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src=”http://www.iowastatedaily.com/galleries/story-images/07-19- 01/air.jpg”> “10,000 Hz Legend” Air Compare to: Beta Band, Beck, Daft Punk *** 1/2

Someday, perhaps on my honeymoon, I’m going to book Air to

perform in my bedroom.

I have it all planned out: I’m going to throw rose petals all over, turn

the lights down low, light some candles and bring in two French

DJs to spin records.

I’ve had this fantasy ever since I first heard Air’s 1998 critically

acclaimed release “Moon Safari.” That album, and the follow-up

soundtrack to the “The Virgin Suicides,” was made to exercise your

reproductive system.

Those songs were funky and poppy, yet somehow retained the

qualities of elevator music. That unique combination resulted in a

form of avant-guard techno that either put you in the mindset to buy

groceries or to have forbidden, primitive desires satisfied.

Air’s new release, “10,000 Hz Legend,” isn’t quite in that same

pro-humping vein as the last two releases. It does retain some

raw animal sexuality but as a whole is more eclectic. The disparity

in every track makes for a more interesting listen than the last two

records. However, the less instinctual music is not as listener

friendly.

Air knows they’ve attached themselves to your pelvic region; now

they want to see the different ways they can make you move it. It’s

a concept piece about hip-gyration. It has to be – they’ve got no

message otherwise.

For example, the lyrics to the opening track, “Electronic

Performers” read, “We need to use envelope filters to say how we

feel.” Um, what? Even though I have no idea what an envelope

filter is, I can’t help but think it’s sort of disheartening, isn’t it?

Yet as it is sung in a computerized voice over the upbeat bass and

drum groove, the contradiction of tempo and sentiment gives off a

sense of total poppycock. It is as if they’re trying to overload your

system to get your pants to explode.

Beck is also on this record; he performs guest work on what is

probably the strongest track on the album, “The Vagabond.” It’s a

nice cross section of Beck’s work, where his folkie “Mutations”-era

work meets his avant techno rock side. The song is probably the

best collaboration of artists since the days of “Ebony and Ivory.”

– Matthew Peelen

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src=”http://www.iowastatedaily.com/galleries/story-images/07-19- 01/WTWTCH.jpg”> “What’s The Worst That Could Happen” soundtrack Various artists Contains: Craig Mack, Snoop Dogg, Queen Latifah *** 1/2

Over the last 20 years, movie soundtracks have gained importance

as they have produced revenues for the record companies putting

them out.

This has led to all kinds of successful soundtracks, from “Dirty

Dancing” to “The Nutty Professor.” In many cases movie

soundtracks can literally become extensions of the films they

represent.

Yet for every sweet movie soundtrack, there is one that has gone

sour. Luckily, the “What’s The Worst That Could Happen”

soundtrack doesn’t leave the listener puckering.

At first glance it is obvious that there is a solid mix of hip-hop and

R&B representing all parts of the country.

Snoop Dogg, Benzino (of Hangman 3), Cha Cha and Boss Town

are just a few of the artists who blessed this album with their

talent.

But the real gems this CD offers are the surprise appearances of

Craig Mack, Queen Latifah and Erick Sermon. These three had a

huge influence on hip-hop in the early `90s, but have been out of

the limelight for quite some time. For this soundtrack, each of

these three was paired up with other talented musicians to make

their songs even better.

Queen Latifah features Sara Jane on “Everywhere You Go.” Sara

Jane sings the catchy song “No Job,” which is also on the

soundtrack.

Frank Sinatra assists Craig Mack on “Wooden Horse,” and Marvin

Gaye accompanies Erick Sermon on the hit single “Music.” The

Sermon/Gaye combination was worthy of being the album’s first

single and has been successful since its release.

Supafriendz, Jo Doja, Doggy’s Angels, Dyme, Nina, Sam Logan

and Lejit are among the other artists who contributed to making

this album successful.

