I've been drinking again. Read what I think about things.
Arcade Fire
The Suburbs (2010)
Rating: 9.0 (out of 10)
I wish I was in Arcade Fire. If you watch any of the band's live performances, whether they be on TV or in person, you'll feel inspired. Quite frankly, they give a shit. You might think they're overrated, you might think they're too safe, you might think they're whatever. Thing is, if you watch them play any of their songs you're going to realize that this is a band that believes in what they're doing.
Three albums into their career, Arcade Fire are untouchable. As good as Neon Bible was, its political bent seemed a bit immature and short-sighted at times. This is a band that works best when examining the rot that incapacitates us in everyday life, and that's the sort of thing they focus on in The Suburbs.
Let's start with the opening track, a lock-step piano number named after the album itself. Good luck getting it out of your head. And if you're moving forward with your life, if your starting to become an adult with a capital A, you're going to pick up on some other things. Win Butler's pleas to have a daughter before he's too old to show her joy, his desire to let others feel the ephemeral sensations he's barely clinging on to, those are feelings I can't help but admire. Putting this sort of shit into words is nearly impossible, but I'll be damned if this dude doesn't figure out a way.
And fuck, "Ready to Start" is a beast. That bass line dominates my brain day in and day out. The song sounds like it was made 20 years ago, but the themes resonate now. The energy behind it is incredible. "Month of May" is the same way, an effort by a band specializing in the grandiose to make a short, perfect pop song that people like me will lose their shit over. Guess what? Both attempts were unquestionably successful, and "Ready to Start" makes me sad, angry, and happy all at once.
If "Rococo" annoys you at first (it did me), let its climax take you over. If "Empty Room" channels Bowie, you shouldn't care. If "City With No Children" makes you a little bid sad, you're going to have to come to terms with that. "Deep Blue" is gorgeous, "We Used to Wait" is appropriately jaunty, and "Sprawl II (Mountains Beyond Mountains)" is goddamned perfect. This record is meant as a statement, as a collective unit of songs that lets us know that life isn't ever going to be a picnic. We're all going to be fighting through this shit for as long as we exist. If The Suburbs is anything, and it is, it's the sound of growing up and realizing the damning truths that haunt all of us every single day.
Neon Bible was a really good record, one of my favorite of the past decade. Funeral, it's even better. The reason The Suburbs leans closer in excellence to Funeral than Neon Bible is its reliance on personal narratives, its dependence on the bullshit we all go through every single day. I'm 25 years old now, and I'm married. I lost my father in May. I've got gray hair and I'm getting increasingly chubby. I have debt, and a lot of the time I think my family resents me. It's because of all this, my aging, my fears, my perspective, that I am able to appreciate The Suburbs even more than I normally would. Yeah, this record sounds great, but if you listen to what Win Butler has to say and you're anywhere near the same position I am, you're going to get an added bonus.
Funeral , all full of youthful idealism and excitement, it's the band's crowning achievement. But The Suburbs, this is a close enough second, an album so sad that it's confident. This is a record I will happily stand behind no matter what. This is a record I'm going to hold dear when I have children of my own, and I can't say that about most of the discs I listen to on a daily basis. For the third time, Arcade Fire have crafted one of the year's best.
Saturday, August 21, 2010
Tuesday, May 25, 2010
Dance Yrself Dirty
LCD Soundsystem
This Is Happening (2010)
Rating: 8.5 (out of 10)
For those unaware, LCD Soundsystem mastermind James Murphy has created something of a debate among those who fill their free hours by listening to music. To some, Murphy represents the real fucking deal, the guy who blends beats, rock tendencies, and bizarre electronic noises better than anyone. To some, Murphy is a producer at the top of his game, a true titan of the music scene as it stands in 2010. However, for all the critical acclaim that has been shoveled LCD's way over the past half-decade and change, there are certainly still detractors. There are plenty of negative (or middling) words to be read concerning Murphy, and there are plenty of folks not ready to adorn his latest (and reportedly last) work as LCD Soundsystem an unqualified success.
Now it's time to announce my own stance. Me, I'm in Murphy's corner all the way. No, I'm not going to ever list LCD Soundsystem as one of my top handful of artists ever, but in the here and now there aren't really many better acts going. Even more impressive is the fact that each of the three major LCD records have shown improvements. The self-titled debut was impressive but occasionally uneven, but Sound of Silver and This Is Happening are both just about flawless. And when I say that, I mean it. Neither album is bound to elicit a whole lot of track-skipping.
