Once you listen to Daughter’s, “If You Leave,” you’ll find it hard to believe that it’s only the band’s first, full-length album.

Though released earlier this year on March 18, the album was made available for purchase on iTunes on April 30.

Daughter is a London-based band consisting of lead vocalist Elena Tonra, guitarist Igor Haefel and percussionist Remi Aguilella. Tonra and Haefel first met as classmates while studying music in college. They set out to self-release two EPs with His Young Heart in 2011, and The Wild Youth with Aguilella later in the year.

Soon after, Daughter gained a loyal following that continues to welcome new fans from the public and media spectrum.

“If You Leave” is produced by Haefel, with assistance from Rodhaidh McDonald, who has also produced for Adele and another London-based band The xx.

Daughter’s “If You Leave” is a stunning debut from a band that has already found its identity. Daughter’s themes and lyricism are wise, daunting and haunting, as Tonra reflects upon personal demons and emotions.

“Winter” sets the dark and pensive tone of the album as Tonra confesses that “winter crushes all the things that I once had.”

Universal themes of love, heartbreak, doubt, isolation and anger will resonate with listeners as Tonra’s stripped and consoling vocals echoes these intense emotions.

Tonra elevates her emotions to the next level as she sings with honesty and bravery in “Youth.” She divulges that “we are setting our insides on fire for fun,” critiquing today’s youth and young love that inevitability crumbles.

Along with “Youth,” my favorites also include “Still,” which contemplates a failed relationship, and “Lifeforms,” a song which ponders the existence of life and its meaning that individuals leave behind.

Haefel and Aguilella’s instrumentation, along with their beautiful production, supports Tonra’s amazing and strong vocal abilities as she delivers her innermost thoughts. The strumming guitar and building drums balance the band’s lyrics regarding the darkness and beauty of reality.

Though some of the songs are repetitive in melody and rhythm, “If You Leave” is a gorgeous, and impressive, collection of songs that wonderfully weaves from one another to the next.

“If you leave when I go, you’ll find me in the shallows,” Tonra declares in “Shallows.” Enchanting, moody and melancholic, Daughter’s “Shallows” sets a dramatic tone for the band and album with this epic seven-minute song that demonstrates the band’s capabilities as artists.

Daughter will please fans of Florence and the Machine, Imogen Heap, The xx, Adele and Lana Del Rey. Particularly, Tonra’s voice sounds eerily similar to Florence Welch, whose vocals captivates listeners, as well as creates a sound that will enlighten and hurt the heart.

Daughter’s “If You Leave” is now available for download on iTunes. You can also check out “If You Leave” on KSLC 90.3 FM and listen online at www.linfield.edu/kslcfm or stream the station on iTunes.

Vanessa So

Assistant Music Director Vanessa So can be reached at KSLCmusic@gmail.com.

Dear Bailey

“I’m conflicted; I don’t know what to consider cheating. Is it not until having sex, or could it still be cheating if it is only kissing?”

Whether something is cheating is up to you and your partner. For example, sending suggestive texts or emails is considered cheating when you are in a monogamous relationship, unless you gave permission for your partner to do so.

Kissing is considered cheating unless otherwise discussed. There is nothing wrong with feeling that kissing is cheating so don’t let your partner pressure you into thinking differently.

Some people feel that even thinking about having intercourse with another person is cheating, which is a little extreme since fantasizing is a natural thought process.

There are couples who don’t consider it to be cheating when one has sex with another person. While they aren’t mainstream, these types of relationships are becoming more common.

This is called an “open relationship,” which means that they are committed to each other but still have sexual relationships with other people. Usually in these situations, the two in the committed relationship ask permission from their significant other about who they can sleep with and keep each other informed about who else they are sleeping with.

In long-term relationships like this, there is a great deal of trust and open communication between the two people and commonly with whomever else is involved with them.

Another term used is “swingers,” which is when two or more couples, usually married, have recreational intercourse. In both situations safe sex and regular testing is still incredibly important because multiple people are involved.

Not everyone has the same perspectives on sex. Like so many other situations, communication is important so tell your partner what you think cheating is.

