There has been, and continues to be, an enormous amount of critical and scholarly work done on almost all aspects of Woolf’s writing and life. Few modernist writers––indeed, few writers of any period–have had such a pronounced and lasting impact on literary culture. All of her work remains in print, and novels such as Mrs Dalloway, To the Lighthouse, and Jacob’s Room are regularly read and discussed both inside and outside the academy. Most notably, her experimental fiction, from her first novel The Voyage Out to the posthumously published Between the Acts, has grown in both popularity and critical renown. Following a period of relative critical neglect following her tragic death in 1941, her body of work has earned her recognition as a groundbreaking feminist thinker, a perceptive literary critic, a formidably creative diarist and correspondent, and as one of the twentieth century’s leading essayists. An a cappella aficionado won’t be disappointed a newbie will undoubtedly be impressed.Virginia Woolf has for many years been seen as a key participant in British literary modernism. The nice moments outshine the not-so-nice ones, and a few exceptional songs will leave you hooked. The Duke Pitchforks actually do justice to Tenacious D’s “Tribute,” while the UNC Clef Hangers rock out with their beautifully layered and produced “Crazy Train.” A few soloists deserve special recognition, as well: Natalie Witting of Clemson TakeNote, for her tender, yet gripping performance on “Hallelujah,” and Jonah Platt of UPenn Off the Beat, who captivates as he belts out “So Cold.” Also noteworthy, the USC Sirens masterfully unify the mood of “Crumbs,” combining a sultry soloist with a very effective arrangement.īOCA 2006 grows on you. UNC Loreleis’ “My Happy Ending” distorts its background way too much, even for an Avril Lavigne cover.Ī few songs, namely “Something Like That” and “Save a Horse, Ride a Cowboy” are sub par in all respects I suspect the Contemporary A Cappella Society of America (CASA) aimed for a little too much diversity in choosing them.ĭespite that, the album showcases several nice surprises and a few jaw-dropping renditions. The majority of songs pump up the auto-tuning in many, at least a portion sounds mechanical and devoid of the voice’s natural beauty. The most universal offense is production. Last Call’s “The Scientist,” on the other hand, mars a heartfelt solo performance with a ho-hum, repetitive arrangement. Twisted Measure’s “Are You Happy Now,” for instance, is a smooth, textured arrangement with beautiful balance and mixing, but features a whiny soloist who sounds like an angst-filled middle-school girl. Many master one or two, but fall short on one aspect. The main struggles on this album are production, soloists, and arrangements. The result is a satisfying compilation that delivers its promise of “the best” in spurts. Many songs have great moments, but only a few achieve excellence. This year’s Best of College A Cappella album presents a diverse, if flawed, sampling of what students across the nation have to offer.
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