Romanticism, a popular aesthetic movement that came out of the late eighteenth century, has a characteristic investment in the depth and universality of human emotion. It is both a philosophy and a lens through which art is created and viewed, and it particularly applies to music in a special way. The intensity of emotion is most often captured, embodied, and conveyed the best through music, as the nature of music is that it exists as a sonic art that reaches people and consumes them, affecting them through pure energy and vibration. One band in particular that originates from Charleston, SC called Stop Light Observations is particularly masterful at utilizing this Romantic technique of affecting emotions, actions, decisions, and perspectives through music that reflects, expresses, and inspires such emotional intensity. The result of this Romantic expression is a heightened, shared emotional energy among listeners, a connection through the universality of this music and its ability to reach others on such a basic, inherent level, and actions and inspiration resulting from this artistic enhancement, whether it is in the form of dance or an inciting of passion and emotional stimulation. It is a somewhat mysterious and yet also simple phenomenon, one that is easily comprehended and understood, but difficult to explain.

Stop Light Observations' music is music that is impossible to listen to casually. The energy, pure and raw and untamed, is a characteristic trait of this band. Their songs, alternative and complete mutations of different musical genres, all follow a similar structure: they all begin more subdued and eventually build into a total explosion and release of energy. They create a sense of awareness and complete existence in the present because the energy is consuming and absorbs the listeners’ complete attention and focus. Audiences are captured and awed by passing moments, taken away from their thoughts of the past and future to revel in the current experience.

For example, the songs “Obsidian”, “Smilers of the Night”, and “Circadian Rhythms (Dusk) from Stop Light’s album Radiation are all incredibly energized, invigorating songs. The concluding guitar solos and symphony of synths and sonic noise collages

tend to force the listener to live purely in the moment, and the music seems to transition from something that is heard to something that is felt. It is a similar experience to the well known phrase “Carpe Diem” or “Seize the Moment”, a euphoric encouragement to take advantage of the present and all it offers. To quote a song by the band In the Valley Below called “Peaches”, which parallels Stop Light Observations’ theme of living in the now through intense emotion, “we won't live too long/so let's love for one song” (In the Valley Below). It implores the same thing that Stop Light does but in a more direct way; “Peaches” explicitly states that life is short, and the present is incredibly valuable, while Stop Light Observations creates this impression through their music and the enrapturing emotion it conveys. 

In summary, what Stop Light succeeds in doing is creating art that engages listeners through emotional vigor, a technique that is particularly Romantic. The art becomes the emotion, and the emotion becomes the art, and listeners are captivated by it. As Faflak and Richard put it, “in Romantic feeling, experience and the aesthetic become intimately, irrevocably, unassimilably imbricated” (6). The Romantic heightened energy defines Stop Light Observations’ music, and not only engages listeners in the present through basic emotional engagement, but also creates a connection among listeners, particularly those in large crowds.

Music is already an incredibly universal and unifying art, but Stop Light Observations especially accomplishes this through their music. One specific song that embodies audience connection through Romantic artistry is “Purple People” from Radiation, a song that is both contagious and attractive in its energy and exciting, out of control sound and also has a lyrical theme that centers on kindness, acceptance, and peaceful unity among people who are different. It completely inspires a sense of harmony and cooperation, erasing boundaries and creating links between listeners because they essentially bond over the experience of the music. Disagreements and inconsistencies between people become irrelevant in the face of such a universal and collectively understood expression. Similar to Stop Light Observations’ intent with “Purple People”, Pruitt declares in his academic essay addressing music in Northern Ireland that “music can serve a significant function in inspiring a spirit of community and dialogue in public life” and it can ultimately “play an important role in creating cultures of peace” (84). Pruitt essentially is justifying his claim that the corrupted youth of Northern Ireland in particular can be healed, inspired, and brought together by music. He contends that music is so universal and so emotionally charged that it has the ability to create this connection, and this is the exact social push seen in Stop Light Observations’ music. It opens people's minds and brings them to a simpler, more primal level that is universally shared as part of the human experience. Sonically, “Purple People” takes action with its lyrical message and breaks down barriers, stripping away differences, enlightening listeners through intense, Romantic emotion, and establishing this valuable connection. 

