Album Review — Ma Quela Idea

By Lilyanna D’Amato

Every day, somewhere around four in the afternoon, I have the same conversation with my Mom. I wander into her office to tell her that I’m bored, she scolds me because she hates the word “bored” (it is “forbidden” in this house) and says that if I’m so unimaginative she will certainly dream up something for me to do. After five weeks of my nonsense, she finally did. 

Much to my dismay, I was sent to unpack the boxes in the basement, the contents of which haven’t seen the light of day since 1998. So, that’s how I spent my Saturday, up to my neck in junk. Or so I thought. On my sixth box, I uncovered my Dad’s collection of 80s CDs. At first I saw some familiar, albeit dusty, favorites — Prince’s Sign “O” The Times, Bowie’s Tonight, Marvin Gaye’s Midnight Love — but as I sifted through the piles, I found a few I had never seen before. Among them was a 1981 four-track EP from Italo disco artist Pino D’Angiò called Ma Quale Idea, the vivacious tech-pop album I never knew I needed.

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Concert Review: The Metropolitan Opera’s Barbiere di Siviglia

By Lilyanna D’Amato

On this twentieth day of quarantine, I have grown weary of watching. I spent the first few days happily catching up on Succession, the next few binge-watching every episode of Tiger King, and now, a week and a half later, I’ve resorted to fruitless channel surfing. On Sunday, I spent a whopping six hours on my phone. So, at 7:30 last night, when I propped my laptop on the edge of my bed and nestled myself under the covers to watch The Metropolitan Opera’s March 24th, 2007 stream of Rossini’s Il Barbiere di Siviglia, I was anticipating another few hours of mind-numbing screen time. But, fortunately, the performance far exceeded my watch-weary skepticism. 

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Artist Profile: Boxed Whine

By Lilyanna D’Amato

Every year around the last week of May, over seven hundred starry eyed, nervous graduates leave Oberlin College for the big bad world. Unfortunately, this past graduation, they took some amazing student bands along with them. Julia and Julian, The Booyah Kids, Blankat, and myriad other Oberlin-famous groups left campus to pursue adulthood, leaving a void in the concert scene and rising student musicians floundering for consistent venues. But naturally, new bands have stepped in to fill the gap, hoping to sustain a quintessential Oberlin institution: the house show. Boxed Whine, a four-piece indie-pop project, is among those leading the charge.

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Routines: Album Review

By Lilyanna D’Amato

Shimmering with sunny, psych-pop jams, Routines, the 2017 debut album from Indianapolis outfit Hoops is a summer album if there ever was one. The foursome, made up of longtime friends Drew Auscherman, Kevin Krauter, James Harris, and Keagan Beresford, effortlessly weds 70s jangly guitar to relaxed lo-fi reverb, crafting an album bubbling with buoyancy and, every so often, a lick of wistful introspection. Reminiscent of early Twin Peaks, the eleven-song project is the sonic equivalent of a hungover Sunday cruise down the coast.

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MAGDALENE: Album Review

By Lilyanna D’Amato

Flashy and intoxicating, MAGDALENE, the second full-length album from English Avant-Pop artist FKA twigs, is mesmerizingly conceptual. Written and released following her recovery from fibroid removal surgery, as well as the escape from her heavily scrutinized relationship with wayward vampire Robert Pattinson, the tracks unveil twig’s desperate introspection, personal strength, and absolute defiance of oppressive gender stereotypes.

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