Shadows Fall and Five Finger Death Punch will be playing the Orpheum here in Madison Friday night at 7:30 PM in support of their new albums, Retribution and War Is The Answer, respectively. Five Finger Death Punch will also be available for autographs at Hot Topic in the East Towne Center starting at 5 PM. Wristbands were given out for this event starting on the October 2nd, but fans may be able to get in without one, depending on the turnout. Tickets for the show are still on sale at Ticketmaster for $23. Any Metalcore fans still looking for something to do Friday night should hit this show up.

When Dinosaur Jr. roamed the early 80s music scene, things were different from today. Singles were released on cassettes and vinyl, music spread by word of mouth, and if the music was too loud, it wasn't loud enough. Dinosaur Jr. defined their sound with catchy, ripping solos, thick bass lines, and detached vocal twangs. Unleashing an insane breed of melodic noise rock into the scene, they are still a unique trio of epic proportions.

On Tuesday, Oct. 13 their tour stomped into Madison's Majestic to show what they've still got. They rocked hard with mountains of amps and passionate tunes, but still retain some nasty scars from the roots of near-extinction.

Similar bands have succumbed to extinction in decades past. Dinosaur Jr. also dissolved for a stint in the late 90s. Ongoing disagreements and intra-band turmoil threatened to do them in for good. Then 2007 brought a glorious reuniting of the original lineup and a cool comeback album Beyond. This summer's epic release Farm solidifies their return to the recording world with some of their best material yet.

After ogling the titanic stage setup, the crowd finally bursts into applause as glum-faced guitarist/lead singer J Mascis takes his station. Dwarfed by three full stacks of Marshall amps, Mascis is in his own world. Bassist Lou Barlow is also surrounded by a serious array of speakers, while drummer Patrick "Murph" Murphy has each drum mic'd to the highest decibel. Humming feedback between songs hints at the distortion's capabilities and power. Even the silence is loud. A small venue like The Majestic has likely never been subject to that level of sound.

Rarely can a band generate so much energy and convey such passion while having little to no stage presence. There might as well have been robots on the stage, but when those robots are face-melting, robot dinosaurs bent on eardrum destruction it's completely acceptable. Drowning under the instruments, Mascis' twangy drawl still nails the heavy emotions of the songs. Apparently the effect-riddled decibels provide enough sensory stimulation without any visual.

Mirroring the stage demeanor, the fans are fairly calm and mostly satisfied to head bob. For a packed venue, it is surprisingly mellow. The music has a subtle way of affecting everyone.

In further mimcry of the stage show, the crowd exhibits some tension. It's like a volcano building up with pressure. At any moment, Vesuvius has to erupt, the energy is simply too thick. That time comes with cheery "Freak Scene," a track from 1988's Bug. It certainly generates a scene for the freaks in stage proximity, where cataclysmic moshing takes over the show's short remainder.

As abruptly as they had arrived, Dino Jr. exits nonchalantly at stage right just two songs later. For a while, it looks as if they will stay there, but they come back for to play couple of songs for an encore. Mascis returns to the stage, and utters his first non-lyrical banter of the night by plainly asking what the crowd wants to hear. They settle with "Bulbs of Passion" and then wrap things up with their heavy cover of The Cure's 1987 hit "Just Like Heaven."

A spectacular representation of their whole discography left fans old and new satisfied and wanting more. They played a bit of everything and played the hell out of it all. As expected, songs from Farm are given the band's preference.

From start to finish, Dinosaur Jr. rocked the Majestic with solid jams that broke eardrums and guitar strings. We can only hope to see more out of this one-of-a-kind band in the future, whether they're into it or not. The music speaks for itself.

When I was online this morning and saw 33 comments, I was surprised.

When I got a text from Tony Lewis, the ArtsEtc. content editor, saying we had 55 comments, I was shocked.

But to see 87 comments and still going strong, I'm floored.

