Fresh Ears (Sufjan Stevens)

I read an article on the A.V. Club's website last week that was basically an introduction to Morrissey. I thought that the concept was clever: give the reader an idea on how to get into an artist you've never really gotten into before. So I decided to kind of steal it. Okay, I decided to make it my own, kind of. Anyway, I'm going to call it "Fresh Ears," for lack of a better name. It's intended to give my readers a very simple introduction into some of my favorite artists, so they can enjoy them as well. There are lots of artists that I've wanted to get into but simply couldn't, as their collections are just too daunting. Like Morrissey. But I digress. This is my first edition, on Sufjan Stevens.

In 2005, Sufjan Stevens released an album called Illinois (or Illinoise or Come on Feel the Illinoise - it's been called all three), a 22-song epic of an album that mashed together several genres and tossed the boy-faced musical wonder into semi-stardom. The album, which was the second in Sufjan's now-famous 50-state project (an album for every state) graced the top of several "best-of" lists and made Sufjan (pronounced SOOF-yan) the go-to name-dropping guy for guaranteed press and indie cred (see Welcome Wagon.) The album also inspired the successes of many an artist who similarly tried their hand at a sort of indie symphonic sound (see The Decemberists, Beirut, or, of course, Welcome Wagon.)

Despite all of the hoopla surrounding "Illinois" and his ensuing B-side releases, there is much, much more to be heard of Sufjan Stevens. In fact, Illinois was his fifth official release, and remains his latest full-length of all-new material. The rest of his catalog is both masterful and confusing, gorgeous and schizophrenic.

So how do you officially "access" Sufjan Stevens? How do you become his next biggest fan? Follow these steps and you'll be obsessed in no time. (But be warned! By following these steps you'll also fall over every tantalizing whisper or hint of Sufjan's next album and obsess over which state he might/should do next.)

Just a Taste: Stream "To Be Alone with You." From Seven Swans, it's one of Sufjan's more recognizable tracks (thanks to "The O.C."), and is a fairly good account of what you'll find throughout the rest of his catalog (though it leans much more on the ballad side.)

To Be Alone With You - Sufjan ...

For Beginners: Buy Sufjan's third full-length, Michigan. It was a tough call between this and Seven Swans, but because of the latter's fairly deep and intimate spiritual leanings, I'm going to suggest you start on Michigan. Released in 2003, this was Sufjan's first step in the right direction, introducing his pallet of instruments that range from the acoustic guitar to the banjo to the glockenspiel to the oboe. For the most part, Michigan is a tame offering of Sufjan's sublime melodies and lovely orchestrations, offering very little of the bombast and energy permeating Illinois. This a very accessible collection of chill songs, boasting (in my opinion) Sufjan's best song - "For the Widows in Paradise, for the Fatherless in Ypsilanti" - as well as other standouts like "Vito's Ordination Song," "The Upper Peninsula," and "Oh God, Where are You Now?" While Sufjan's work before Michigan (which we'll get to later) was fairly insignificant on the lyrics front, his work here bounces back and forth between nonsensical and strikingly poignant (from "Vito's Ordination Song": "I always knew you / in your mothers arms / I have called your name / I have an idea / placed in your mind / to be a better man / I've made a crown for you / put it in your room / and when the bride groom comes / there will be noise / there will be glad / and a perfect bed.")

A Little Further: Stream "Jacksonville," from Illinois. I would have suggested you stream "Chicago" (definitely his most popular track - and one of his best - thanks to "Little Miss Sunshine"), but alas, I couldn't allow you to stream it here on this site. So instead, I recommend you listen to "Jacksonville," which is really pretty similar to "Chicago," if not just a touch more subdued. It introduces you to the full, symphonic, multi-instrumental and multi-faceted sound he managed to record on Illinois. It also gives you an idea of the direction Sufjan went following Seven Swans, and an idea of where he's heading in the future.