This record manages to stick out from many of its soundtrack

predecessors, thanks to its diversified yet solid lineup of new and

established artists.

So go pick it up and give it a listen. What’s the worst that could

happen?

– Aaron Faddis

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src=”http://www.iowastatedaily.com/galleries/story-images/07-19- 01/rufus.jpg”> “Poses” Rufus Wainwright Compare to: Jeff Buckley, Ben Folds Five, Elvis Costello **** 1/2

“This record will be a well-polished stone thrown at the forehead of

the five-headed monster known as the Backstreet Boys,”

singer-songwriter Rufus Wainwright recently told a popular music

magazine.

Rufus Wainwright set out to destroy the materialistic, untalented

pop groups of today with his sophomore effort, “Poses.”

And with people who actually appreciate and understand music,

he has succeeded.

Including orchestral accompaniment, a banjo, and Wainwright’s

infamous piano playing and lyrics, he proves that hard work does

pay off.

It has been three years since his self-titled debut, after which he

was heralded as a musical genius by fans and the music press.

Yet, “Poses” shows that amazing musicians evolve and can relate

music to something other than the usual love songs (which he

also does well).

The first track, “Cigarettes and Chocolate Milk,” delves into the

inner workings of giving into cravings. With its slight upbeat tempo,

it is the perfect song to begin the album.

It is not, however, the best track on the album.

The title track, “Poses,” contains dissonant chords and lyrics that

deal with finding oneself in a materialistic world.

Slightly autobiographical, but more a mixture of characters around

him, the phrases “I did go from not wanting to be someone/ Now

I’m drunk and wearing flip-flops on Fifth Avenue/Once you’ve fallen

from classical virtue/ Won’t have a soul to wake up and hold you”

can relate to almost anyone at some point in time.

“Shadows” is a funk-induced collaboration with Propellorheads’

Alex Gifford. This song proves the versatility of the artist as well as

the genre-breaking introduction of orchestral funk. George Clinton

would be proud.

In his songwriting, Wainwright has said he uses tactics like

partying every night until dawn, waking up at three the next

afternoon, then playing piano nude for the next few hours. He

sings in fake German until the passionate and truly personal lyrics

flow forth.

Whatever works. Keep doing it, Rufus.

The Backstreet Boys should be afraid. Very afraid.

– Leah Eaton

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src=”http://www.iowastatedaily.com/galleries/story-images/07-19- 01/311.jpg”> “From Chaos” 311 Compare to: Mr. Plow, 2 Skinnee J’s, Bloodhound Gang ****

The sound of 311’s newest release, “From Chaos,” is another

example of why the band has such a strong fan base and has

been able to maintain popularity over the years.

Although this album is not their best, “From Chaos” still clings to

the same mixture of funk, rap and reggae that is the band’s distinct

style.

The new album can be compared to the same kind of sound found

in two of the band’s earlier albums, the self titled “311” and

“Soundsystem.”

The band’s seventh release has a harder sound on some tracks

and a more melodic vibe on other tracks.

The songs “Champagne” and “Amber” have a more mellow

sound, with almost soulful lyrics.

On the rest of the album, the band produces the traditional 311

grassroots sound.

The album’s first single, “You Wouldn’t Believe,” has more of a

metal-jungle beat style.

The rest of the songs on “From Chaos” follow the same formula,

but not at the cost of making every song sound alike.

Somehow the band manages to keep each song unique and

distinct from the one before it.

Many of the lyrics explain the growing up the band has done along

the way.

For example, “I’ll Be Here Awhile,” portrays the struggles young

people face and how the problems are overcome in the end.

The album is also an enhanced CD, which means that when you

pop it into a computer, pictures, interviews, videos and a preview

of the band’s upcoming home video appear.

These little extras make the album that much more appealing for

listeners.

Although “From Chaos” may not be 311’s best album, it’s still

worth listening to, and even buying, because of the wide

expansion upon the band’s traditional sound.

– Sarah Johnson