Unity through peace and positivity isn't the only type of connection music can create however, and Stop Light Observations taps into these different connections as well. In a particular NPR podcast, a Bob Dylan concert during the 1960s was discussed in which Bob Dylan brought an electric guitar on stage to play his songs, deviating from his usual acoustic style. According to the hosts, “the reaction was very intense” and “how much booing there was is hard to say” (NPR). This perfectly exemplifies unity in an audience; although some in the crowd cheered Dylan on, many listeners were enraged by the unexpected change and were unified through their rage and passion. Stop Light Observations utilizes this furious passion as well, bringing societal issues to light and getting people excited, indignant, and motivated to change them. “Purple People” brings to light problems with discrimination and harsh, shallow judgements that tend to be a trend and dominate society, dividing people and pitting them against one another. By connecting and unifying people through awareness, Stop Light thus creates reaction and inspiration from their music and the motivation it provides.

The Romantic expression of emotions often leads to inspiration in the affected audience, and Stop Light Observations’ music is no exception. Physical reactions to music can range from dance to mass movements and rebellions. The depth of intense, emotional music allows for influence and undoubtedly can be used as a tool to encourage certain behaviors or to create and introduce different mindsets. As Ahtisaari and Karanam state in their discussion of music and emotion, “Humans are one of the extremely few species that can synchronize their body movement to music” (1). Music clearly reaches people on a level that is understood and is easily translated into action. This action is often dance, a common response to stimulation through music, and is usually difficult to resist because music is so stimulating. Beyond dance and physical movement however, music stimulates and inspires broader actions. It is so influential in this way, in fact, that it can be used to specifically elicit certain responses and behaviors. According to North, Tarrant, and Hargreaves, a study was conducted showing that “soothing music promoted greater levels of altruism” (267). Essentially, certain types of music encourage certain types of behavior, and if this knowledge is utilized, behavior can almost be controlled through music. Stop Light Observations uses this technique to reach their listeners as well. Through highly charged songs and Romantic emotional depth, lyrical messages and sonic intent, Stop Light encourages their audience to take incentive and action. They unify people, and then inspire them, using extreme emotion as the catalyst. It is an effective artistic system, and it succeeds in enhancing and elevating the Romanticism of their music. This is element is what defines them as a band, and what makes their music so powerful and impressive.

Stop Light Observations is a band that embodies Romantic emotion. They build the intensity of their songs, create a consuming crescendo of feeling, and encourage passion, motivation, and inspiration. They embolden audiences through their Romantic techniques, reaching through the art of their music to touch listeners. They find success in the responses from their audience, and this is a true sign that they have mastered the nature of Romanticism itself. Connecting people and themselves through music, and creating art that reflects life, and in turn causing life to reflect their art, is a feat that marks them as a noteworthy artist. They continue to incite and stimulate, building an enthused fan base that draws from the energy of their music and participates in an emotional experience that is unlike much else. It exemplifies the Romantic emotional movement and pushes Stop Light Observations forward, giving them a special momentum and a general aura of significance.

 Works Cited

Faflak, Joel, and Richard C. Sha. Romanticism and the Emotions. N.p.:           Cambridge UP, 2014. Print.

In the Valley Below. Peaches. Jay Tauzin, 2013. MP3.

Pruitt, Lesley. “Music, Youth, and Peacebuilding in Northern Ireland.” Taylor &                  Francis Online.             N.p., n.d. Web. 20 Nov. 2015.

“50 Years Ago, Bob Dylan Electrified A Decade With One Concert.”NPR. NPR,        n.d. Web. 20    Nov. 2015.

Ahtisaari, Marko, and Ketki Karanam. “Music and Emotion.” RSS. The Sync          Prokect, n.d. Web. 20 Nov. 2015.

North, Adrian, Mark Tarrant, and David Hargreaves. “The Effects of Music on       Helping    Behavior.” The Effects of Music on Helping Behavior. Sage           Publications, 2014. Web. 20     Nov. 2015.