Jacksonville - Sufjan Stevens

Going Deeper: Buy Seven Swans, Sufjan's fourth full-length

that was released in 2004. Seven Swans is a bit of an anomaly in Sufjan's catalog. Coming on the heels of Michigan, it was a sharp change of pace that dropped the multi-instrumental sounds he had perfected on that album (and returned to on Illinois) in favor of minimal banjo and acoustic guitar. These 12 songs are also passionately beautiful, loving, and intimate, 12 spiritual songs that Sufjan uses to blatantly express his faith in God, a faith that he always hints at on other albums but never quite commits to as much as he does here. It's been considered Sufjan's "Christian" album, but it's so much more than that; Seven Swans is a legitimate album of worship. The poignant moments Sufjan danced around in Michigan take center stage. Combined with Michigan, you now have a good sense of Sufjan the vocalist and lyricist; now, it's time for you to get a sense of Sufjan the songwriter and composer.

For the Record: Stream "Dumb I Sound." It was featured on Sufjan's very first album, A Sun Came, and was recorded way back when Sufjan was just a college kid with a goofy name. Doesn't say much about his catalog aside from showing the vast talent that the guy can boast of in a song, but it's incredibly fascinating to hear old Sufjan and think about where he went with what he had.

Dumb I Sound - Sufjan Stevens

The Essential: Buy Illinois. Easily one of the greatest albums released this decade, Illinois is a mammoth of an album that is exciting, energetic, fun, purposeful and staggering. It wanders between road trip-worthy anthems and reflective ballads. It toys with a plethora of instruments and comes out the other side a symphony to be reckoned with. Sure, some lyrics stray back to the nonsensical that we heard on Michigan, but when you're writing a full-length album about a specific state, how in the heck do you expect to make sense the whole time? Thing is, even when Sufjan's words aren't exactly the most thought-provoking, somehow he still manages to paint vivid imagery across the entirety of the album. Just listen to "The Predatory Wasp of the Palisades is Out to Get Us!"; the lyrics (ex. "Thinking outrageously I write in cursive / I hide in my bed with the lights on the floor / Wearing three layers of coats and leg warmers / I see my own breath on the face of the door") aren't the most sensible, and yet somehow the song induces this feeling, this understanding of what he's trying to say. It's like that throughout much of the album, from "John Wayne Gacy, Jr." (about the killer clown) to "Chicago" to "Casimir Pulaski Day" to "The Seer's Tower." In my opinion, Illinois is what the term 'Americana' really, truly describes: an ode to the ideas, the lifestyles, the joys of the American people.

Finally, you should know that I held Sufjan's most popular and best album for third for a reason: it's not, in my opinion, his most accessible. Some of the grandiosity takes some getting used to, and hopefully Michigan and Seven Swans weened you to what you find here appropriately.

A Look Forward: Stream "You are the Blood." Released a few weeks ago on the Dark was the Night AIDS benefit compilation, this is a ten-minute Sufjan track that potentially offers a look at where the artist is heading. Mind you, Sufjan hasn't released a full-length of new material since Illinois in 2005, so nobody really knows what he has up his sleeve for the years to come.(Edit: Thanks to Jeff for letting me know that "You are the Blood" is actually a cover of a Castanets song.)

You Are The Blood - Sufjan Ste...

For the Committed: If you've made it this far on your path towards Sufjan fan-hood, I suggest you buy The Avalanche. It's a collection of b-sides from the Illinois recordings that were compiled and released on the coattails of Sufjan's post-Illinois popularity in 2006. Funny thing is, Sufjan's b-sides are ten times better than most artists' regularly released material. If Illinois had never existed, and instead The Avalanche had been the only thing to come out of those sessions, I think the latter would still carry some significant weight. The only reason it's considered as inferior to Illinois is that it basically sounds exactly like Illinois (duh, came from the same sessions) and, of course, Illinois came first. What I'm trying to say is that if you like Illinois, you'll like this. But it's kind of like Illinois-lite (though just now I wonder what the experience would be like if The Avalanche were purchased before Illinois... if it would sound better... no, you know what? Illinois really is a lot better. Start with that.)