I also don't fault Murphy one bit when it comes to his socially self-aware lyrics. As a guy who's spent a long time in the music game, he's obviously concerned about how he and his work are viewed to some degree. Does that make him come off as arrogant at times? I don't really think so, but others do. To me, as a creative-type person, you're always at least minimally curious to see what others think of your creations. To deny that is to embrace ignorance or feign some sort of cool that just doesn't (and shouldn't) exist. So if Murphy wants to talk about his reluctance to go certain directions with his art, his tendencies to worry about critical opinion, or his own poetic doubts, I don't see how that's anything but open and honest. If you want to bitch about the oblique nature of lyrics in indie music, LCD Soundsystem shouldn't be your target.
Having officially put my arm around Murphy, let me also say that I realize the guy is influenced by others. You don't have to pull my arm to get me to admit I hear some Talking Heads, David Bowie, and Brian Eno on Happening. Thing is, if we're going to start bitching at artists who take some of their creative notes from others, who are we not going to bitch at? So if you're me, you don't give two shits that "All I Want" sounds somewhat like Bowie. You just care that it's awesome, and you care that the lead guitar and random bleeps and bloops get the job done. You also don't care that Murphy takes almost three minutes to get into the meat of "Dance Yrself Clean". You care that once he does, it's totally worth it, and you literally can't stop different body parts from sporadically twitching.
"You Wanted A Hit", that's a great song, too. Nearly nine minutes of constant buildup about the artistic process are always welcome here. Over the course of the nine tracks on This Is Happening, boredom isn't going to ensue. As I alluded to earlier, there isn't a particularly weak track in the bunch. Oddly enough, the weakest is probably either lead single "Drunk Girls" or the slow, meandering penultimate "Somebody's Calling Me". Honestly, though, I wouldn't refer to either as weak. As my rating suggests, this is an excellent record I'll be listening to early and often. If this is the last thing we get from Murphy under his current nominal existence, I'm cool with it. Way to go out on top. Regardless, the 40 year-old is among the best and smartest producers working right now, so we'll be hearing from him again one way or another.
This Is Happening (2010)
Rating: 8.5 (out of 10)
For those unaware, LCD Soundsystem mastermind James Murphy has created something of a debate among those who fill their free hours by listening to music. To some, Murphy represents the real fucking deal, the guy who blends beats, rock tendencies, and bizarre electronic noises better than anyone. To some, Murphy is a producer at the top of his game, a true titan of the music scene as it stands in 2010. However, for all the critical acclaim that has been shoveled LCD's way over the past half-decade and change, there are certainly still detractors. There are plenty of negative (or middling) words to be read concerning Murphy, and there are plenty of folks not ready to adorn his latest (and reportedly last) work as LCD Soundsystem an unqualified success.
Now it's time to announce my own stance. Me, I'm in Murphy's corner all the way. No, I'm not going to ever list LCD Soundsystem as one of my top handful of artists ever, but in the here and now there aren't really many better acts going. Even more impressive is the fact that each of the three major LCD records have shown improvements. The self-titled debut was impressive but occasionally uneven, but Sound of Silver and This Is Happening are both just about flawless. And when I say that, I mean it. Neither album is bound to elicit a whole lot of track-skipping.
I also don't fault Murphy one bit when it comes to his socially self-aware lyrics. As a guy who's spent a long time in the music game, he's obviously concerned about how he and his work are viewed to some degree. Does that make him come off as arrogant at times? I don't really think so, but others do. To me, as a creative-type person, you're always at least minimally curious to see what others think of your creations. To deny that is to embrace ignorance or feign some sort of cool that just doesn't (and shouldn't) exist. So if Murphy wants to talk about his reluctance to go certain directions with his art, his tendencies to worry about critical opinion, or his own poetic doubts, I don't see how that's anything but open and honest. If you want to bitch about the oblique nature of lyrics in indie music, LCD Soundsystem shouldn't be your target.
Having officially put my arm around Murphy, let me also say that I realize the guy is influenced by others. You don't have to pull my arm to get me to admit I hear some Talking Heads, David Bowie, and Brian Eno on Happening. Thing is, if we're going to start bitching at artists who take some of their creative notes from others, who are we not going to bitch at? So if you're me, you don't give two shits that "All I Want" sounds somewhat like Bowie. You just care that it's awesome, and you care that the lead guitar and random bleeps and bloops get the job done. You also don't care that Murphy takes almost three minutes to get into the meat of "Dance Yrself Clean". You care that once he does, it's totally worth it, and you literally can't stop different body parts from sporadically twitching.