Melophobia- Cage the Elephant

Cage the Elephant’s latest album, titled Melophobia, is an album of truth; it pushes boundaries with an enveloping theme of sincerity and unapologetic honesty. It elicits genuine emotion, and it challenges the limits of self-consciousness and conformity. The name of the album, Melophobia, is a word meaning “the fear of music”. In its oxymoronic simplicity, this title seems to coax listeners into reflective expansion of an otherwise basic definition. Instead of purely implicating “the fear of music”, it seems that Cage the Elephant is trying to convey the broader idea that modern music is an industry phobic of pure, raw, authentic music. Recently and consistently, musicians have begun producing songs and albums considered fitting of the modern music "status quo"- making the top ten has become more important than the musical translation of feelings and ideas. With money and status at stake, bringing emotions to life and revealing artistic depth have both become secondary to producing, packaging, and marketing the perfect tune that will entertain anyone and reach no one. 

        Armed with Melophobia, Cage the Elephant hopes to remain heartfelt and candid, ignoring the risks of vulnerability for the sake of authentic art. In essence, they present unfiltered songs with messages that they genuinely wished to communicate, and they create an overarching theme of rejecting the conventional to unearth the grit of artists and their unique artistic offerings. In this way, the album celebrates individuality and originality and condemns the staleness of mainstream music culture.  It appreciates honesty no matter how risky, painful, or embarrassing the message, and it considers this honesty more valuable than avoiding, changing, or omitting the truth, or worse yet- creating music simply to sell it. The importance of art, according to the message conveyed by Melophobia, is that its value is not in the product, but rather in the product's process and intention. If art is made with the purpose of honest expression, it can then truly be considered a work of art. Otherwise, it is a façade, and it caters to the chronic “melophobia” of the modern, mainstream music industry.

Closely linked to this theme of Melophobia is the concept of postmodernism. Postmodernism is essentially the rejection of infectious conformity and wide-scale mob mentality. It encourages individuality and rejects compliance with societal norms, glorifying independence and ingenuity instead. When considering Melophobia, it seems to be something of a postmodernist musical masterpiece. It is genuine and individual and revels in its own uniqueness. The problem, however, is in the delicate balance that Melophobia manages to maintain between true postmodernism and contrived postmodernism. When postmodernism exists purely to contest modernism, it ironically becomes modernism. The perfect example of this phenomenon is the recent “hipster” trend. This trend has made it “cool” and “mainstream” to oppose and challenge the expectations of culture and society as a whole. It has created a paradox of postmodernism and modernism that confuses the true implications and purpose of the postmodernist movement. Cage the Elephant is almost in danger of becoming part of this paradox by creating an album like Melophobia- an album eagerly charged by its anti-conformist theme. If used with the wrong intent, this type of theme could strangle authenticity, and the honesty that is so valued and coveted could be lost in the very process of obtaining and preserving it. When listening to Melophobia however, it's obvious that Cage the Elephant is able to maintain their purity and openness while avoiding the downfall of artificial honesty. When examining songs from the album more closely, such as “Come a Little Closer”, “It’s Just Forever”, “Halo”, and “Cigarette Daydreams”, the boundary-testing messages seem to reassure that Melophobia remains in the realm of postmodernism, escaping the enticing yet dangerous contradiction of modernist postmodernism.

            The song “Come a Little Closer” is the second listed on Melophobia, an almost upbeat song with a melancholy twist and psychedelic tones. It ties in with postmodernism in its lyrical message. The song investigates the intricacies of life; it encourages a deeper look at the ordinary and unassuming. Inviting the listener to “come a little closer” because “things aren’t always what they seem to be”, it reveals that life can contain hidden meaning and can become truly enlightening when one takes the time to look “a little closer”. This idea directly correlates with the theory of postmodernism itself. Since postmodernism is founded in the extraordinary and the unexpected, taking a closer look at things in hopes of enlightenment is a postmodernist idea. Modernism encourages surface examination and seeing things as they immediately appear to be, ignoring depth and any possible profundity- a direct contradiction of the message in “Come a Little Closer”. Also, by approaching this topic in the very first song on the album, Cage the Elephant dives right into a postmodernist perception of Melophobia, introducing an investigative tone that invites listeners to adjust to the idea of postmodernism and distinguish the genuine nature of the music.

