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(01/17/07 10:44pm)
There may be a slough of female songstresses scattered about the indie landscape, but few are able to convey their melancholy quite as deliciously as Julie Doiron does. \nDorion began her career playing bass for Canada's own Eric's Trip in 1990 at age 18. When Eric's Trip ended in 1996, she began a promising solo career under the moniker of "Broken Girl." She eventually began releasing music under her own name and has released six full length albums and two EPs prior to I Woke Myself Up. \nDoiron works her way through 11 tracks in an understated and endearing fashion. This is precisely what makes her musical personality so likable. She sings in a manner that is earnest and telling, but never overbearing. The instrumentation of the record complements these qualities well. In addition to Doiron's signature fingerpicking and strumming of her acoustic guitar, simple accompaniments fill in the areas that otherwise may have been too sparse or dreary.\nIn typical Doiron fashion, she gives us the gist of her anguish, but underlying the sting of disappointment is a hope that shines through even in murky and remorseful songs like "The Wrong Guy." Doiron isn't sad just for the sake of it like some artists today seem to be -- she uses her gloom to make poignant songs that help us recognize and embrace our own mistakes and frailties.\nHowever, one respect in which the downtrodden Doiron disappoints is with the length of the album. The whole endeavor is less than a half-hour and no song reaches the four-minute mark. The underdeveloped song "No More" pulls you in with a laid-back groove and karaoke-worthy vocals only to fade out shortly after two minutes. Some of the album left me wanting more, but in actuality, the pacing of the album actually eliminated any opportunity for me to grow weary with the experience. It could be likely that a conscious decision was made to keep things shorter to keep the album more interesting as a whole. Nevertheless, some songs felt like they could have benefited from additional expansion.\nDespite the album's literal shortcomings, it was still a worthwhile and strangely comforting experience. Listening to this album is like hearing a friend pour his or her heart out when their day hasn't gone right. Like a good friend, you should lend a sympathetic ear to this album.
(02/05/04 7:55am)
I'm the first to admit to being a sucker for award shows. No matter how hokey, silly or self-serving they may be, something about them draws me in, and I end up watching, stunned, like a deer in headlights.\nNo award ceremony entrances me more than the first, oldest and most prestigious of any in the entertainment industry -- the Oscars. Regardless of any injustices carried out by Oscar in the past ("Shakespeare in Love" defeating "Saving Private Ryan" for Best Picture in 1999; a total lack of love for Martin Scorsese), these awards manage to be the most legitimate ass-kissing ritual in Hollywood.\nThis year's Oscars are setting themselves up to be the most satisfying in recent memory. Heavyweights such as "The Return of the King" and "Pirates of the Carribean" will go head to head against the likes of indie gems "Lost in Translation" and "City of God." Who will triumph? Other than the Best Animated Short Film, Best Live Action Short Film and Best Short Subject Documentary categories (of which I cannot claim to have seen any of the nominated films), I believe I've got it figured out.
(02/05/04 5:00am)
Starsailor's second album, Silence is Easy, which follows on the heels of 2002's somewhat superior Love is Here, is a pompous display of production. How fitting that former reclusive genius/current charged murderer Phil Spector was at the helm during much of the album's creation. Spector's patented Wall of Sound, which has ruined just as many records as it's improved, appears here in the form of constant onslaughts of stringed instruments. Most of these instruments overshadow anything else that might be going on underneath.\nMost of the album seems mired in the old-fashioned sensibility that all songs must be about generic love, be it requited or unrequited. The tracks "Fidelity," "Bring My Love," "Restless Heart" and "Four to the Floor" all contain the sort of syrupy-sweet lyrics and vocals that would feel at home in an old school Journey ballad. Though, they seem forced and tacky on a record by a band with the potential of Starsailor. The title track is the finest moment here, with frontman James Walsh repeating the line "Silence is easy, it just becomes me," as Phil Spector's work behind the boards seems to somberly predict his own fate.\nAt the close of its 40 minutes, it becomes apparent that while Silence is Easy may be a very easy album to casually enjoy, it's by no means easy to respect.