"You Wanted A Hit", that's a great song, too. Nearly nine minutes of constant buildup about the artistic process are always welcome here. Over the course of the nine tracks on This Is Happening, boredom isn't going to ensue. As I alluded to earlier, there isn't a particularly weak track in the bunch. Oddly enough, the weakest is probably either lead single "Drunk Girls" or the slow, meandering penultimate "Somebody's Calling Me". Honestly, though, I wouldn't refer to either as weak. As my rating suggests, this is an excellent record I'll be listening to early and often. If this is the last thing we get from Murphy under his current nominal existence, I'm cool with it. Way to go out on top. Regardless, the 40 year-old is among the best and smartest producers working right now, so we'll be hearing from him again one way or another.
Saturday, May 22, 2010
Pearl Harbor
Here is a self-serving, dramatic poem thing I wrote. Hey, we all deal with things in our own way!
When I was younger, I used to think things were going to be okay. My head used to hurt. But me, I thought everything was going to be okay. My mom, she started to take drugs to make it all go away. My dad, he started to drink more and hope it would go away. My mom, she started to dream things she never saw. My dad, his chest started to hurt. When I was young, I thought everything was going to be okay. My mom, she started to cry alone in the bathroom. My dad, he started to put his head in his hands. Me, I started to take a dozen pills at a time. When I was young, I thought everything was going to be okay. My mom, she started to burst blood vessels. My dad, he started coughing up blood. Me, I started cutting holes in my arms. My sister, she tried to ignore it all. When I was young I told everyone we were all great. My mom, she started to feel things she shouldn't. My dad, he never saw a doctor. Me, my face started to burn, My sister, she had to hold her past so tight. My brother, his fists started to clinch. When I was young, I looked the other way. My mom, her eyes were so red. My dad, he fell apart so fast. Me, I wished he could see me. My sister, she stood on such a pillar. My brother, he only told his wife. When I was young, I lost my father. My mom, she was so embarrassed to feel how she did. My dad, he's somewhere else. Me, I'm so goddamn numb. My sister, she works it away. My brother, he doesn't believe it. None of us believe it. Us, we're all asleep. Us, we're all dead. It's just a matter of time. But please, please don't give up before it's over.
When I was younger, I used to think things were going to be okay. My head used to hurt. But me, I thought everything was going to be okay. My mom, she started to take drugs to make it all go away. My dad, he started to drink more and hope it would go away. My mom, she started to dream things she never saw. My dad, his chest started to hurt. When I was young, I thought everything was going to be okay. My mom, she started to cry alone in the bathroom. My dad, he started to put his head in his hands. Me, I started to take a dozen pills at a time. When I was young, I thought everything was going to be okay. My mom, she started to burst blood vessels. My dad, he started coughing up blood. Me, I started cutting holes in my arms. My sister, she tried to ignore it all. When I was young I told everyone we were all great. My mom, she started to feel things she shouldn't. My dad, he never saw a doctor. Me, my face started to burn, My sister, she had to hold her past so tight. My brother, his fists started to clinch. When I was young, I looked the other way. My mom, her eyes were so red. My dad, he fell apart so fast. Me, I wished he could see me. My sister, she stood on such a pillar. My brother, he only told his wife. When I was young, I lost my father. My mom, she was so embarrassed to feel how she did. My dad, he's somewhere else. Me, I'm so goddamn numb. My sister, she works it away. My brother, he doesn't believe it. None of us believe it. Us, we're all asleep. Us, we're all dead. It's just a matter of time. But please, please don't give up before it's over.
Monday, May 17, 2010
Somber Situations
I'll talk about music as much as I want. Fuck yourself.
The National
High Violet (2010)
Rating: 8.5 (out of 10)
The National have been a go-to band for those up late with nothing to do but drink for a while now. It's those baritone vocals, the gradual impact of the band's sound, and those jittery drums. It's the feeling you get when you try to imitate the voice yourself after too many drinks, it's the high you hit once the band reaches their own climax. For those familiar with what The National do, High Violet isn't going to be particularly surprising, but that isn't always a bad thing. This is an incredibly dependable band releasing its third consecutive eyebrow-raising record. This is acute professionalism cloaked in doom and a little bit of guarded optimism. This is, in many ways, the culmination of what The National have been hinting at for some time.
