Muj is on - 2012 Album Review

By Cassie Batinich

Muj’s debut album, 2012, is a fresh blend of musical genre, a sound that is deceivingly mature and significantly personal. The Turkish-American duo created 2012 in a little over a year, jamming out and recording in their Brooklyn apartment/studio, occasionally calling on the help of musical friends to add to the creativity.

While overall this is a pop album, it hits on many elements. From country western style vocals, rock, dance pop, electronic and more, it is meant to be a combination of styles, creating an original persona.

The album opener is a mix between rock and soulful alternative music. Called “Elastic”, this song features vocals that sound “Auto Tuned” and electronic; its most catching feature is a synthetic arrangement that reflects the track name and the kind of trip-hop that Radiohead peppered over Kid A.

“Blue My” is the most interesting track. Through each verse, the guitar follows carefully behind the vocals, like a long shadow, and then forges ahead near the end, peaking at a smooth blues jam-out that welds the song together.

The thread connecting each song links directly to the duo’s self-production and sampling of almost every instrument that ended up on the final record. Muj’s masterminds: Emre Atabay and Allen Hulsey worked to perfect the arrangements and symphonize each harmony on this album. Yet, the end result sounds naturally submersed, embracing each genre explored, begging a second and third listen.

A lot of that compliment has to do with track placement. One example is how the last three songs set one another up by carrying over distinctive beats that transition from one, to the next. “Nothing’s” vocals are slightly twangy. It combines a country-western feel with a 21st century rock song. The beat then trickles onto the opening cords of the electro-punk “Technoholic”, which then sets up the final song’s tone. “Time of Our Lives” touches on dance experimentation, and is one successful attempt at mass appeal on 2012.

The sound of Muj is thoroughly New York. They are trendy yet crafty. 2012 embellishes on European dance nostalgia and pop rock by combining some electro-punk elements and traditional guitar sounds.

While it is complex, the bare bones of this album: the guitar playing, the lyrical contribution and the beat make it a solid effort and a well-received debut album. A band that we will likely be hearing a lot more of, the talent and experience these two Berklee grads bring to music, is something we cannot wait to see on a stage.

2012 can be purchased now on iTunes and CD Baby, concert information and dates to follow.

Artists Loft Event on the East Side Promotes Music as Tool for Change

by Cassie Batinich
October 17, 09

On Saturday night, Art for Progress presented its contribution to this season's CMJ Music Marathon which beings on October 20. The night started off with Plays for Progress - three short works presented by AFP writers and artists followed by a four-set concert featuring bands and musicians who work with the organization, and share its message of promoting art as a tool for social change within our city's community.

From the outside, the Clemente Soto Velez Cultural Center looks similar to a church you might find on any New York City block, orange-ish red brick and a wrought iron gate leading inside. Once in, the hollow and chilly building has been converted into a spot to broadcast grass roots art. Colorful, ethnic paintings are spread out on the walls, one wing is set with a stage for live performances, where the entertainment for the night was presented.

Alex Schein, first on stage, spoke in between songs as he played his acoustic guitar, his message a transition into his next track. The singer reminded his audience that despite how industrialized art can be today - in a world of 24/7 advertising - the meaning of art is to inspire and allow us to relate to each other on a human level. Sure, these types of thoughts can be expected from a modern day musician, especially one who in particular seems confident with his message of music's purpose - "it's only music if there are ears to hear it" Amen! - yet it was refreshing to be reminded that art connects with the human spirit, and we were certainly in the appropriate atmosphere.

The second band, BAM or Barry Komitor, Allen Hulsey and Mike Severino, played a few slightly twangy, western style songs followed by a few featuring more soft rock and love-sick lyrics. The bands two singers, Allan and Barry, took turns leading vocally and easily switched pitch and the music's style between a country-familiar drawl and a warmer, deeper tone both singers seemed more accustomed to.

The most astonishing act, a type that you just don't see a lot of these days was Zef Noise on the electronic violin. Classically trained, he ripped through his set and even used his instrument as a percussion and bass as he laid down a track underneath his live play.

The final act of the night, Comandante Zero, a grooving funk duo on the bass and drums was the perfect act to end the event. The lead singer reminded me of Prince, not necessarily his voice but his groove and appearance was reminiscent of the rock star. The group invited an artist to draw along to the song's beats as well as incorporate another medium into their act.

Though attendance at the Artist's Loft wasn't at a high, the quality of work by the four acts I came eager to witness was not a disappointment. Art for Progess's message of implementing art as a tool for change livened up my rainy October night. Not to mention the music and the aura of the place, one so full of artistic energy and influence, managed to stay with me for the rest of my weekend.