           A second song worth discussing from Melophobia is “It’s Just Forever”. This song is grating and unnerving, with a fast pace, retro guitar, and screeching tones and noises. This song is unsettlingly honest in that it touches on the subject of obsession. It reveals the dark and twisted nature of love when it transforms from passion to mania. Stating things such as “gonna make you mine forever” and “never stop until you love me”, this song is a warped version of a love song, addressing the subject of perverse romance. It connects to postmodernism through it’s unconventional approach to love; instead of describing the typical euphoria of love that is portrayed in countless songs, movies, and pieces of art and literature, this song delves into the shady side of love that often is ignored. Choosing to investigate an unconventional idea is postmodernist in its resistance of normal expectations. By rejecting the usual construct of romance and taking the subject into nearly uncharted territory, “It’s Just Forever” pushes boundaries and combats modernism. It pioneers its way into a distorted notion and confronts the widely expected and commonly addressed idea of love, defying it in its modernist state.

            The song “Halo” is also significant in its raw message. “Halo” seems to touch on the addictive nature of relationships and the deception and manipulation that can arise from being taken advantage of in a romantic situation. The song develops the ups and downs of relationships by talking about how the good memories and fond feelings override the ability to avoid manipulation. The song states “you knew I/couldn’t help myself” to convey the message that although the subject has “lost [his] halo” and the relationship has become detrimental, he cant escape it because he is too invested in it and “all the good times [they] had”. It is an honest confession of being willingly deceived and controlled by love, and how the exceptionally strong hold romance can have over decision-making affects a person’s ability to do what is right. The song is postmodernist in its blatant honesty, contesting the commonly romanticized version of romantic deception by exposing it for what it truly is. Relationships become less black-and-white, like they are viewed from a modernist standpoint, and the complexity and messiness are revealed as the reality of romance. The postmodernism of the song effectively transforms the general concept of romantic love.

          

            One last song from Melophobia is “Cigarette Daydreams”, a song that seems to be about relationships, dealing with the unknown, and holds general nostalgia with a touch of sadness. The band sings about driving “all night/looking for the answers in the pouring rain”, introducing a wistful, contemplative mood that enhances the song as a reflective piece. There is mention of an unnamed person who was “only 17”, and a broken relationship is implied, as the listeners learns that he or she nearly brought the singer “to his knees”. The postmodernism of this song occurs in its unmasked confusion and melancholy. The subject of the song is clearly a painful and sensitive one, but Cage the Elephant is honest about everything from the positives to the negatives of the situation, admitting confusion and weakness where many artists would not have. Perhaps the most common symptom of a modernist love or heartbreak song is the lack of personal admittance of guilt; most songs either glorify relationships and ignore their problems, blame the other person for the relationship going wrong, or simply wallow in the sadness of a breakup. For “Cigarette Daydreams” to address all aspects of a relationship, while adding in some existential ponderings as a result of this, means that this song stays true to its postmodernist intentions and fits perfectly within Melophobia.

            

            Overall, Melophobia succeeds in being an honest album and staying true to the intentions of postmodernism. It avoids being forced or unnatural in its postmodernist implications, and resultantly does not loop back into modernism and contradict itself. It is a blunt, exposed music album that extends beyond mainstream boundaries, touches on subjects uncommonly touched on, and it questions the most basic ideologies of modern society and culture. The album’s success lies in its dedication to it theme; Melophobia refuses to conform.

Feature Post Four “Cultural Criticism”

How to Dismantle an Atomic Bomb by U2 is an album of complexity and art, a harmonious blend of the strains of love and peace, violence and misfortune, faith and the loss of it. Its cultural relevance comes in the form of its applicability; it’s an album that touches on every painful and passionate experience of life, and its broad interpretations allow anyone to relate to it. It’s a manifestation of the ups and downs of life’s daily struggles, and the spiritual struggle of any individual trying to make sense of themselves in a senseless world. It exposes the fact that global culture lacks depth; that people attempt to connect over materials and status, but no one truly understands and utilizes the complexity of human emotion, and the convoluted nature of what it means to be human. How to Dismantle an Atomic Bomb uses lyrics and sonic elements to communicate the innate desire to be understood, and the universal challenge of trying to find oneself amidst the turmoil of existence.