As the ArtsEtc. editor, seeing that many comments usually means controversy is brewing. So I wondered: Did someone make a racist remark in one of the stories on my page? Did someone say something totally outlandish, like 9-11 was caused by the Teletubbies or that Obama is actually Dick Cheney?

No, nothing of the sort. One of my writers didn't like David Archuleta's new album. Plain and simple. And boy, was that apparently the wrong thing to do.

See, Archuleta fans - or "Archies," as they so lovingly call themselves - came out in droves against the writer of such "slander," Ann Rivall. Take a look to see just a few things they said about her (all written as the commenters originally left them):

"Ann Rivall, I think that's not even your real name. Ms. Rivall, I strongly believe the reason you bashed David's Christmas album is mainly because you are just JEALOUS, plain and simple...You Ms. Rivall must be a very sick person, must have a very sad childhood, you must have been abused as a child, so you came up with this very distorted idea of review."

"This is the most unprofessional and biased review I have ever read."

"YOU CAN TELL RIGHTAWAY WHEN A MUSIC JOURNO IS FAKE AND HAS NO BACKGROUND IN MUSIC - ANN RIVALL IS ONE GOOD EXAMPLE. BY THE TITLE OF HER ARTICLE ALONE YOU COULD TELL IT."

"I hope after all these comments, the Badger Herald realizes they've hired a person who doesn't have a clue about what people like. Please find a person who can listen to music and give an honest review that people can agree with."

Now everyone, I shouldn't have to be giving full-blown adults a lesson in what's nice to say to other people, but this drove me off the edge. As a reviewer, it is Ann's job to be critical of the works of others - and yes, that includes David Archuleta.

The comments I pulled were just the beginning of the revolting things that were hurled in Ann's direction. Allow me to make a few things clear:

1) It is a reviewer's right to like or dislike an album, as long as she is justified in doing so. And if you read Ann's review closely, you would see how she gave the album two stars out of five, and did include a paragraph outlining a couple of the album's outstanding selections.

2) Believe it or not, writers don't write headlines - we as editors do. So knocking the writers for that crime is a waste of your time.

3) Yes, our reviewers do actually listen to the albums when reviewing them. (Shocker!) Many do so multiple times.

4) Reviews are not the law, it's perfectly acceptable to disagree. However, the trick is in doing so politely.

5) Yes, her name really is Ann Rivall.

After sifting though the disgusting comments on the story, I was shocked. To think that so many of you would sing the praises of Archuleta and still find it within yourselves to say such terrible things makes me want to say the one thing every parent says to their child at least once in their life:

"You should be ashamed of yourselves."

Furthermore, I don't think I'd be too far off in thinking that David Archuleta himself would not be pleased either. A real fan wouldn't do such things.

So the bottom-line? Everyone, before you post, think of one small thing: What would David Archuleta do?

Or, if you still disagree with me, bring it on, fuckers.

Jumping higher than ever, the Virsky Ukrainian National Dance Company is here in Madison tonight to reveal their always awe-inspiring act. Its 85 members boast genuine talent in an area relatively obscure to the United States.

The Company's unique dance techniques - including airborne splits and an intriguing move called the butterfly jump - originated in the 18th century. Over the years, its methods have remained fundamentally unchanged, and grow more remarkable with every passing year. With the grace of a ballet troupe and the strength of bodybuilders, they are sometimes referred to as "ancient break dancers."

Virsky first performed in New York in the 1970s, its debut in the United States. Ever since then, the dancers have been traveling around the world, sharing their skills. And, as they say, the rest is history.

The Virsky Ukrainian National Dance Company will be performing at 8 pm tonight (Wed Oct. 14th) at the WI Union Theater in the Memorial Union.

NOTE: There is a discounted rate of $10 for students currently enrolled at UW-Madison

It had to happen sooner or later, didn't it? The coasties of Madison have projected their spandex-clad, blackberry-wielding notoriety into sites dedicated to vernacular definition like Urban Dictionary, and have even become prominent enough to have an article in the Milwaukee Journal Sentinel and a subsequent entry in Wikipedia.