Is High Violet as good as Boxer or Alligator? Maybe not, but does it matter? All three records are exercises in precision and restraint. The National are good because they aren't going to beat you over the head with how epic they (sort of) are. If you're listening to a Broken Social Scene song and it gets epic, it's going to blow you the fuck out of the room. You're going to hear more instruments and vocal tracks than you can count. You're going to get overwhelmed, and that works for them. But The National are a little bit trickier. Take "Afraid of Everyone," for example. The song builds gradually around a haunting melody. The back-up vocals (in part provided by Sufjan Stevens) coo while the instruments swirl. And as for that baritone voice (it's Matt Berninger for those not acquainted), it does a lot of work. By the end of the song, you're going to be shitting your pants, but you're not going to be sure how you got to that point. And once you pass "Afraid" on the track list, you're going to have a similar reaction to the stellar "Bloodbuzz, Ohio".
So if The National have been doing pretty much the same thing for three straight albums, why do I praise them? Why the kind words? Well, things keep changing slightly. On Alligator the band lost their shit sometimes. Berninger would start to freak out and things would get a little bit out of hand; that's what worked for The National five years ago. A couple of years later on Boxer, the band grew up a little bit, mastering the art of tension and subtle release, captivating audiences with a dark aesthetic and antsy drums. High Violet follows this trajectory logically, offering the collective cool executed so perfectly on Boxer while beefing up the instrumentation and giving Berninger more room to breathe. Those unimpressed with what High Violet are probably disappointed the band has yet to craft their real masterpiece. For me, it's enough that the band consistently dabbles in excellence.
If there's a complaint to be had, it's that High Violet doesn't feature anything that could really be considered up-tempo. It might have been nice for a couple of energetic songs to find their way in both the first and last half of the album, but to demand it would be foolish. The National know what they're doing, and because they do they've been able to rise near the top of the indie-rock world as we enter a new decade. Smack dab in the middle of their career, this is a band that even has some room to grow. Just as I felt after Boxer, the best may be yet to come.
The National
High Violet (2010)
Rating: 8.5 (out of 10)The National have been a go-to band for those up late with nothing to do but drink for a while now. It's those baritone vocals, the gradual impact of the band's sound, and those jittery drums. It's the feeling you get when you try to imitate the voice yourself after too many drinks, it's the high you hit once the band reaches their own climax. For those familiar with what The National do, High Violet isn't going to be particularly surprising, but that isn't always a bad thing. This is an incredibly dependable band releasing its third consecutive eyebrow-raising record. This is acute professionalism cloaked in doom and a little bit of guarded optimism. This is, in many ways, the culmination of what The National have been hinting at for some time.
Is High Violet as good as Boxer or Alligator? Maybe not, but does it matter? All three records are exercises in precision and restraint. The National are good because they aren't going to beat you over the head with how epic they (sort of) are. If you're listening to a Broken Social Scene song and it gets epic, it's going to blow you the fuck out of the room. You're going to hear more instruments and vocal tracks than you can count. You're going to get overwhelmed, and that works for them. But The National are a little bit trickier. Take "Afraid of Everyone," for example. The song builds gradually around a haunting melody. The back-up vocals (in part provided by Sufjan Stevens) coo while the instruments swirl. And as for that baritone voice (it's Matt Berninger for those not acquainted), it does a lot of work. By the end of the song, you're going to be shitting your pants, but you're not going to be sure how you got to that point. And once you pass "Afraid" on the track list, you're going to have a similar reaction to the stellar "Bloodbuzz, Ohio".
So if The National have been doing pretty much the same thing for three straight albums, why do I praise them? Why the kind words? Well, things keep changing slightly. On Alligator the band lost their shit sometimes. Berninger would start to freak out and things would get a little bit out of hand; that's what worked for The National five years ago. A couple of years later on Boxer, the band grew up a little bit, mastering the art of tension and subtle release, captivating audiences with a dark aesthetic and antsy drums. High Violet follows this trajectory logically, offering the collective cool executed so perfectly on Boxer while beefing up the instrumentation and giving Berninger more room to breathe. Those unimpressed with what High Violet are probably disappointed the band has yet to craft their real masterpiece. For me, it's enough that the band consistently dabbles in excellence.
If there's a complaint to be had, it's that High Violet doesn't feature anything that could really be considered up-tempo. It might have been nice for a couple of energetic songs to find their way in both the first and last half of the album, but to demand it would be foolish. The National know what they're doing, and because they do they've been able to rise near the top of the indie-rock world as we enter a new decade. Smack dab in the middle of their career, this is a band that even has some room to grow. Just as I felt after Boxer, the best may be yet to come.