It might help if you define your relationship. Are you monogamous, casual or something else? Because monogamy is the primary idea for our society, it is extremely important to inform your partner if monogamy is an option currently or in the future.

Together you can set boundaries. If you disagree about where each of you are, don’t force the relationship. Yes, relationships take work, but if the two of you have different desires and ideas about the type of relationship you want, it will be unsatisfying for both of you. If you require monogamy and your partner feels that is too restrictive, maybe the relationship is not a good idea.

Kourtney Bailey can be reached at
linfieldreviewbailey@gmail.com.

Vladimir Nabokov’s 1955 novel is a campy story about pedophilia.

“Lolita” is narrated by the main protagonist, Humbert, a middle aged literature professor and pedophile. Humbert travels to the United States and takes lodging with a middle-aged woman, whom Humbert finds repulsive, and her 12-year-old daughter named Dolores, whom Humbert privately nicknames: ‘Lolita.’

Humbert immediately finds himself drawn to Lolita and while she is away at summer camp, he eventually marries her mother in an attempt to get closer to her. When Lolita’s mother finds out about her husband’s obsession with her daughter, she panics and runs out into the street and is run down by a car. Humbert goes to Lolita’s summer camp and takes her on a trip across the country after telling her, that if they are caught, she will be a ward of the state and lose everything she holds dear. While on the road with Humbert, he bribes her in order to receive sexual favors.

Throughout his recollection of his time with Lolita, Humbert tries to draw sympathy from the reader because of his illness, regardless of the fact that he never seems to try to cure himself or go against his sick instincts, but rather just leans into it.

Lolita is the perfect victim for Humbert, as she is an overly sexualized young girl who makes a series of awful decisions regarding her relationship with Humbert. Lolita is, more or less, an idiot, like most 12-year-olds are, and she initiates a sexual relationship with Humbert after losing her virginity to a boy at camp. Regardless, she is still a victim of statutory rape.

Because the novel is written from Humbert’s point of view, Lolita’s feelings are not shown, perhaps because Humbert is incapable of diagnosing them. Her entire character is that of a voiceless sexual object.

“Lolita” is infamous for its scandalous subject matter and was originally categorized as an erotic novel, although now it is considered a tragicomedy.

However, some critics view the novel as a romance, which is a bit disturbing. Vanity Fair said that “Lolita” was, “The only convincing love story of our century.”

“Lolita” may be responsible for the trend of finding an abusive male figure dominating his senseless consort the most romantic thing possible. This disturbing trend has been popping up in literature more and more recently, specifically “50 Shades of Grey” and “Twilight.” The popularity of these kinds of novels is particularly concerning because these “love” stories are teaching their female readers that if a man tells you that he loves you, it’s perfectly acceptable for him to be abusive.

Paige Jurgensen

Staff writer

Paige Jurgensen can be reached at linfieldreviewculture@gmail.com.

The wine community gathered together to question a wine writer from the Oregonian. The tables were turned May 1 in T.J. Day 222.

Brick House Vineyard’s owner Doug Tunnell brought the opportunity to question Oregonian wine columnist, Katherine Cole, to Linfield. Opened to the community, the room was packed with many who are in the wine industry.

Tunnell is a former CBS newsman who switched to wine making in 1990. Today, he owns Brick House Vineyard in Newberg, Ore.

Cole is a mother of two and writes about wine for the Oregonian and MIX Magazine. Cole believes that wine is subjective.

“There is no gold standard,” Cole said. “One person could this is oxidized, I can’t drink it, but another could say, this is so old world, I love it.”

Tunnell then raised the question of “why have wine scoring?”

“There’s a scoring range from one to 100, and I just want a 96, how do I get a 96?” Tunnell said, earning laughter from the audience.

Cole responded with saying that she didn’t agree with scoring.

“Wine critiques, whether it comes from newspapers or the blogosphere, stems from wine appreciation,” Cole said.

When writing about wine, Cole said that she doesn’t always get it right.

“Sometimes I don’t get it right, and then I want to cry, Cole said.

“If you start to follow a certain wine publication, make sure they also get their facts straight.”