Every song on How to Dismantle an Atomic Bomb touches on a different aspect of life and the human experience. Most notable, however, are the songs “Vertigo”, “Miracle Drug”, “Sometimes You Cant Make it On Your Own”, “One Step Closer”, and “Original of the Species”. Arguably the most popular song from this album, “Vertigo”, is intriguing because it details a total loss of control. It is a song about confusion and being driven absolutely insane by the shitstorm that is life. The lyrics are a jumble of metaphors and ideas and imagery and the guitar riff is hard and fast, creating a desperate intensity. It seems to represent the chaos of the mind as it wrestles with reality, what constitutes reality, what is only perception, and whether or not there is a distinction between any of them. As Bono sings “It’s everything I wish I didn’t know”, the overwhelming nature of life becomes obvious, and it speaks to the subtle cultural ideology that in life, no one knows what they are doing or where they are going; they are merely navigating its obstacles the best they can.

However, the songs “Miracle Drug”, “Sometimes You Can’t Make it On Your Own”, and “One Step Closer” all have similar tones that are very different from that of “Vertigo”. “Miracle Drug” is also about confusion, but in a different way than the frantic, erratic confusion of “Vertigo”. “Miracle Drug” speaks to the melancholy confusion of the individual, the misunderstandings between people and the misunderstanding of oneself. It anonymously begs the subject to free their mind, and implores whether or not there is a “miracle drug” to help inspire this freedom, claiming “I’m not giving up” and “I want a trip inside your head” to “hear the things you haven’t said”. It is a song about personal growth and the mystery of everything that is left unsaid, how it can misconstrue the understanding of an individual. In terms of culture, it exposes the human tendency to 'play it safe' or look for fulfillment in outside sources instead of coming to terms with individuality and unapologetically expressing it.

In the same tone but with a different message, “Sometimes You Can’t Make it On Your Own” reveals the reality that people are frequently unwilling to ask for help. In a cruel world with a general, widespread ‘every man for himself’ mentality, there is a subversive cultural expectation to constantly achieve and excel. “Sometimes You Can’t Make it On Your Own” highlights this fact and the resulting attitudes people often take on because of it, believing that they don’t need anyone else to survive and that the basic human need for love and comfort is a sign of weakness. It challenges this ideology, stating that “you’re telling me and anyone/you’re hard enough” but “you don’t have to put up a fight/you don’t have to always be right”.

The song “One Step Closer” is actually about the death of Bono’s father, and therefore has a more general theme concerning the mystery of what happens when a person dies. It addresses the culturally shared and instilled fear of death and the unknown, seeming to express that this idea should be challenged and death should be treated less as a sentence by society and more as the next mysterious step after life, something that should be contemplated rather than immediately feared. The song is slower and the profound, atmospheric sounds that radiate throughout it immediately create a philosophical sadness surrounding the song that is more than simple misery.

            The last especially extraordinary song on How to Dismantle an Atomic Bomb is “Original of the Species”, which appears toward the end of the album. It wraps the album up on a more uplifting note, still addressing the existential topics that are U2’s specialty on this album, but in a more positive way. “Original of the Species” is about embracing individuality and being unafraid of uniqueness. Bono declares, “everywhere you go you shout it/you don’t have to be shy about it”, giving this song an empowering vibe that encourages personal pride. It challenges the cultural idea that everyone should strive for perfection, and annihilates the mold of conformity that is often forced upon the population through advertisements, entertainment, and belief systems. It is a radical song in that it encourages love, peace, and acceptance, shattering low-lying cultural ideologies.

             How to Dismantle an Atomic Bomb is an insightful commentary, reflecting on culture and the ideologies that we share globally as a result of the world we have created through actions, ideas, and inactions. It reveals the illusion of superficiality, pulls back the curtain of all that exists on the surface to uncover the intricacy of the human mind and spirit. It speaks volumes to the individual, as well as to society as a whole, and acts as a mirror to these entities. It is essentially the perfect cultural criticism simply because it applies to every culture that exists.