Just Casual: Okay, you've made it this far. You're a die-hard Sufjan fan now, owning his last three records and his b-sides collection. So where do you go from here? He has two albums that he released before Michigan, but let's wait on those, at least for the time being. What you want to do now (well, maybe not now; perhaps wait for October or November) is buy his Christmas collection. "Christmas collection!?" you say. "What the f*%&!?" Well, here's the scoop: For five years, from 2001-2005 (I think), Sufjan made Christmas EPs for friends and fami ly only. In the wake of his popularity, the EPs found their way to the internet, and in late 2006, fresh off his b-sides release, Sufjan released a box-set of the 5 discs, called Songs for Christmas. I know, I know, seems kinda kitsch and lame; Christmas releases are usually for yuppies like Michael McDonald and Kenny G. Don't count Sufjan out, though; his collection is, well, awesome (at least, as far as Christmas music goes.) There are a ton of originals, and classics like "O Holy Night," "Amazing Grace," and "Come Thou Fount" are truly beautiful. So if you're into Sufjan and you dig Christmas music, this box-set is a must.

For the Die-hard: Buy A Sun Came. Sufjan's very first album, recorded when he was in college and released back in 2000 on his start-up (and current) label Asthmatic Kitty. Obviously, at this point, Sufjan had yet to find his footing. The album is shaky, and much different and raw from his polished later material. Still, there are some gems on this album, and much to like if you really dig Sufjan's style. Specifically, tracks like "We Are What You Say" (sort of a midieval jamboree) and "Dumb I Sound" (previewed earlier) prove that even early in his career, Sufjan was flashing signs of brilliance as a songwriter. But you'll also find bizarre, lo-fi, fuzz-guitar tracks like "Super Sexy Woman," "Jason," and "Kill." Some strange stuff, but again, you'll dig it if you're a die-hard.

For the Obsessed: You've got the rest of Sufjan's collection. You think Illinois is God's gift to indie music, that Seven Swans is a songwriting masterpiece, and that A Sun Came is the greatest songwriter's debut since Jeff Buckley's Grace. Everything Sufjan touches is gold to you, and you just can't get enough. What to do? Well, I guess I can recommend Enjoy Your Rabbit, Sufjan's second full-length album. Why the hesitance, you ask? Well, let's just say that I, fan of all things Sufjan, don't even have Enjoy Your Rabbit. Last.fm tells me that I listen to Sufjan twice as much as I listen to anything else, and still, I haven't bothered to pick this album up. The reason? This isn't exactly classic Sufjan. Basically, it's an experimental electronic album that Sufjan composed after college based on the Chinese zodiac signs. In my opinion, it should hardly count toward his catalog. Not that it's bad (it isn't), it's just, well, weird. And nothing like his other stuff. So this is purely for Sufjan maniacs.

Well there you have it, my friends. The "Complete Guide to Becoming a Sufjan Nut." Hopefully this helps, especially for those of you who haven't had a clue where to start. Trust me, follow this plan and you won't regret it; Sufjan Stevens is one of the greatest modern songwriters, whose current and future material should prove to be legendary. Enjoy!

For further reference:

Sufjan's label

Sufjan's website

Sufjan fan site

At the Movies (My Mission)

I don't consider myself, by any means, a film aficionado. Don't get me wrong, I love movies, but I don't analyze them and take them as seriously as I do music. Usually I just take them in for entertainment's sake, and rate them on my four-part scale. Let me explain to you this movie-rating scale:

Movies (along with other art forms, but in my opinion most easily done with film) can be divided into four categories, or, as I'll call them, tiers.

TIER I: GOOD and ENTERTAINING. Not only was the film brilliantly produced, directed, acted, etc., but it flat-out held my attention span. Some examples I think of: "The Lord of the Rings" trilogy, "Braveheart," "Gladiator," "The Dark Night," and so on (but it's not limited to epics - this is just a list of some of my favorite movies that were successful at the Oscars as well.)

TIER II: GOOD but NOT ENTERTAINING. I find that many films featured at the Academy Awards fall into this category. Look, I recognize good film making when I see it, but can you give me a plot to hold on to? Something to interest me and keep me talking when I leave the theater? Wanna know what my least favorite movie is? "The Hours." Awful. And that movie was nominated for 9 OSCARS. Yes, 9. It even won Nichole Kidman the Best Actress award. God help me if that movie didn't make me reconsider appreciating the joys of life.

TIER III: BAD but ENTERTAINING. This category is mainly reserved for comedies and action fare. Let me use "Transformers" as an example; the plot was stupid, the lines were cheesy, the acting bad, but doggone it if I didn't leave the theater feeling at least a little exhilarated. See, it's possible to hold my attention span and give me the ride of my life without assuring that the film is going to land in the AFI's Top 100 Films of All Time.