Now they have their own song.

Produced by two University of Wisconsin undergraduates, "The Coastie Song" debuted on Tuesday, Oct. 6. Since then, their Myspace page has received over 15,000 views and the song itself has gotten nearly 5,500 plays.

UW junior Quincy Harrison and sophomore Cliff Grefe (A.K.A. Quincy & Beef) finished writing the song about three weeks ago, and have made it available on iTunes for all to have a listen (though it can be heard for free on Myspace). Harrison and Grefe wrote the song to highlight a visible and specific aspect of life on the UW Campus.

"I've always been making songs as a hobby, and after noticing the unique coastie/sconnie divide that UW has, I decided it would be fun to make a song about it," Harrison said.

The lyrical content mentions all of the things required in a song about coasties (boots, tights, shades, phones, purses, jackets and beyond), and provides a fairly generic beat with some tightly worded verses that include esoteric references to Madison, and it even has a bridge featuring obligatory autotune vocal modification. It delivers on its novel appeal, although its malevolence to the much-stereotyped out-of-state students is questionable.

Some have taken issue with the song and its lyrics. UW junior Laura Gottlieb (of Chicago) thinks the song serves to perpetuates negative stereotypes and promotes a campus-wide lack of unity.

"I think things like this divide our school. We're all here for the same reason," Gottlieb said.

A perceived anti-Semitism in the song's chorus, which specifically mentions "My East coast Jewish honeys", has offended others outright. Associating Jewry with the coastie stereotype caused UW junior Dani Cohen a bit of frustration.

"When I come here (to Wisconsin) I'm categorized [...] I think it's ignorant and rude," Cohen said.

The lyrics and song did produce some laughs among those interviewed, but many expressed the same frustration when taking the content seriously.

Armed with an insight into campus life and a bit of street smarts, the two have initiated a guerilla marketing campaign that has been effective in getting the word out about the song itself and the rap duo. With an aggressive Facebook campaign and a number of promotional stickers showing up in Memorial Union and College Library it's no wonder so many have heard the song. New songs are also in the works, and "The Coastie Song" seems to be a clever marketing tool in its own right.

"We wanted to get our name out there first, so we made this song and put stickers up in the library to get ourselves heard, we'll be releasing new songs soon," Grefe said.

The duo's intention was to capitalize on a hot button issue in order to gain recognition, which is exactly what is happening. Though some have expressed dismay at the glorification of the coastie stereotype, Harrison and Grefe assert that the song was made in good fun.

"It isn't a hate song, listen close and you'll see it's a playful way of showing coastie love," Harrison said.

Sledging and smashing his way across America on his new "Stimulus Package Tour," Gallagher comes to the Madison area this Thursda0y, Oct. 15 at the Majestic

The comedian, who came into the limelight in the 1980s for smashing watermelons with his cartoonish Sledge-O-Matic, continues to perform an act that is rife with American social commentary abetted by oversized props and exploding fruit. UW students who only know Gallagher from watching reruns of his specials on Comedy Central could be pleasantly surprised by his slapstick take on American consumer culture and his engaging conversational style. At the very least, there's a part of every college student that wants to see a 63 year-old man blow up watermelons and make an American flag out of condiments, right?

Referring to himself as the "Smartest Man in the World" on his web site, Gallagher seems to have held on to the sardonic and political tone that has anchored his act over the years, leading him to make bizarre observations on the illogic of the English language and the idiocy of some social norms More recently Gallagher has gained borderline pariah status in some comedy circles after a 2005 interview in which he decried the success of other comedians; it is not entirely impossible that he will use his time on stage to offer some biting and uninhibited observations about showbiz vis-a-vis American society in between sledges. Either way, expect to hear the musings of a seasoned stand-up artist, and don't forget your ponchos.