(02/05/04 5:00am)
I'm the first to admit to being a sucker for award shows. No matter how hokey, silly or self-serving they may be, something about them draws me in, and I end up watching, stunned, like a deer in headlights.\nNo award ceremony entrances me more than the first, oldest and most prestigious of any in the entertainment industry -- the Oscars. Regardless of any injustices carried out by Oscar in the past ("Shakespeare in Love" defeating "Saving Private Ryan" for Best Picture in 1999; a total lack of love for Martin Scorsese), these awards manage to be the most legitimate ass-kissing ritual in Hollywood.\nThis year's Oscars are setting themselves up to be the most satisfying in recent memory. Heavyweights such as "The Return of the King" and "Pirates of the Carribean" will go head to head against the likes of indie gems "Lost in Translation" and "City of God." Who will triumph? Other than the Best Animated Short Film, Best Live Action Short Film and Best Short Subject Documentary categories (of which I cannot claim to have seen any of the nominated films), I believe I've got it figured out.
(02/05/04 1:01am)
Starsailor's second album, Silence is Easy, which follows on the heels of 2002's somewhat superior Love is Here, is a pompous display of production. How fitting that former reclusive genius/current charged murderer Phil Spector was at the helm during much of the album's creation. Spector's patented Wall of Sound, which has ruined just as many records as it's improved, appears here in the form of constant onslaughts of stringed instruments. Most of these instruments overshadow anything else that might be going on underneath.\nMost of the album seems mired in the old-fashioned sensibility that all songs must be about generic love, be it requited or unrequited. The tracks "Fidelity," "Bring My Love," "Restless Heart" and "Four to the Floor" all contain the sort of syrupy-sweet lyrics and vocals that would feel at home in an old school Journey ballad. Though, they seem forced and tacky on a record by a band with the potential of Starsailor. The title track is the finest moment here, with frontman James Walsh repeating the line "Silence is easy, it just becomes me," as Phil Spector's work behind the boards seems to somberly predict his own fate.\nAt the close of its 40 minutes, it becomes apparent that while Silence is Easy may be a very easy album to casually enjoy, it's by no means easy to respect.
(01/29/04 5:00am)
Stereolab songwriters Tim Gane and Laetitia Sadier obviously adhere to the adage, "if it ain't broke, don't fix it," because they haven't felt the need to fix anything since the 1996 album, Emperor Tomato Ketchup. This isn't necessarily good or bad, but their effort certainly is in question with the release of Margerine Eclipse. \nWhat Stereolab has done best in its seven previous albums of stagnant songwriting is the overlapping of sounds and melodies. Stereolab's ability to superimpose funky beats and rhythms over jangling guitar and soothing, singsong vocals has been a staple of its success. Even with the death of backup singer, Mary Hansen, the band is able to maintain vocal overlapping by mixing tracks of Sadier singing lead and backup parts. A good example is "Dear Marge," in which Sadier's two vocal performances interlace wonderfully. \nThe Marxist-driven lyrics that are commonplace in a Stereolab record appear a bit more sparingly on Eclipse. Regardless, "Margerine Melodie," stands out as one of the most inspired songs on the record, and its social commentary is as frank as Stereolab has ever been. It's obvious that nothing is broken, but much of the group's sound is worn-out -- this must be realized soon, if not, the sound is likely to snap.
(01/28/04 11:18pm)
Stereolab songwriters Tim Gane and Laetitia Sadier obviously adhere to the adage, "if it ain't broke, don't fix it," because they haven't felt the need to fix anything since the 1996 album, Emperor Tomato Ketchup. This isn't necessarily good or bad, but their effort certainly is in question with the release of Margerine Eclipse. \nWhat Stereolab has done best in its seven previous albums of stagnant songwriting is the overlapping of sounds and melodies. Stereolab's ability to superimpose funky beats and rhythms over jangling guitar and soothing, singsong vocals has been a staple of its success. Even with the death of backup singer, Mary Hansen, the band is able to maintain vocal overlapping by mixing tracks of Sadier singing lead and backup parts. A good example is "Dear Marge," in which Sadier's two vocal performances interlace wonderfully. \nThe Marxist-driven lyrics that are commonplace in a Stereolab record appear a bit more sparingly on Eclipse. Regardless, "Margerine Melodie," stands out as one of the most inspired songs on the record, and its social commentary is as frank as Stereolab has ever been. It's obvious that nothing is broken, but much of the group's sound is worn-out -- this must be realized soon, if not, the sound is likely to snap.