Sunday, May 16, 2010
Joy! Joy! Joy!
It's time for you to read about the newest of The New Pornographers. Don't want to? Then I hate you.
The New Pornographers
Together (2010)
Rating: 8.5 (out of 10)
Since I started writing songs myself, really writing songs, I've always had something of a power-pop bent. There's something magical about big chords, sweet hooks, and choruses you just keep wanting to return to long after a first listen. Despite my love of quality power-pop, I've run into some issues when searching for artists to fill this particular musical void. Scratch that. Really it's just one issue. Most power-pop bands are shitty. It's because of this fact that I so readily latched onto The New Pornographers, a band that includes folks like Carl Newman (once of Zumpano), Dan Bejar (of Destroyer), and Neko Case (she has a prominent solo career).
After three truly excellent albums to begin their career together, The New Pornos sort of faltered on their senior outing. It's not that 2007's Challengers was bad or anything, it just wasn't up to standards. Quite frankly, it felt like an album made by a talented collective that lost their steam and was ready to fall into Veteran Indie Musician Mediocrity. Three years later, I know all of that to be complete bullshit. Challengers was a little bit of a misfire, but it had very little to do with the career path the band had in mind. This is crystal clear right out of the gate on Together.
"Moves" is the sort of Pornos song that litters 2005's Twin Cinema. It runs around, ratchets up the happy, and rattles between the ears. As soon as I heard it for the first time, I felt abundant relief and excitement for the rest of the album. "Crash Years" is catchy as hell, and even if it isn't "Letter From An Occupant," Neko Case really tears it up. And then comes "Your Hands (Together)," another song with a big hook and some unforgettable moments. Let's just say Together has a powerful triumvirate to start things off, and things don't get much worse the rest of the way. "Sweet Talk, Sweet Talk" feels pretty triumphant, and "Valkyrie In the Roller Disco" offers a temporary and effective change of pace. "A Bite Out of My Bed" is a real pop gem, while "We End Up Together" fits perfectly as this album's closer.
Things aren't completely flawless on Together, but they're reasonably close. Once again, Dan Bejar's contributions feel a little bit, um, annoying sometimes. "Silver Jenny Dollar" is pleasant enough, but Bejar's exaggerated pronunciations are starting to wear thin on me. "If You Can't See My Mirrors" has sort of the same effect; Bejar just sounds creepy sometimes, and not in the good way.
The overall package presented to us as Together is a really good one that falls just short of the band's very best moments. Together is aptly named. For me, it's a record that you listen to with someone you love, something you have playing while your windows are down and you're driving somewhere exciting. Appropriately enough given its release date, it's a fantastic group of songs to listen to as the flowers bloom and spring gives way to summer. I'm pleasantly surprised by this one, and I've learned my lesson. Quit doubting immense talent.
The New Pornographers
Together (2010)
Rating: 8.5 (out of 10)
Since I started writing songs myself, really writing songs, I've always had something of a power-pop bent. There's something magical about big chords, sweet hooks, and choruses you just keep wanting to return to long after a first listen. Despite my love of quality power-pop, I've run into some issues when searching for artists to fill this particular musical void. Scratch that. Really it's just one issue. Most power-pop bands are shitty. It's because of this fact that I so readily latched onto The New Pornographers, a band that includes folks like Carl Newman (once of Zumpano), Dan Bejar (of Destroyer), and Neko Case (she has a prominent solo career).
After three truly excellent albums to begin their career together, The New Pornos sort of faltered on their senior outing. It's not that 2007's Challengers was bad or anything, it just wasn't up to standards. Quite frankly, it felt like an album made by a talented collective that lost their steam and was ready to fall into Veteran Indie Musician Mediocrity. Three years later, I know all of that to be complete bullshit. Challengers was a little bit of a misfire, but it had very little to do with the career path the band had in mind. This is crystal clear right out of the gate on Together.
"Moves" is the sort of Pornos song that litters 2005's Twin Cinema. It runs around, ratchets up the happy, and rattles between the ears. As soon as I heard it for the first time, I felt abundant relief and excitement for the rest of the album. "Crash Years" is catchy as hell, and even if it isn't "Letter From An Occupant," Neko Case really tears it up. And then comes "Your Hands (Together)," another song with a big hook and some unforgettable moments. Let's just say Together has a powerful triumvirate to start things off, and things don't get much worse the rest of the way. "Sweet Talk, Sweet Talk" feels pretty triumphant, and "Valkyrie In the Roller Disco" offers a temporary and effective change of pace. "A Bite Out of My Bed" is a real pop gem, while "We End Up Together" fits perfectly as this album's closer.