Perhaps Gallagher's nationwide shows will herald more comeback tours from other comedic giants of yesteryear. Andrew Dice Clay, anybody?

The show begins at 8 PM, tickets are $25

A packed venue, a frenzied crowd, and a serious bag of beats all had one thing in common last Friday, Oct. 9. That thing is a band, and that band is Eoto. The two-piece electronica team came to town this weekend making a stop at the High Noon Saloon. By providing two sets of styles defining both warped, bass-heavy dubstep, and dancy house, Eoto gave the writhing audience (armed with obligatory neon glowsticks) exactly what they had come for: a high dose of vibes and a full night of dancing.

A completely unique set is expected anytime Eoto takes the stage. Justin Hann (drums and percussion) and Michael Travis (keyboards, mixing, sampling, guitar and bass) maintain free-flowing improvisational roots on a distinct platform of electronic music. You might recognize their names from bluegrass jam band The String Cheese Incident, but you wouldn't recognize their sound. The duo trades in strings for samples in an attempt to bridge the ever-narrowing gap between carefree festival jams and dark dance clubs.

Hann demonstrates a superhuman level of endurance on drums by keeping rapid, smooth rhythms going without pause before or even after the fifteen minute set break. Meanwhile, Travis paints thick layers of captivating melodic elements ranging from tribal flutes and didgeridoos to interstellar keyboards. Both share a keen intuition of where the music is going at all times, and how to take it there. Their veteran instinct does not get lost on a crowd completely down to challenge Hann's drum stamina with their own relentless moving and dancing. It can be a struggle to keep up with Hann, however, when the pace increases to 223 beats per minute. Translation: fast, very fast.

It takes true instinct and a vast supply of experience and talent to achieve the sounds Eoto produces. Although their years of experience show in their mastery of arrangement and execution, Eoto's sound at times lacks inspired variety. Sure, they know when to build anticipation and when to drop the bass, but something was missing in the substance. Their otherwise powerful transitions come off as predictable and increasingly familiar as a show goes on.

Admittedly, there is only so much one can alter and still maintain the collective consciousness of the rhythm that keeps the energy going. That being said, Travis's melodic contributions via keyboard, mixer and laptop had great variation. His spontaneous improvised synth loops meshed fittingly with the array of computer-generated instruments as well as his on-the-spot recorded vocals. Eoto's vocals should be taken in a loose sense; there are no lyrics, but there are guttural sounds like yells, croons and moans. Those expecting more melodic, structured dance music may have been better off seeing Sound tribe Sector 9, who performed at the Rave in Milwaukee on the same night. If nothing else, they would have witnessed a spectacular light show to go with the music, a conspicuously absent element of Eoto's performance.

Wait, there was no light show? But a quality light show is to electronica what big hair and spandex are to hair metal. It's nearly a prerequisite. An Eoto show without lights is typically an outdoor daytime show under the presence of that big light in the sky. Swapping lasers and oscillating spotlights for the High Noon's fixed stage lighting was nothing short of sacrilege, and it left a visible void in the experience of some showgoers.

In short, Eoto's performance was above adequate, but not outstanding. Small negative details can indeed add up to noticeable shortcomings. It was still a great dance party for everyone in attendance, and by no means substandard. In fact, it was a blast. In the future, however, Eoto should reference past shows for some pointers. Rothbury '09, anyone?

On September 29th, 2009 the kooky and hilarious mother of Gaylord Focker, also known as Barbra Streisdand or Babs, released her latest album, Love Is The Answer, to the public.

It's been four years since her last album of new material was given to the masses in the form of Guilty Pleasures in 1995. But Love Is The Answer is different from her previous works. It is not a series of duets, and it doesn't include any of her most famous songs. Instead it's a combination of classic jazz tracks such as "In the Wee Small Hours" and "Make Someone Happy." Not only does Streisand venture off of the well-trodden Broadway tune path, she also recorded most of the songs twice; one recording is with an orchestra backing her, and once with a quartet. Both sets of melodies are on the deluxe edition which consists of 25 songs and is on sale through iTunes and Amazon as well as many music retailers where physical copies may be obtained.

