vanescence,

e Open Door (Wind-up Records / Sony BMG)

Vince Yim, OP Contributor

Here at The Other Press, music tastes tend to run the range of the eclectic, mostly touting the
test offerings by indie rock gods such as Death Cab for Cutie and Alexisonfire (sorry, what,
exisonfire? Yeah...). However, just to prove that we are not complete indie music snobs,
casionally we will let slip the occasional music review by a more commercially oriented musi-
an, and not just the usual recipients of music criticism blowjobs (eg: Beck, Radiohead,

eastie Boys). And then we usually come to our senses, but not until it’s too late.

For example, there is The Open Door, Evanescence’s follow up to the award winning and
atinum selling Fallen. Now with a new band lineup, the album shows the end result of
pheavals within the band with decidedly mixed results.

Internal strife and rock music go together like peanut butter and broken glass. Hence, the
huch-publicized departure of lead guitarist Ben Moody was a turning point for the band in
hany respects, partly due to the history shared with lead singer Amy Lee, but mostly because
f Ben Moody sharing the songwriting duties. As a result, it’s tough to listen to the album and
ot assume that they’re written about Ben Moody.

Indeed, some of the songs could easily be interpreted as such, like the lead single “Call Me
en You're Sober” (Moody allegedly struggled with drug and alcohol addiction during his
me with the band) or “Lithium” (also the name of a common treatment for bipolar disorder,
ith which Moody has been diagnosed). Given the acrimonious nature of Moody’s departure,

is comes as no surprise.

Otherwise, the album is fairly listenable, if a bit generic. Unlike the previous effort, it is
ugh to find a standout track, just gothic teenage angst that wasn’t as prevalent on Fallen
ither that, or the novelty just wore off). They show the most promise with the opening sec-

ds of “Snow White Queen,” incorporating a more electronic sound somewhat reminiscent
the likes of Aphex Twin. While this is quickly replaced by straightforward hard rock, it
puld be interesting to see if they experiment more with this in the future.

For the most part, it gets kind of old fast. Technically, everyone is fairly proficient at what
ey do. Amy Lee’s vocals are both sensuous and haunting at the same time, while her key-

awksley Workman versus Paul Simon

board work adds an interesting twist not often seen in hard rock. Terry Balsamo (formerly of
Cold) does a decent job as well, proving himself as Ben Moody’s successor. However, no
ground is broken with this album, just covering ground already well-trodden in Fallen, so it all
feels like a pointless exercise. Admittedly, given the new band lineup, so this might be excusable
(that, and Balsamo suffered a stroke during the production of the album), but it’s clearly a
weaker effort in comparison.

While diehard fans may find something to like, casual listeners will want to leave this door
closed.

  

awksley Workman, Sept. 26 (Commodore Ballroom)

Sara Yuristy, OP Hawker

ow can a genuine music lover ever overcome the disappointment of not being able to see the

bendary Paul Simon live in concert? Easy — go see a Hawksley Workman concert instead.
T’ll admit that I was a little envious as I watched people enter the Orpheum to see Simon

ile I stood in line for the Workman concert at the Commodore next door. But as I waited in
e long queue, I reminded myself of two things: First, Workman is one of my favourite musi-
ans. Second, as a “starving”’ student, I couldn’t afford a ticket to see Paul Simon anyway. I also

ew Workman wouldn't let me down; I’ve seen him three times prior, and never has he failed
fulfill my expectations of a spectacular performance.

The Commodore was packed with Workman fans, and amidst the drunk and sweaty crowd,

ipped my cosmopolitan waiting impatiently for Workman to make his appearance on stage.
around 10:30, when he finally did come out on stage, he apologized and said that he had
en next door watching — you guessed it — Paul Simon.

With the audience a little irritated from having to wait so long, Workman began the show by

nying songs from one of his earlier albums, For Him and the Girl. It didn’t even take him that
he to win back his crowd. After the first song, I, along with the rest of the audience, was in
e as the vibrant and alluring Canadian rock star belted out catchy tunes like, “No Sissies,”
arantulove,” “Bullets,” and “Safe and Sound.”

Throughout the two-hour concert Workman played songs from only two other albums,

ast Night We Were) The Delicious Wolves and Lover/ Fighter. | was left feeling a little disappointed
t he only performed one song from his latest album Treefu/ of Starling. But Workman
Heemed himself by entertaining the crowd with three brand new songs from his next album
t is apparently finished just not yet released. Based on the new songs, Workman’s upcoming
um won't be folksy like Treefu/ of Starling, itll probably be a hard-driving rock ‘n roll album,
t I doubt it'll disappoint.

And for the first time since I’ve seen Workman live, he performed a couple of renditions of

e older, well-known songs: Tears for Fears’ “Everybody Wants to Rule the World” and of
se Paul Simon’s “Mother and Child Reunion.” The songs were a welcome addition to
brkman’s concert repertoire and well-received by the crowd. And as usual, it was a delight to
Workman’s keyboard player Todd Lumley (A.K.A. Mr. Lonely) and bass player Derrick
ady by his side. A Hawksley Workman concert just wouldn’t be the same without The
ives.

After two encores and an exceptional show, Workman left the stage and left Canada to tour
Australia. Vancouver will miss him, but he’ll be back with his new album, and I'll eagerly wait

see him live for the fifth time. And if it happens again that Paul Simon plays in Vancouver
the same night as Hawksley Workman, and I actually have the funds to see Paul Simon live,
undoubtedly choose the enticing and ever-charming Hawksley Workman.

ditor@gmail.com