The University of Calgary Gauntlet®
  2009-11-19
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News
Province breaks promise on tuition cap
Getting to know the interim president
Schulich study aims to revitalize construction in North America
Community remembers Reverend Ron
Future of quality money initiative in question with rising deficit
A breakfast with public policy power players
Prof studies changing face of human interaction
Changes coming in Mac Hall
B.C. to introduce 'Education Quality Assurance' program

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Editorial: Calgary Transit funding in peril
Going for the green: Olympic torches for sale
Sweet November: the wonderful month of beards
A love letter to Charles Darwin
China's condom catastrophe

Sports
Dinos win second straight Hardy Cup
Dinos sports briefs: on the road again
Glavic situation water under the bridge for SMU

Entertainment
A local way to see large scale injustices
King Khan rocks out at school BBQs
Spun: Matt Epp
Spun: Air
Spun: Dead Man's Bones
Spun: Muse

Features
The Lost Art of Letter Writing


AP
An open letter to you, from me your tuition

  Spun: Dead Man's Bones


Spun



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Dead Man's Bones (Click for larger image.) Dead Man's Bones

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Based on the mysteriously intriguing cover, the complete lack of credits and the bizarre and murky sounds within, it is nearly impossible to discern that Dead Man's Bones is the work of Oscar-nominated actor Ryan Gosling -- but it is. The cover photo depicts a group shot of the Silverlake Conservatory of Music Childrens' Choir in Halloween costumes, with Gosling and his best friend Zach Shields obscurely placed on either side.

The self-titled release is a loose concept album and theatre project based on supernatural themes. With the lo-fi production, the eerie childrens' choir and song titles like "Werewolf Heart" and "Flowers Grow Out of My Grave," Dead Man's Bones manages to consistently bind the entire strange project together. Gosling and Shield's muddled voices maintain a spooky atmosphere in the many slower numbers. However, brilliant upbeat flashes like "My Body's A Zombie For You" come out of nowhere and feature the childrens' choir sounding like the Arcade Fire singing doo-wop on Halloween night. The spotlight tends to focus on the aforementioned choir, with Gosling and Shields sitting back and directing the whole project. It shouldn't work -- but it does and is executed wonderfully.

This album should be sought out and heard simply because there is nothing out there today that sounds remotely like it.

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