But why would she duplicate 12 songs on one album? And why would she choose jazz? The answer is simple: she can and she's good at it. As usual, Streisand pours emotion into each musical phrase and one can't help but be swept away by her powerful voice. With the orchestra in the background it can't be helped but to see her on a glorious stage with a sold-out crowd hanging on her every syllable. Her overwhelming stage presence probably even induces a few single tears. But the quartet behind her shifts the vision to a small jazz club with a small stage. Anyone listening could almost taste the smoky air, hear the clinking of Brandy Alexanders and maybe even be able to see her jaw move in that signature sideways movement of hers under the two spotlights.

The only problem with "Love Is The Answer" is the fact that, depending on one's audio device, the difference between the orchestra and quartet sections might be subtle. Very subtle. So subtle that only a person with a trained ear might be able to tell the difference and even then might only hear the distinction after listening to a particular song more than once. But good luck is abounded! There is also a version of the CD that only includes the orchestra backing.

For over forty years Streisand has been amazing audiences of all kinds with her humorous acting, beautiful ballads, and iconic vibrato. No one who has seen "Yentl" or "Funny Girl" could ever deny her musical ability or her comedic timing. Love Is The Answer proves, once again, her longevity as a performer. For those readers who are looking for Barbra Streisand: The Comedian, they'll just have to wait until the film "Little Fockers," which is set to come out in July of 2010.

4 out of 5 stars

Well worth the rain-soaked trek to Memorial Union, "Animated Shorts from Chicago" (put on be the Chi-Animated All Stars) proved to be a wonderful show. On Thursday, Oct. 1, the Play Circle housed an avid audience. Jodie Mack and other renowned animators revealed their eyes for art in the form of a program full of new techniques and innovative styles.

"Errata," one of the more inventive shorts (created by Alexander Stewart), was made entirely by photocopying pieces of paper and recording the changes in ink values. The result was a remarkable cycle of rorschach-esque blobs of darkness that alternately receded and grew seemingly at whim. The unique choice of background music further added to the theme of drawing complexity out of simplicity.

Another selection, entitled "Flesh Gun" (by Lale Westvind), was far less abstract; however, it was quite a bit more surreal. The film followed a deformed woman, nude and alone in a barren environment, who was regularly attacked by lecherous, mustachioed astronauts. It was hard to decipher the overarching message of the film, but the vivid images and unnerving sounds were compelling enough to captivate for its duration.

The crowd favorite was "Mermaid" by Lisa Barcy, was a pseudo-noir piece about the love triangle between a man, his wife, and the seductive squid who steals him away. The self-described "tragicomedy" kept the crowd laughing while still maintaining its dark undertones. In addition, the film used an interesting form of media. Paper cutouts against a background of sand presented a striking image, which added to the novelty of the piece.

A show like this, with a diverse range of media and an overabundance of creativity, is an absolute breath of fresh air. While many animated shorts are stuck in the past, these films broke through the barrier and brought the future of film to their viewers in the present.

For those out there looking for an album to get laid to--look no further. Harry Connick Jr.'s latest creation, Your Songs, offers up a plethora of romantic tunes with a jazz inspired twist. Each track is essentially a love song, making Your Songs accurately titled and a perfect gift for that special someone.

Taking songs from such renowned artists as Frank Sinatra, The Beatles and Nat King Cole--among numerous others--it would be nigh impossible for this record to turn sour. Connick Jr. recreates classics such as "The Way You Look Tonight" and "Can't Help Falling in Love with You" (Elvis Presley) with success. Surprisingly, each track is just as strong as the rest of the album and as intensely powerful as the originals.