TIER IV: BAD and NOT ENTERTAINING. You know the type. The "Paul Blart: Mall Cop's" of the world.

So there you have it, that's how I rank my movies. I will usually give time to the first three tiers (the second tier if only to see what all the rave is about), but won't touch the fourth tier unless it's Katie's turn for a romantic comedy or I'm just interested in spending time with an old friend for hang out's sake.

This is all to say that I'm really not that picky with films. I know what's good and I know what's bad, but I'm usually pretty lenient and know when not to take something too seriously.

I have two friends who treat movies as I do music: Max and Jacob. Actually, they probably know more about the film industry than I know about music - they're grad students in the film department here at OU. Their knowledge of and appreication for film is really quite impressive, and I can't really keep up when they discuss very aspects of film, various well-known directors, and various pastiche genre masterpieces from the 1940's (that one's for you, Max.)

In order to have a clearer understanding of what the hell Max and Jacob ever talk about, I sent them on a mission: comprise a list of 24 hours-worth of movies that they know I haven't seen (which sorta kinda includes everything made before 1980.) I am to watch all of these films (though not necessarily in a 24-hour marathon, that was just used as a parameter), and report back to them what I think.

Last night I received the list. Below is what I have today added to my Netflix account and what I will be plowing through in the next couple of weeks. Wish me luck.

THE LIST

* "The General," 1927
* "Un Chien Andalou," 1928
* "City Lights," 1931
* "Duck Soup," 1933
* "Mr. Smith Goes to Washington," 1939
* "Rashomon," 1950
* "12 Angry Men," 1957
* "The Seventh Seal," 1957
* "Bande a Part," 1964
* "Dr. Strangelove," 1964
* "Aguirre: The Wrath of God," 1972
* "Taxi Driver," 1976
* "Eraserhead," 1977
* "Days of Heaven," 1978
* "Stalker," 1979

Either Way

Either Way - Wilco

Maybe the sun will shine today
The clouds will blow away
Maybe I won't feel so afraid
I will try to understand
Either way

Maybe you still love me
Maybe you don't
Either you will or you won't
Maybe you just need some time alone
I will try to understand
Everything has its plan
Either way
I'm gonna stay
Right for you

Maybe the sun will shine today
The clouds will roll away
Maybe I won't be so afraid
I will understand everything has its plan
Either way

- Wilco, "Either Way"

I played this song today and was struck by how adequately it describes my life right now. I originally played it because the sun was shining through some rain clouds (plus I'm on a major Wilco kick right now after I saw them live Friday night - more on that later) and it just seemed appropriate. But as I listened to the words, I realized Jeff Tweedy couldn't be more right.

I've applied to four jobs in the last two days. These four: Raleigh, Austin, Chicago, Portland (OR.) On top of those I've applied to jobs in San Francisco, Washington D.C., and Charlotte. I haven't heard back from anywhere that I've applied to; sure, I didn't think I'd hear back from the jobs I applied to in the last couple of days, but I've applied to three or four things in the last two months, and I haven't heard one single word. Nada. Not even a cordial "No."

I have no idea what my life looks like after June 13, the day I graduate from Ohio University with what more and more seems like a worthless degree in magazine journalism. I might stay in Athens, crash at my parents house. I might move in with my sister in Columbus and find some menial job there. Or I might be adventurous and move somewhere random, then find a menial job there.

Who knows? There are many choices. But you know what? I'm okay with that. "I will try to understand, either way." Because after all, "Everything has its plan."

Just...creepy

Thanks to Josh Antonuccio for telling me about this video. Crazy the affect music can have...

Happiness

The song I've posted below is called "Happiness," by Riceboy Sleeps. The band is composed of two Icelandic guys, one of whom happens to be the lead singer of the incredible band Sigur Ros. If you know anything about Sigur Ros, you know they have a tendency of creating ethereal, expansive music that is nothing short of beautiful. The work of Riceboy Sleeps is no different, aside from the fact that there is no singing.