(12/12/02 5:45am)
What did you do this year? It was a big year for a lot of things, but movies shined brightest in this year full of big blockbusters, sequels, prequels and even small independent flicks. It used to be a big deal when a film made $100 million. Nowadays it seems that if a film does not reach this mark, it is unsuccessful. Especially since if a film made $104 million this year, it still was only the 21st-highest-grossing film. That's right, 21 movies this year have already cracked triple-digits, and it's not over yet.\nSeven of the top 20 films are still in theaters, and there's still half a month left, which will be filled with other huge movies, like, say, "The Lord of the Rings: The Two Towers." But were all of these movies really worth seeing, and is it a good thing that "Scooby-Doo" grossed $151 million?\nIt is good to see a lot of people enjoying movies, but are we really seeing good movies? To be honest, I have not seen eight of these 21 films, but that is because there is no need to see some of these flicks because I know right now that I will be wasting my money on some crappy acting and an even crappier plot.\nCome on, how did "Sweet Home Alabama" make this much cash? Well, actually, this is a pretty simple explanation. One line in the trailer was really funny. You know, the one with, "You have a baby … in a bar." I will admit, this is pretty funny, but just because one line is funny does not mean we have to spend $124 million on it. If that's all it takes, then why haven't I cashed in on this trailer phenomenon? \nBut c'mon, how the hell did "XXX" make any money? I did actually see this, but that was because it was the first weekend out before reviews came in, and for some reason I did not feel like thinking for two hours. Not only did I not have to think while watching this horrible piece of triple-crap, but I know that brain cells were killed while seeing it. It must have been from all the other idiots in the theater sniffing glue.\nThis was by far the worst movie of the year, but people in the theater thought it was amazing. Vin Diesel, who has been called "like Stallone and Schwarzenegger, but a good actor," is by far one of the worst actors ever. For some reason I like him, though, as long as he does not talk, ever. Just let him drive cars, get in fights and have sex with really hot girls. Actually, you don't need Diesel in that last situation.\nAnother crap-fest was "Men in Black II." I personally loved the first "MIB," but the great thing about it was the initial discovery of the Men in Black world, and that we were just ignorant to it. The plot in the first one blew as well, but other things made up for it. This sequel, which was about as long as an episode of "The Fresh Prince of Bel-Air," was just plot, so it blew as well.\nIn reality, though, a lot of these movies were really good. Of the obvious ones that made a lot of cash, "Spider-Man" was one that, in fact, was a pretty badass movie. Sam Raimi proved that he really is a genius, and Toby Maguire proved that he isn't such a "Wonder Boy" weenie.\n"Harry Potter" was good, and pretty scary for a child (just wait for the third one, though), and "Star Wars: Episode II" brought that franchise back to entertaining roots. (Notice I did not say it was amazing like the originals, but it sure was a good time.) Another great time was "The Ring," which frightened me as well as made me realize that thrillers actually can be creative and original.\nProbably my favorite movie of the summer, which a lot of people saw but hated, was "Signs." This is deserving of the cash it made simply because it was the definitive movie. Rarely does a movie make me laugh out loud, scare the pants off me and make me want to cry like a little girl. That's what a movie is supposed to do -- entertain -- and that is what "Signs" did.\nSo overall, 2002 was a pretty good year for pictures. There were a lot better movies released that did not make much money, like "The Rules of Attraction," or "Bowling for Columbine," but that's what happens when people don't want to think, instead opting to huff paint thinner and watch Vin Diesel ramp motorcycles.\nLuckily for us, though, there are tons of new movies coming out that are sure to reach a mainstream audience as well as make us enjoy ourselves. "LOTR," "Chicago," "Confessions of a Dangerous Mind," "Gangs of New York," "Adaptation," and "Catch Me if You Can" all come out within the next three weeks, and all these films look pretty good and entertaining.\nSo go out and spend your money, but spend it wisely. We don't want to convince filmmakers to make "XXX 2," or would they just call it "XXXX?" Whatever they call it, I'm sure it would suck twice as hard.
(12/12/02 5:39am)
"Mario Party 4" is essentialy a board game played with Gamecube contollers. Playable with all the colorful characters in the Mario world, the new version features five "Party" boards and hundreds of mini-games. Players roll the dice and try to find the elusive star on each board. While doing this, players land on squares that transport them to mini-games to earn coins as well as bragging rights. The mini-games range from individual snowball fights to team rowboat racing. It is almost essential to play this game with human opponents, and because of this, four Weekend reviewers went head to head to battle it out, as well as review the ins and outs of this popular game. Their ratings will range from 1-100 gold coins, with 100 be the best.