Having a record comprised entirely of covers without any new material could have proved disastrous, and yet, Connick Jr. seems to have compiled them effortlessly with the help of record producer Clive Davis. Both Connick Jr. and Davis hold several Grammys under their belts, and the resulting collaboration is brilliant. The fact that the two have more than one Grammy to their name comes as no surprise after just one listen of Your Songs.

In charge of selecting the tracks for Connick Jr. to cover, Davis brings out songs that showcase not just Connick Jr.'s vocals but also his almost full-orchestral ensemble, including the also Grammy Award winning Marsalis brothers on saxophone and trumpet. Each arrangement was originally composed by Connick Jr. himself, but they all certainly show Davis' influence.

It is hard to pick a track to speak entirely for Your Songs. "B�same Mucho," originally written by Consuelo Vel�zquez, proves an interesting addition to the record as Connick Jr.'s version takes lyrics both from the original written by a teenage Vel�zquez and the cover by Frank Sinatra.

With lyrics such as "B�same, b�same mucho/ Como si fuera esta noche la �ltima vez," which roughly translate to "Kiss me/ Kiss me a lot/ As if tonight was your last night," it is not hard to imagine the song being used to enchant someone in the bedroom.

"Smile," a Nat King Cole cover, is, according to Connick Jr., sung for a young girl he met while in Paris. Taking the girl on a tour of the city, Connick Jr. remembers watching the girl smile while on top of the Eiffel Tower, despite being blind and unable to see the amazing landscape offered by the city of love. One of the more upbeat and less-romance-focused tracks on the album, "Smile" is certainly worth a listen as both Connick Jr.'s vocals and the background ensemble demonstrate the sheer amount of talent to be found on the record.

In the end, the only downfall to Connick Jr.'s Your Songs is that it does not present any new material. After all, the originals are relatively well-known and, if anyone wanted to, it would be incredibly easy to listen to them. Nevertheless, Your Songs is a strong compilation of some of the most romantic songs ever sung, making this CD something worth listening to. It's hard to go wrong with a record exuding romance...especially as it is certain to help a few people out.

4 out of 5 stars

It's Autumn and the temperature is dropping. Another Madison winter is around the corner. Why not spend Friday night in the warm, comfortable Wisconsin Union Theater?

Hailing from balmy New Orleans, The Dirty Dozen Brass Band takes the stage at 8 p.m. Tickets are $10 with a UW-Madison ID, $30 for general public.

The Dozen will make their seventh stop here on a 19-city tour showcasing their vibrant 1984 debut album My Feet Can't Fail Me Now. They are currently working on a re-issue of the album to commemorate the 25th anniversary of its original release.

That's right, they've been doing this for over 30 years and haven't slowed down yet. Across three decades they have released an additional 13 albums, coupled with incessant touring. It is exciting, however, to see the Dozen reprising their earliest work.

More recently expanding their musical repertoire in collaborations with such modern names as Dave Matthews Band, Modest Mouse and Widespread Panic, the Dozen retains their roots in their unique blend of good-times jazz and funk that could only spring from New Orleans. It is a style they stick to and one they pioneered.

Touring sousaphonist Julius McKee will provide chest-thudding melodies deeper than Lake Monona. The difference: McKee's tunes stay smooth in the bitter wind.

If the sousaphone doesn't captivate you, drummer Terence Higgins' rapid funk style will surely keep you watching. It might even warrant some toe tapping.

From the Dozen, expect swift rhythm. Expect an ongoing brass jam with few pauses. Expect to marvel at the Brass Band's inhuman lung capacity and relentless stamina.

Friday, expect to forget about the Madison cold for a while. Once the horns get going and the drums start to bang, Wisconsin Union Theater will feel the heat and good times of New Orleans. Mardi Gras attire optional.

The Dirty Dozen Brass Band will take the Wisconsin Union Theater stage on Friday, Oct. 2