You cant create a classic by covering a classic. You'll always be living in the shadow of the original, the dark side of its moon. And if it wasn't for the fact that the notes and lyrics comprising this album didn't originate with the Flaming Lips. this album would easily be put in glass cases on dorm rooms and basement walls as an LSD-ridden musical Mona Lisa. But, in the end, it doesn't surpass the original, and therefore can never reach that musical status Still, the Flaming Lips remain the only band that could ever have hit such a high watermark covering such an iconic album. For most bands, it would be sui cide. But for the Lips and their musical commodore companions, it was just something fun to do. Grade: B+ To e-mail report -1 nawsos4@psu.edu THE DAIL\
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