I have many definitions of "happiness," though it's not something easily defined; it looks like many things, sounds like many things, and feels like many things. But Riceboy Sleeps comes pretty close to realizing "happiness" in this song, and in their visual art (see above and below.) Their expression of "happiness" is mesmerizing, yet simple. It's in a sound and it's in a picture, but also reminding that it's everywhere.

I too find "happiness" in art, as I've made clear before. I appreciate reminders like these, though.

Happiness - Riceboy Sleeps

This is...

...a picture of Win Butler looking at me. The Arcade Fire lead man caught site of me taking this shot from the front row of Stuart's Opera House back in March of 2008, when AF played a surprise, free Obama benefit.

That show remains one of my greatest musical memories for many reasons: the fact that I got to sit front row. The fact that Win jumped down into the audience and climbed up into the seats right in front of me. The fact that the band hung out with fans before the show, and when I said "Hey" to Win, he said, "What's up?" The fact that it was an intimate show of only about 300 people, when AF easily plays in front of tens of thousands now. The fact that it was mother-f%&#ing Arcade Fire playing a show in Nelsonville.

Days like that one last March are days that I'll tell my kids about, days that I'll remember forever, days that remind me how much I love life. They're also days that remind me of the power of music, and of why I love the camaraderie and intimacy of live music so much.

I write all of this now because I just watched the AF DVD "Miroir Noir," an incredible portrayal of the band as they recorded their last record, Neon Bible. It too reminded me of the sheer force of a live show and the beauty of music. It allowed a glimpse of a band who is very real, very dedicated, and very passionate about what they do. I highly recommend it.

Just now I think that the drums in the corner of my dining room never looked so lonely. God bless the ability to express oneself through music.

Oh, and another thing: F%*& you, Wayne Coyne of the Flaming Lips. Stop picking fights and start figuring out how to make good music. Sorry, but I took what you said just a little personally; at that show last March, I have never seen a band spend so much time getting to know their fans, even when they didn't have to. They paced the sidewalk for more than an hour getting to know us and thanking us for coming to a show that they drove 13 hours to do, for free. What's with the petty b.s., Wayne?

And one, final thought: my ticket to that show at Stuart's Opera House couldn't have happened without Katie standing in line on a cold Saturday morning for an hour and a half. She deserves that credit.

A Fun Little Video of Spring Break, Woohoo

(To the sounds of "Epistemology" by M. Ward)

And Finally: My Track-by-Track Review of the New U2

I had intended to write a track-by-track review of the new U2 record, No Line on the Horizon, about a month ago. But with finals and preparation for my spring break trip (more to come on that, by the way), it kind of fell by the wayside.

And you know what also happened? I kind of stopped listening to it.

Alas, I feel the need to post a track-by-track review because, well, every track has something to say, and with U2's vast catalog, each of these songs deserves to be ranked fairly and accurately. Plus, this will calm my conscience; sometimes the crazy storm of music opinion racing through my head just needs to be cataloged neatly in order to justify itself.

Also, I should note my history with U2 (mostly because one's opinion of a band and that band's catalog always skews their review of anything new issued by that band; if you don't believe me, check out Rolling Stone's reviews of the latest U2 and Springsteen records, then read any other review of those records.)

My first knowledge of U2 and who they were came when they released All That You Can't Leave Behind in 2000; I really liked "Beautiful Day" (as a new drummer back then, I tried to wrap my head around how Larry could play two beats at the same time; of course, as a kid, I didn't realize that there was such a thing as a drum machine loop), but was victim to a constant barrage of U2 on the radio. Truth be told, I didn't much like anything on All That You Can't Leave Behind besides "Beautiful Day," and got sick of the band pretty fast.

I rediscovered U2 during my junior year of high school, about the same time I gave up on the crappy nu-metal I'd listened to during most of high school and started listening to more stuff from the 60s, 70s and 80s. I had just received the then-brand-new How to Dismantle an Atomic Bomb for my birthday, and figured I'd dig deeper into this band that so many people were calling the "greatest band on earth." So I purchased Joshua Tree... and fell pretty hard (you may remember that it's my No. 3 favorite album of all time.)