Tunnell also raised a question about Cole’s thoughts and practices surrounding free sample giveaways to critics and creating relationships with the wine makers.

“There are some distinct advantages that those who develop relationships [with the wine makers] have that I don’t, Cole said.

“There are two ways to think about it. There’s those of us who don’t engage in the industry, and we are imbeciles, we are morons. How could we possibly write about what [wine makers] are doing? Getting you’re hands dirty… There is no way we can understand what you guys are doing without being apart of it.”

Cole goes on to explain that there is the other side, which is the newspaper side, where journalists know not to cross the line.

After Tunnell finished his list of questions, the audience was allowed to ask Cole additional questions.

Cole also visited with students, faculty and administrators during lunch and dinner. She also talked in various mass communication classes.

Kaylyn Peterson

Copy chief

Kaylyn Peterson can be reached at linfieldreviewcopy@gmail.com.

Intimate fliers for Linfield College Theatre’s musical “Spring Awakening” have caught the eye of many Wildcats. But the actual performance captured the audiences’ full attention during its opening weekend May 2 through May 5 in the Marshall Theatre.

“Spring Awakening” is set in late 19th century Germany. It accounts the lives of a group of 15-year-olds, who are forced to uphold the harsh moral and religious standards of the time period.

The play focuses on the relationship between two main characters. The characters are Wendla, portrayed by sophomore Mackensie Semper. And Melchoir, played by senior Collin Morris.

Sophomore Nicholas Granato as “Mortiz,” freshman Lukasz Augustine as “Georg,” senior Chris Forrer as “Otto,” sophomore Logan Mays as “Ernst” and sophomore Jeremy Odden as “Hanschen” comprise the leading roles of school boys.

Sophomore Delaney Bullinger as “Thea,” Gabrielle Leif as “Ilse” and senior Jenaveve Linabary as “Martha” are the group of leading young ladies.

Throughout the play, these characters grapple with balancing sexual curiosity and society’s expectations of purity.

Talk of sexual content in “Spring Awakening” has circulated throughout campus. The scenes with kissing and other sexual content invoked animated responses from the audience. But the scenes contributed to the production’s messages.

“It brings up ideas about sexual abuse, homosexuality, suicide and teenage sex,” Morris said. “A lot of these ideas are still taboo today.”

The play’s heavy moments were lightened by exciting songs and synchronized dance routines. The music department joined the Linfield College Theatre to create a musical, which is a type of play not as commonly performed.

“It definitely took a lot of coordination to make this production happen,” Morris said. The band was always visible in the set’s background, which added to the concert-feel of the performance. The cast began musical rehearsals a few weeks into the spring semester. Full rehearsals commenced after spring break. The cast dedicated a great deal of time learning and practicing the dance choreography.

“I think the dance routines added another level of angst and emotions that the numbers already achieved,” said sophomore Alli Halley, the production’s choreographer. “The routines were the cherries on top of incredible songs, which couldn’t have been done without the extremely talented cast members.”

The musical will continue to run May 9 through May 12.

“I would encourage people to see it,” Morris said. “Because even though it does take place in a different time period, it brings up a lot of important issues that are still relevant today.”

Every character sang the last passionate number. Linfield College Theatre Director Janet Gupton’s two young daughters appeared on stage in the final minutes. The end will not be spoiled, but the two girls’ participation tied off the closing scene with a charming bow.

Carrie Skuzeski

Culture editor

Carrie Skuzeski can be reached at linfieldreviewculture@gmail.com.

“Haunted” varies from other Chuck Palahniuk novels because it’s a series of 23 short stories that are tied into one larger story, rather than one unbroken story. However, it shares the same feature as Palahniuk’s other novels. Once one is finished reading it, he/she experiences a weird desire to take a boiling hot shower to rinse off the filth and shame gained from reading “Haunted.”

Unfortunately, “Haunted” is so perversely twisted that it may be literally impossible to rid oneself completely of the indignity that the novel brings, and one must continue to live their life knowing that he/she is just as perversely heinous as all other Palahniuk fans.

The surrounding story of “Haunted” is of 19 individuals who sign up for a writers retreat and are then, unknowingly, locked underground with limited food and resources by their host.  They are charged with writing a great manuscript in three months before they are released.