Things aren't completely flawless on Together, but they're reasonably close. Once again, Dan Bejar's contributions feel a little bit, um, annoying sometimes. "Silver Jenny Dollar" is pleasant enough, but Bejar's exaggerated pronunciations are starting to wear thin on me. "If You Can't See My Mirrors" has sort of the same effect; Bejar just sounds creepy sometimes, and not in the good way.
The overall package presented to us as Together is a really good one that falls just short of the band's very best moments. Together is aptly named. For me, it's a record that you listen to with someone you love, something you have playing while your windows are down and you're driving somewhere exciting. Appropriately enough given its release date, it's a fantastic group of songs to listen to as the flowers bloom and spring gives way to summer. I'm pleasantly surprised by this one, and I've learned my lesson. Quit doubting immense talent.
Wednesday, April 21, 2010
I Wish I Had Created Mythology
Clash of the Titans (2010)
Starring: Sam Worthington, Liam Neeson, Ralph Fiennes, Jason Flemyng, Gemma Arterton, Alexa Davalos
Rating: 5.0 (out of 10)
What's really strange to me is that despite serious plot similarities, the 2010 edition of Clash of the Titans doesn't begin to resemble the 1981 version. The 1981 version featured some interesting and campy special effects and animation, a tin can owl, and some shaky acting that almost lent to the movie's feel. As for the 2010 version, we get CGI monsters oozing from every direction, decent-enough acting, and an ending that feels rushed. So yeah, the events are pretty much the same, but the manners in which they are depicted are worlds apart.
Just like the original film, Clash of the Titans tells the story of Perseus, a half-man, half-god fellow who has to find a way to stop the gods of Olympus from unleashing a beast upon the town or Argus. Perseus is played by Sam Worthington (Avatar, Terminator Salvation), who isn't really given much to work with in terms of dialogue or character development. If Perseus is to save the day, he and his merry band of monster killers must get through a slew of challenges while avoiding the wrath of the gods. Greek mythology is pretty badass, so this should be interesting, right?
Nope.
In my mind, the original Clash of the Titans worked well because it gave time to the correct elements of the story, and the jittery, stop-and-start effects worked because the story itself is one that requires such enormous suspension of disbelief. The 2010 Titans reboot simply beats viewers over the head with action, only nodding at many conventions of the original. And as for pacing, the new Titans contains a boring and unnecessary "Perseus coming of age" intro before getting into the real story. Plus, there's the scorpion fight scene that lasts roughly 500 times longer than the ultimate battle against the legendary Kraken. Oh, and if characters matter much to you, don't bother seeing this movie, because no one in it is given time to turn into more than a two-dimensional cardboard cutout of a character.
Speaking of dimensions, I saw this thing in 3D. I should tell you that I've only seen two 3D movies, and the other one was Avatar. Seeing as how you're now privy to this information, you ought to know without me telling you that I hated the 3D presentation of Clash of the Titans. Virtually nothing in the movie really took advantage of the 3D format, making me think that the movie was rushed into a 3D version to cash in on the reputation Avatar carved.
On a side note, we didn't even get to see the real previews for Clash of the Titans, as Campbell 16 Cinema in Springfield, Missouri decided they were going to show us the kid-bait trailers that normally air before How To Train Your Dragon. Oh, and if that's not enough, you should know that we actually had to watch a couple of minutes of the Dragon movie before the issue was corrected. And we didn't get to watch the credits to the movie we paid for. So yeah, fuck Campbell 16.
So in closing, Clash of the Titans is a merely average-ish action romp, and it's only that because of the strength of the source material and the decent cast. If you do decide to see Titans, just do it sans 3D or you'll leave the theater with nothing but a headache and unanswerable questions.
Starring: Sam Worthington, Liam Neeson, Ralph Fiennes, Jason Flemyng, Gemma Arterton, Alexa Davalos
Rating: 5.0 (out of 10)
What's really strange to me is that despite serious plot similarities, the 2010 edition of Clash of the Titans doesn't begin to resemble the 1981 version. The 1981 version featured some interesting and campy special effects and animation, a tin can owl, and some shaky acting that almost lent to the movie's feel. As for the 2010 version, we get CGI monsters oozing from every direction, decent-enough acting, and an ending that feels rushed. So yeah, the events are pretty much the same, but the manners in which they are depicted are worlds apart.
