The gamecock. (Columbia, S.C.) 1908-2006, January 13, 2003, Page 9, Image 9
4p! Story idea? Cartoon? E-mail gamecockmixeditor@hotmail.com ♦ Monday, January 13, 2002 ♦ THE GAMECOCK ♦ The Mix 9
CD REVIEW
Ozma’s ‘Rock and
Roll’worth the time
♦
“ROCK AND ROLL PART 3”
Ozma
★★★★★ out of ☆☆☆☆☆
BY CAITLIN COKER
THE GAMECOCK
Mix Weezer from its blue CD
and “Pinkerton,” add a teaspoon
01 icuanoiogy, anu
you’ve got some
mighty fine Ozma pie.
Ozma’s 2002 debut CD,
“Rock and Roll Part
Three” is nearly per
fect power pop — so
perfect that the then
relatively unknown
Ozma was chosen to
^perform with Weezer
in tne national Yahoo! Outioud
tour.
The lyrics are fun and smart, of
ten approaching geeky. In “1988,”
frontman Daniel Brummel sings,
“Now that I jump as high as Luigi”
to cement his bond to his Nintendo
— the original eight-bit console. In
the song “Natalie Portman” he
laments, “Maybe she’s
alone/Maybe she’s alone/what
can I do/what can I do.”
Nothing gives birth to great
lyrics like video games and
teenage melodrama. But the
words are then strung together in
soaring melodies, the kind you try
to sing in the shower or hum
while walking down the sidewalk.
The album is youthfully fun
and energetic, as pop-rock tends
to be. But this CD has a refresh
ing twist to it.
Ozma doesn’t depend on a just
a chorus and verse. Each song is a
symphony, with recurring
themes and varied electronic in
struments.
On Ozma’s Web site, on top of
the picture of an eight-bit
Nintendo system, Ozma is de
scnueu as power
pop.” I feel re
morseful to asso
ciate it with that
category.
But the song
that defines this
album the most is
“If I Only Had a
Heart,” which typ
ifies their pasty
white angst, l d give my heart/
to just be in contention/but I sold
it off/at the baseball card conven
tion.” Just pretend that Weezer
published “Rock and Roll Part
Three” instead of “Pinkerton.”
Comments on this story?E-mail
gamecockmixeditor@hotmail.com
Nothing gives
birth to great
lyrics like video
games and
teenage
melodrama.
Lullaby
CONTINUED FROM PAGE 8
asks all the right, potent ques
tions. By overwhelming the
reader with the supernatural,
however, it loses sight of the
search for the answers.
Palahniuk maintains a dis
tinct, engaging writing style
that, in another context, would
prove compelling. Yet, in the
case of “Lullaby”, the book’s cov
er says it all: Palahniuk’s latest
work evolves from a story in
flight into a dismal, bewildering
mess — flat on its back.
Comments on this story? E-mail
gamecockmixeditor@hotmail.com
-1
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