Joshua Tree led to Achtung Baby, and Achtung Baby eventually led to Boy, October, War, and yes, All That You Can't Leave Behind (I still have significant holes in my U2 collection, most notably Unforgettable Fire.) Then, last summer, I read the U2 autobiography "U2 by U2," and spent the better part of a month listening to nothing but U2. So I'd say I now have a respectable opinion of U2, but not nearly the extensive opinion and knowledge of so many other (older) folks (I was a month-and-a-half when Joshua Tree was released, so, considering I don't have the perspective of having listened to this stuff when it was fresh, I usually defer to other people when seeking a U2 scholar.)

Okay, having rambled about all of this and giving you an idea of where I'm coming from, I now take a look at all 11 tracks of No Line on the Horizon:

1. "No Line on the Horizon": Opening with one of the heaviest guitar licks in the U2 catalog, this intro track finds Bono shouting verses above the buzz of the Edge's guitar, capping each with a nice little yo-yo of "oh oh oh oh ohs" before descending into a little bit more of a sober chorus (which just repeats the words of the song title.) Bono strains the vocal chords as he sings some existentially Bono-ish words about a girl (sample: "One day she's still, the next she swells/You can hear the universe in her sea shell/Oh yeah/Oh oh oh oh oh oh oh"). A heavy track and definitely a change of pace for the band, this is one of the album highlights. Does that say much? Read on to find out.

2. "Magnificent": The more blatant "worship" song on the album, "Magnificent" is a driving force of an ode to God, a passionate shout-out from Bono that throws together some of the Edge's jangly guitar, a synthesized something-or-other, and some heavier drums and bass, making this a high-flier rising quickly at the beginning to a rocking plateau that barely lets go. I'm just waiting for some DJ to back this song up with a throbbing dance beat and play it in the clubs. Just wait, it'll happen. Definitely another standout track, competing for my the position of my favorite track on the album.

3. "Moment of Surrender": Comparable to "I Still Haven't Found What I'm Looking For" (though miles and miles from that song's brilliance), "Moment of Surrender" is something of a mellow tune backed by an impassioned Bono yelp. At the start, with the sort of synthesized string bit and the Edge's reserved guitar strums, first impression suggests it will be a ballad; then, all of a sudden, Bono comes in from nowhere with those just-perfectly-tainted-by-cigarretes vocal chords. A passionate cry indeed, and again, a stand-out track (don't get too used to this, though; the first three are three of the album's four best songs.)

4. "Unknown Caller": So, you know how U2 is this huge arena band with tons of anthemic songs that thousands of concert-goers shout back at them in every show? Well, with "Unknown Caller," you'd think they were a band with no anthemic experience trying to put together their first go-around at a shout-along. And it's not good; melodically the song is strong, but the chanted lyrics from 1998 immediately destroy any kind of vibe the song creates (sample lyrics: "Force quit and move to trash," and "Restart and re-boot yourself.") It's a throwaway.

5. "I'll Go Crazy If I Don't Go Crazy Tonight": Another example of a not-half-bad song made bad by stupid lyrics. As happens throughout a lot of this album, Bono pushes the boundary of what kinds of strange phrases he can get away with. Sigh.

6. "Get On Your Boots": What I didn't like about this song - the first single off the record - upon first listen was how much it reminded me of "Vertigo," the first single off of How to Dismantle an Atomic Bomb. As with "Vertigo," "Get On Your Boots" makes me think U2 is trying to be younger than they really are, ratcheting up the energy and rock fluff in order to score new generations of fans. It worked okay for "Vertigo," but "Get On Your Boots" is too much of a throwaway, despite it's growing on me over the last several listens (I can at least appreciate a hard-rocking song when I hear one, even if I disregard it in the grand scheme of U2-things.)

7. "Stand Up Comedy": Starts with a fun sort of "Immigrant Song"-esque guitar lick before turning into another melodically-decent-but-overall-not-that-great song.

8. "FEZ - Being Born": This track is definitely a change of pace, for the record and band in general. I have a hard time even counting it, though, considering it's a sort of mish-mash of electronic sounds that becomes a very un-U2-like spacey song. It's not bad, but it just isn't... on line with anything I can compare it to. So... yeah.

9. "White As Snow": Whose idea was it to sing an "original" U2 song along with the melody of "O Come O Come Emanuel"? Was it you, Brian Eno? Seriously, dude, what the f@%$?