After a moderate amount of protest, the group decides to lean into the experience under the idea that, after they are found, they can sell their story for millions.

So, like any rational group of would-be writers, they willingly resort to such activities as murder, cannibalism and self-mutilation, essentially anything to make their story even more traumatic, and therefore, sellable.

Each of the individuals takes time out of their busy schedules of making baby-soup to share their story.

One of the first stories, entitled “Guts” is probably the most well-known story from the novel, as it had been published previously in “Playboy.” The story is of a young man masturbating himself nearly to death and having his insides all but sucked out. According to Palahniuk, it is based on a true story he heard during a sex addicts anonymous meeting.

As a reader, you would think that the stories from thereon out could not get any more terrifying, or dare I say, haunting, but you would be wrong in your assumption. So ridiculously wrong.

The stories of “Haunted” are more than just gore and sex, but several, such as “Obsolete,” hits the reader psychologically and makes them look at their life and their choices, and perhaps, even send them spiraling into an existential crisis.

Palahniuk has an extraordinary ability to reach into a reader’s soul until he finds the darkest and most voyeuristic part of it before tenderly treating it to his work, which exposes full spectrum of human travesties.

Reading Palahniuk’s many works may send you to Hell, but at least you’ll know what kind of shoes to wear.

Paige Jurgensen/Staff writer

There are some pretty common myths about how women can get pregnant, whether by accident or intentionally. For example, getting pregnant by sitting on a toilet seat. While most college students probably realize the absurdity of this myth, there are others that seem legit. This may be because some are so similar.

A common myth about preventing pregnancy is if you have sex while a woman is on her period, she can’t get pregnant. While it might not be a common occurrence, this is not a practical preventative method. The egg is fertilized while it is in its descent down the fallopian tube. Sperm can live up to five days after being ejaculated into the vagina, and some women can become fertile four days after the beginning of their period.

This means that another egg has been released from one of the ovaries. This is similar to the myth of using the ovulation cycle to prevent or ensure pregnancy. Women have varying cycles on an unseen level.

Ovulation at around 14 days after the start of a period is not a rule for most women. As mentioned above, fertility can occur in as little as four days. Therefore, this is not a reliable method to predict when a couple can conceive or when it can prevent pregnancy.

The withdraw or pull-out method is when a man removes his penis from the vagina prior to ejaculation. This seems like it would work, except for that a little bit of fluid that comes out of the penis during stimulation. This fluid has a chance of carrying sperm in the urethra from a previous ejaculation. And we know how long sperm can possibly last.

It doesn’t require much sperm for a woman to become pregnant, either. In the end, only one little guy is required- or allowed- to fertilize, but because millions are in each ejaculation, there could be hundreds left in the urethra. And there is always a chance some could make it to the egg.

Positioning after or during sex does not have an effect on whether a couple gets pregnant. To improve the chances of conceiving, some people believe that if a woman inverts herself it will help the sperm find its way. Aside from lying down for a few minutes after sex, positioning will have no bearing on pregnancy chances. Additionally, positions, such as standing, will not prevent a pregnancy either.

When there is a chance of becoming pregnant in any of the above scenarios, the idea that getting pregnant can’t happen from having sex once is easily dismissed.

In fact, there is even a greater chance of getting pregnant given the amount of time that a woman is fertile during a cycle and how long sperm has to find the egg.

Kourtney Bailey can be reached at linfieldreviewbailey@gmail.com.

Students were immersed in the Spanish culture for an evening during “Taste of: Spain” on April 24 at La Rambla on Third Street in McMinnville.

La Rambla is a street mall in Barcelona, Spain. The local restaurant serves Spanish cuisine with a northwest twist.

La Rambla’s menu changes on a seasonal basis. Currently, it features dishes with diverse ingredients that combine to create fitting flavors. For example, one of the salads is made with baby spinach, apples and ham.