(12/12/02 5:00am)
"Mario Party 4" is essentialy a board game played with Gamecube contollers. Playable with all the colorful characters in the Mario world, the new version features five "Party" boards and hundreds of mini-games. Players roll the dice and try to find the elusive star on each board. While doing this, players land on squares that transport them to mini-games to earn coins as well as bragging rights. The mini-games range from individual snowball fights to team rowboat racing. It is almost essential to play this game with human opponents, and because of this, four Weekend reviewers went head to head to battle it out, as well as review the ins and outs of this popular game. Their ratings will range from 1-100 gold coins, with 100 be the best.
(12/12/02 5:00am)
What did you do this year? It was a big year for a lot of things, but movies shined brightest in this year full of big blockbusters, sequels, prequels and even small independent flicks. It used to be a big deal when a film made $100 million. Nowadays it seems that if a film does not reach this mark, it is unsuccessful. Especially since if a film made $104 million this year, it still was only the 21st-highest-grossing film. That's right, 21 movies this year have already cracked triple-digits, and it's not over yet.\nSeven of the top 20 films are still in theaters, and there's still half a month left, which will be filled with other huge movies, like, say, "The Lord of the Rings: The Two Towers." But were all of these movies really worth seeing, and is it a good thing that "Scooby-Doo" grossed $151 million?\nIt is good to see a lot of people enjoying movies, but are we really seeing good movies? To be honest, I have not seen eight of these 21 films, but that is because there is no need to see some of these flicks because I know right now that I will be wasting my money on some crappy acting and an even crappier plot.\nCome on, how did "Sweet Home Alabama" make this much cash? Well, actually, this is a pretty simple explanation. One line in the trailer was really funny. You know, the one with, "You have a baby … in a bar." I will admit, this is pretty funny, but just because one line is funny does not mean we have to spend $124 million on it. If that's all it takes, then why haven't I cashed in on this trailer phenomenon? \nBut c'mon, how the hell did "XXX" make any money? I did actually see this, but that was because it was the first weekend out before reviews came in, and for some reason I did not feel like thinking for two hours. Not only did I not have to think while watching this horrible piece of triple-crap, but I know that brain cells were killed while seeing it. It must have been from all the other idiots in the theater sniffing glue.\nThis was by far the worst movie of the year, but people in the theater thought it was amazing. Vin Diesel, who has been called "like Stallone and Schwarzenegger, but a good actor," is by far one of the worst actors ever. For some reason I like him, though, as long as he does not talk, ever. Just let him drive cars, get in fights and have sex with really hot girls. Actually, you don't need Diesel in that last situation.\nAnother crap-fest was "Men in Black II." I personally loved the first "MIB," but the great thing about it was the initial discovery of the Men in Black world, and that we were just ignorant to it. The plot in the first one blew as well, but other things made up for it. This sequel, which was about as long as an episode of "The Fresh Prince of Bel-Air," was just plot, so it blew as well.\nIn reality, though, a lot of these movies were really good. Of the obvious ones that made a lot of cash, "Spider-Man" was one that, in fact, was a pretty badass movie. Sam Raimi proved that he really is a genius, and Toby Maguire proved that he isn't such a "Wonder Boy" weenie.\n"Harry Potter" was good, and pretty scary for a child (just wait for the third one, though), and "Star Wars: Episode II" brought that franchise back to entertaining roots. (Notice I did not say it was amazing like the originals, but it sure was a good time.) Another great time was "The Ring," which frightened me as well as made me realize that thrillers actually can be creative and original.\nProbably my favorite movie of the summer, which a lot of people saw but hated, was "Signs." This is deserving of the cash it made simply because it was the definitive movie. Rarely does a movie make me laugh out loud, scare the pants off me and make me want to cry like a little girl. That's what a movie is supposed to do -- entertain -- and that is what "Signs" did.\nSo overall, 2002 was a pretty good year for pictures. There were a lot better movies released that did not make much money, like "The Rules of Attraction," or "Bowling for Columbine," but that's what happens when people don't want to think, instead opting to huff paint thinner and watch Vin Diesel ramp motorcycles.\nLuckily for us, though, there are tons of new movies coming out that are sure to reach a mainstream audience as well as make us enjoy ourselves. "LOTR," "Chicago," "Confessions of a Dangerous Mind," "Gangs of New York," "Adaptation," and "Catch Me if You Can" all come out within the next three weeks, and all these films look pretty good and entertaining.\nSo go out and spend your money, but spend it wisely. We don't want to convince filmmakers to make "XXX 2," or would they just call it "XXXX?" Whatever they call it, I'm sure it would suck twice as hard.