10. "Breathe": Finally, something to hold on to. "Breathe" is the track competing with "Magnificent" as my favorite on the record. The faux-rap thing that Bono does throughout the verses is a little strange, but it's a good, energetic flow that backs this adrenaline-fueled song well. The chorus is probably the best part of the song, though, an instantly-memorable sing-along that is incredibly catchy. Overall, a great track that stands up to some of U2's best (but if I had to place it on best-U2-songs-of-all-time list, probably wouldn't crack the Top 50.)

11. "Cedars of Lebanon": No idea what they were thinking here. No good melody, no good lyrics, nothing about it that screams, "Hey, listen to me! I have something to say, too!" A sort of crash-to-the-end album capper.

So there you have it, my track-by-track input for No Line on the Horizon. As you can probably tell, I don't think this album is going to be taking by storm any best-of lists anytime soon. It's a decent record at best, one that hardly compares to the some of the genius records U2 has released over the last 29 years.

Going back to my thoughts on "Get On Your Boots," I think U2 is just trying too hard to be "hip" and "relevant." They seem to be over-playing and over-producing their new material, when it might be time to scale back and aim for something a little more on par with Joshua Tree.

Word on the street is that U2 has another batch of songs ready for release later this year, leftovers from the sessions that produced No Line on the Horizon. I've heard the band say it will be the Zooropa to No Line on the Horizon's Achtung Baby, and if that's the case, count me out.

Home (from the road)

I gotta get home there's a garden to tend,
There's fruit on the ground and the birds have
all moved back into my attic, whistling static
When the young learn to fly I will patch all the holes up again.

So I try to understand what I can't hold in my hand
And wherever we are, home is there too.
And if you could try to find it too, 'cause this place is overgrown
into works and bloom
Home is wherever we are, if there's love there too.

- Jack Johnson, "Home"

The bare trees of Ohio never looked so good, nor the green grass looked so green. Leaving the northeast (Saranac Lake to Watertown, south to Syracuse, west through Rochester, Buffalo and Cleveland, and south to home) and driving back into the confines of Southeast Ohio was like traveling across the line between seasons, otherwise invisible save for the east-west route 70 that practically dispatched us from the gloomy winter of the north into the new life of spring in the south.

And so we arrived home, back to Athens, one week and 1,800 miles later. Spring break 2009 completed.

Sometimes college - and life in general - backs you into a corner, holing you up in one spot that can't easily be escaped. But the world is out there, life is out there, if only you attempt to look for it. Katie and I found it all over the northeast last week.

We found it in Cumberland, Maryland, a big town too compact for more than one hotel - which was fully booked with basketball players.

We found it just across the border from Maryland in Pennsylvania, parked on the side of a winding mountain where we could overlook the sleepy valley below.

We found it in Stamford, Connecticut, in the generosity and companionship found in time spent with my grandfather.

We found it in New York City, where everything seems to be bigger than you and pretends to be more important than you - and you're reminded of the joyous life you live away from the 'epicenter.'

We found it in the welcome center in New Hampshire just across the border from Massachusetts, where we collected enough brochures to wrap Lindsay's birthday present.

We found it in Biddeford, Maine, walking along the pristine, empty beaches with Lindsay, Mark, and Sydney, fighting the biting winds.

We found it in Portland, Maine, in the hard-to-find speakeasy where we could try new beers and find comfort away from the piercing cold winds.

We found it in Burlington, Vermont, in the seafood restaurant on the side of Lake Champlain where we grabbed lunch... and then later, traveling south from Burlington, as we stared at the Adirondacks on the other side of the lake.

We found it in Lake Placid, New York, where we scored a $40 bottle of wine for free (long story) and shared a delicious greek salad and hummus, all while admiring the mountains surrounding the quiet resort town.

And we found it in Saranac Lake, New York, where, despite (or because of?) a hotel straight from "The Shining," we managed to enjoy a trip to the top of a mountain, and saw the beautiful Young Life camp that changed my life.

Now, back at college for our last quarter in Athens, we remember there is life yet to be lived. That one spot that we might end up cornered in needs to be nothing more than temporary; with a curious spirit and a seeking heart, we can celebrate the beauty of life that was intended for us.

I've uploaded the rest of the pictures from our trip; click here to check them out.