Just like the original film, Clash of the Titans tells the story of Perseus, a half-man, half-god fellow who has to find a way to stop the gods of Olympus from unleashing a beast upon the town or Argus. Perseus is played by Sam Worthington (Avatar, Terminator Salvation), who isn't really given much to work with in terms of dialogue or character development. If Perseus is to save the day, he and his merry band of monster killers must get through a slew of challenges while avoiding the wrath of the gods. Greek mythology is pretty badass, so this should be interesting, right?
Nope.
In my mind, the original Clash of the Titans worked well because it gave time to the correct elements of the story, and the jittery, stop-and-start effects worked because the story itself is one that requires such enormous suspension of disbelief. The 2010 Titans reboot simply beats viewers over the head with action, only nodding at many conventions of the original. And as for pacing, the new Titans contains a boring and unnecessary "Perseus coming of age" intro before getting into the real story. Plus, there's the scorpion fight scene that lasts roughly 500 times longer than the ultimate battle against the legendary Kraken. Oh, and if characters matter much to you, don't bother seeing this movie, because no one in it is given time to turn into more than a two-dimensional cardboard cutout of a character.
Speaking of dimensions, I saw this thing in 3D. I should tell you that I've only seen two 3D movies, and the other one was Avatar. Seeing as how you're now privy to this information, you ought to know without me telling you that I hated the 3D presentation of Clash of the Titans. Virtually nothing in the movie really took advantage of the 3D format, making me think that the movie was rushed into a 3D version to cash in on the reputation Avatar carved.
On a side note, we didn't even get to see the real previews for Clash of the Titans, as Campbell 16 Cinema in Springfield, Missouri decided they were going to show us the kid-bait trailers that normally air before How To Train Your Dragon. Oh, and if that's not enough, you should know that we actually had to watch a couple of minutes of the Dragon movie before the issue was corrected. And we didn't get to watch the credits to the movie we paid for. So yeah, fuck Campbell 16.
So in closing, Clash of the Titans is a merely average-ish action romp, and it's only that because of the strength of the source material and the decent cast. If you do decide to see Titans, just do it sans 3D or you'll leave the theater with nothing but a headache and unanswerable questions.
Wednesday, March 31, 2010
I Don't Need Synergy in My Music
You want a review, you say? Fine. Read up.
Coheed and Cambria
Year of the Black Rainbow (2010)
Rating: 5.5 (out of 10)
My first experience with Coheed and Cambria came while I was still a teenager. That's the sort of statement usually used to form an excuse for liking an artist that, well, doesn't deserve to be referred to as an artist. That's not my angle here, though, so I'm getting back to my story now. When I was a teenager, I first heard Coheed and Cambria on some awful MTV Road Rules compilation disc by accident. The song I heard was "33", a jaunty, fun little bastard of a track. I heard catchy melodies, impressive instrumentation, and vocals that I wasn't sure were made by a male, female, or dolphin. The overall package interested me, so away I went to CD Warehouse to purchase the band's debut, The Second Stage Turbine Blade. I grew to love the aforementioned debut album, a furious combination of all of the elements "33" embodied and then some. To this day, I hold the album in high regard despite the fact that most people who know a good band from their asshole would scold me. Hell, I even loved the sophomore album, and I went and saw the band play three times. I've just described how my love affair with Coheed began; now that it's mostly ended (we give in to our mutual attraction every now and then still), let me detail how far things have fallen.
The problem is, Coheed and Cambria got so full of themselves and started treating me like shit. They knew how I felt about them, so she used it to their full advantage. First there was that third album and it's pointlessly-long title. They teased me with that one, giving me things like "Welcome Home" and "The Suffering". But they also got all bloated and fat, content with doing whatever. So then my love began to wane; I began to question things. But it was just one album, so I persevered. Well, I persevered until they dumped another long-titled pile on me, one with even less to appease my pathetic devotion. That's when I left them and went elsewhere, letting The Hold Steady make love to my ears instead.
Now that you have the back story, I need to tell you that Coheed and Cambria showed up on my doorstep with something called Year of the Black Rainbow, a peace offering. Turns out, though, they're still just a big fucking tease, but they at least hint at a future together. Black Rainbow starts out in pompous fashion with a big, dumb block of atmosphere before launching into "The Broken", a track I actually enjoy. The band goes back to sensibly approaching melody, and it pays off. But then I'm stuck with more filler before getting to "Here We Are Juggernaut", which itself only has moments of real coherence. The next song, "Far", may be my favorite on the album because it really throws me off the typical trail. Rather than just wank all over an overused riff, Coheed takes the time to build a cool song using moody, giant percussion and weeping guitars.