The meal commenced with tapas, which are not similar to American appetizers. La Rambla has cold tapas, such as salted almonds, marinated olives, roasted beets and an assortment of cheeses. Hot tapas include grilled cauliflower, stuffed mushrooms, steamed clams, sautéed garlic shrimp, spice-rubbed steak and seared duck breast. Tapas will sometimes account for an entire meal in certain bars in Spain.

A unique part of the menu is La Rambla paella. It is a large dish originating from Valencia, a state in Spain, made with rice with shrimp, clams, chorizo, green beans, peppers, onion and saffron. Patrons can order a large or small serving of paella to share with a group.

“I had learned about the Spanish dish paella in my high school Spanish class and it was fun to be able to try it,” Carey said.

For desserts, La Rambla offers churros, almond or chocolate tortes, vanilla custard, orange flan, apple bread pudding and ice cream with salted almond caramel or chocolate sauce.

Students reviewed that La Rambla’s prices are not too high, although it is a classy restaurant.

“The restaurant was pretty upscale in my opinion. The lighting was pretty dim, and there were candles on the tables,” Carey said.

Students enjoyed the decorations, although the music did not contribute to the atmosphere.

“It is pretty dark and well decorated,” senior Nora Burnfield said. “The bar is really neat looking. The music, however, doesn’t really match the Spanish theme.”

Wildcats who participate in the “Taste Of” trips say they provide new tastes and opportunities, which is always a positive experience.

“For people who are interested in learning about other countries and cultures, the “Taste of” trips give them the chance to do so in a fun and really inexpensive way,” Carey said.

Carrie Skuzeski/Culture editor

Carrie Skuzeski can be reached at linfieldreviewculture@gmail.com.

Four musicians from the Oregon Symphony joined together to form the Mousai Remix quartet that performed April 25 at Delkin Recital Hall.

Members of the quartet first met at a sight-reading party and realized that they enjoyed playing together. Their goal is to play within the community.

They often play with children, in elderly homes and with the children’s outreach program for the Oregon Symphony.

They like playing in a quartet because they like to mix it up and interpret the music how they view it, they said.

With an energetic start, Mousai Remix performed the first movement of W.C. Handy’s string quartet.

There was a sense of connection and it was evident that the performers enjoyed playing the music together.

Emily Cole is a violinist originally from Seattle and has been with the Oregon Symphony for two years.

Cole began playing the piano at 6 years old, but not by choice.

She eventually switched to the violin, where she first studied under her mother, who is a violinist in the Seattle Symphony.

Shin-young Kwon is a violinist from South Korea and studied at the Manhattan School of Music.

Kwon began playing the piano at 3 years old, then at 6 years old, learned how to play the violin. She now plays the piano but only as a hobby.

Marilyn de Oliveira is a cellist from Brazil. She came to the U.S. to go to college and has been with the Oregon Symphony for four years.

De Oliveira has been playing the cello since she was 5 years old.

Her older sister plays the violin and her father told her that she could play the same instrument as her sister or something bigger. So de Oliveira chose a larger instrument.

Jennifer Arnold, who plays viola, is from Ohio and has been with the Oregon Symphony for eight seasons.

Arnold first started playing the violin. During a summer camp in high school there were not enough violas so the violins had to switch back and forth. Arnold decided to just stick with the viola.

The members of the Mousai Remix string quartet think that the future of classical music as a popular genre is having an open mind in attracting an audience and encouraging it to look up what it’s interested in or pieces it’s heard, but also just having fun.

Linfield’s own string quartet then played “Adagio for Strings” by Samuel Barber, which is often used in film and television.

It was used in “Sicko” (2007), “Elephant Man” (1980) and has been heard in episodes of “Southpark” and “How I Met Your Mother.”

The Linfield quartet consists of sophomore violinist  Sasha Meyer, junior violinist Lauren Pak, freshman violist Richard Liang and sophomore cellist Alyssa Townsend.

Mousai Remix and Linfield then combined their quartets to play “Adagio for Strings” again.

The members of Mousai Remix advised the Linfield quartet on how it can improve playing together and gave it some examples.

Mousai Remix finished the concert by playing the second and fourth movement of Handy’s string quartet.

Kiera Downs/Copy editor

Kiera Downs can be reached at linfieldreviewculture@gmail.com.