Things slow back down until "Made Out of Nothing (All That I Am)", another stomping percussion song with a nice, simple lead guitar part. The chorus missteps, but not so much that it tanks the song. "In the Flame of Error" has its moments, but moments alone cannot carry a five-and-a-half minute song, and they can't cushion the blow of the superfluous album closer.
Despite Black Rainbow's ultimate failure, there are some good signs present. The band clearly feels more comfortable embracing a moodier, more subdued sound at times, and a lot of the punchier, early-day songwriting skills manifest themselves from time to time. I'd like to say I now feel as if the band is maturing and can shed their huge, shit-rock tendencies in favor of honest-to-God well-written songs. But that's not how I feel. After all, the electro-tendencies of singer Claudio Sanchez's solo project (Prize Fighter Inferno's My Brother's Blood Machine) have only barely been realized in his full-time band's work, and that album gave me false hope already. I hate to say it, but I think they might be gone for good. If only I'd learn my lesson.
Coheed and Cambria
Year of the Black Rainbow (2010)
Rating: 5.5 (out of 10)
My first experience with Coheed and Cambria came while I was still a teenager. That's the sort of statement usually used to form an excuse for liking an artist that, well, doesn't deserve to be referred to as an artist. That's not my angle here, though, so I'm getting back to my story now. When I was a teenager, I first heard Coheed and Cambria on some awful MTV Road Rules compilation disc by accident. The song I heard was "33", a jaunty, fun little bastard of a track. I heard catchy melodies, impressive instrumentation, and vocals that I wasn't sure were made by a male, female, or dolphin. The overall package interested me, so away I went to CD Warehouse to purchase the band's debut, The Second Stage Turbine Blade. I grew to love the aforementioned debut album, a furious combination of all of the elements "33" embodied and then some. To this day, I hold the album in high regard despite the fact that most people who know a good band from their asshole would scold me. Hell, I even loved the sophomore album, and I went and saw the band play three times. I've just described how my love affair with Coheed began; now that it's mostly ended (we give in to our mutual attraction every now and then still), let me detail how far things have fallen.
The problem is, Coheed and Cambria got so full of themselves and started treating me like shit. They knew how I felt about them, so she used it to their full advantage. First there was that third album and it's pointlessly-long title. They teased me with that one, giving me things like "Welcome Home" and "The Suffering". But they also got all bloated and fat, content with doing whatever. So then my love began to wane; I began to question things. But it was just one album, so I persevered. Well, I persevered until they dumped another long-titled pile on me, one with even less to appease my pathetic devotion. That's when I left them and went elsewhere, letting The Hold Steady make love to my ears instead.
Now that you have the back story, I need to tell you that Coheed and Cambria showed up on my doorstep with something called Year of the Black Rainbow, a peace offering. Turns out, though, they're still just a big fucking tease, but they at least hint at a future together. Black Rainbow starts out in pompous fashion with a big, dumb block of atmosphere before launching into "The Broken", a track I actually enjoy. The band goes back to sensibly approaching melody, and it pays off. But then I'm stuck with more filler before getting to "Here We Are Juggernaut", which itself only has moments of real coherence. The next song, "Far", may be my favorite on the album because it really throws me off the typical trail. Rather than just wank all over an overused riff, Coheed takes the time to build a cool song using moody, giant percussion and weeping guitars.
Things slow back down until "Made Out of Nothing (All That I Am)", another stomping percussion song with a nice, simple lead guitar part. The chorus missteps, but not so much that it tanks the song. "In the Flame of Error" has its moments, but moments alone cannot carry a five-and-a-half minute song, and they can't cushion the blow of the superfluous album closer.
Despite Black Rainbow's ultimate failure, there are some good signs present. The band clearly feels more comfortable embracing a moodier, more subdued sound at times, and a lot of the punchier, early-day songwriting skills manifest themselves from time to time. I'd like to say I now feel as if the band is maturing and can shed their huge, shit-rock tendencies in favor of honest-to-God well-written songs. But that's not how I feel. After all, the electro-tendencies of singer Claudio Sanchez's solo project (Prize Fighter Inferno's My Brother's Blood Machine) have only barely been realized in his full-time band's work, and that album gave me false hope already. I hate to say it, but I think they might be gone for good. If only I'd learn my lesson.
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