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(03/26/08 6:43pm)
____simple_html_dom__voku__html_wrapper____>Judd Apatow has great sympathy for the underdog. Whether in his television series “Freaks and Geeks” or his dramatic comedy “Knocked Up,” Apatow loves to root for the losers. That seems to be the only way I can explain his involvement in “Drillbit Taylor,” a formulaic tale of high-school bullies versus geeks. Nevertheless, love for the beta male is no excuse for such a disaster, especially since not even Owen Wilson’s quirky comedy can save this film. “Drillbit Taylor” revolves around three archetypal geeks – chubby and foul-mouthed (Troy Gentile), tall and gawky (Nate Hartley) and the super-geek (David Dorfman) – as they enter their first year of high school. The three teens are constantly picked on by two bullies until they hire homeless Army deserter Drillbit Taylor as their bodyguard, who comes to their school and goes undercover as a substitute teacher. The movie ends with the usual bullies vs. geeks showdown that you have probably seen a thousand times. If you think the three teens sound familiar, you’re right, as an almost identical trio in Seth (chubby and foul-mouthed), Evan (tall and gawky) and McLovin (super-geek) was used in “Superbad.” Unsurprisingly, both movies were co-written by the chubby foul-mouthed Seth Rogen. The sex of “Superbad” is replaced with violence, but not all vulgarity is thrown away. This movie feels like it’s in an identity crisis with its PG-13 rating: The story is more fitting for a PG movie, while Rogen and Apatow’s humor is fit for an R. Owen Wilson, usually a highlight in any movie he is in, must hold back his comic ability, as his character has sad and serious undertones, leaving his delivery feeling restrained in a madcap comedy. The geeks aren’t able to capture your heart, while the bullies are ridiculously mean and never punished. The relevance and realism of Apatow’s past dramatic comedies is absent here, as the movie’s events are far too preposterous to be anything but scripted. Whether it’s the instant and unexplained sexual relationship between Drillbit and the love-struck English teacher (Leslie Mann) or Drillbit’s thieving homeless friends, the movie just feels unnatural. There is occasionally a laugh from Wilson or a random supporting character, but that’s the only thing keeping “Drillbit” from being a complete failure. Stay away from this one.
(03/19/08 7:08pm)
____simple_html_dom__voku__html_wrapper____>Fresh off his side project Grinderman, Nick Cave is back with the Bad Seeds and is as rockin’ as ever. Now 50, Cave has brought some of the garage rock of Grinderman back to the Bad Seeds, mixing it with their trademark mix of post-punk, gospel and blues. Dig, Lazarus, Dig!!!, takes Cave’s lyrics on sex and religion and backs them with the lively Bad Seeds, making an album that is dark, brave, and amusing.The title track opens the album, encompassing a funny contemporary retelling of the story of Jesus raising Lazarus from the dead, now set in New York about a man named Larry. The song is great raw blues rock meddled along with a downright catchy and groovy chorus. That’s just the start of Cave’s imaginative and absurd stories, as Cave covers everything from a fate-pondering merman (“Night of the Lotus Eaters”) to demons and ghosts (“More News From Nowhere”). Cave’s style for creating characters and stories is reminiscent of Dylan and Springsteen, as his characters come alive with his descriptive storytelling. The album’s centerpiece “We Call Upon The Author” is a brave and bold commentary on all things wrong in this world, asking God to explain everything from “rampant discrimination” to “third world death.”The album isn’t all darkness, though. “Lie Down Here” is a fun sexed-up rocker, and “Hold On To Yourself” is beautiful explorative alt-country taking a page from Springsteen. Much of the record is led by bass and organ grooves, giving it a very Doors-y feel when accompanied by Cave’s cool conversational delivery. This comes out especially in “Midnight Man,” which even sounds like a title Jim Morrison would pen.The Bad Seeds are more than sufficient here, as their downright enthusiastic play makes the lyrics more effective and the album more electrifying. Mick Harvey’s guitar-playing is cool and raucous, and Warren Ellis’s instrumental versatility keeps the album fresh and exciting, adding in mandolin, piano and even flute. Dig, Lazarus, Dig!!! is one of the first great rock records of 2008.
(02/27/08 7:33pm)
____simple_html_dom__voku__html_wrapper____>American Music Club is foreign to most, but it shouldn’t be. The Golden Age, the band’s latest, comes off as a sort of calm storm – dark yet beautiful, bringing a strange peace. None of it is spectacular, but it is quite rewarding as a whole, and when it’s over, you’ll wish it weren’t.The San Francisco group has one of the best American songwriters in Mark Eitzel, gave birth to “sadcore” music and has influenced the likes of Red House Painters and The National. American Music Club is probably less recognizable due to the band’s instability over the past 25 years. After all, its songs have never related to the late-teens/early-20s group that usually creates hype for a band, since Eitzel’s sound and lyrics befit an older audience. The band’s sound consists of gently picked guitar, chorus harmonies and slow and steady rhythms, all centered on Eitzel’s worn and earnest vocals. Much of its music has a dark cloud over it, with atmospherics from distorted guitars bringing darkness to the songs. Eitzel’s gift for songcraft really comes through, whether it’s the steady and elegant build-up of the opener “All My Love” or the stop-start method used on “On My Way” that makes you give it an even closer listen than you would otherwise. And you will want to listen closely to Eitzel’s lyrics, whether it’s an introspective look with “One Step Ahead,” a shot at the government with “Sleeping Beauty” or a discussion of America’s troubled youth in “The Dance.” The album is unabashedly American, singing about American cities and Southern towns and blending folk, country, rock and even schmaltzy jazz to create a hybrid of American sounds.The Golden Age does include a slew of songs that would be hard-pressed to stand alone. The second half of the album is full of songs you won’t remember. Still, they fit nicely with the album’s overall atmosphere. Although The Golden Age may stay under the radar, it is a great release from a band that deserves more attention.
(02/14/08 5:00am)
Hot Chip's 2006 record The Warning became one of the most loveable dance records of the year, from the infectiously repetitive "Over and Over" to the catchy and endearing "And I Was a Boy From School." With its follow-up Made In the Dark, the London hipsters explore the two extremes of their sound -- the ballad and the dance hit -- making for a loveable yet fragmented effort. \nThe title Made In The Dark is no coincidence, as the album feels made for the darkness of the dance floor or of your bedroom, depending on the song. Made resides mostly in minor keys, but the dark atmosphere is also there because of the heavier beats and deeper grooves. "Shake Your Fist" delves into hypnotic house, and "One Pure Thought" opens with a grungy guitar leading into one of the album's best songs. \nAlthough the dance grooves will not leave any time soon, Hot Chip shows it has a real knack for balladry. "We're Looking For a Lot of Love" is smooth R&B that will leave you wanting more, which comes soon with the honest and earnest title track. The album lacks the major hits The Warning provided, but it does have a great single in the radio-ready pop of "Ready for the Floor."\nThe uncanny transition from heavy beats to heartfelt ballads leaves the album a bit unfocused, with the stark contrast of Alexis Taylor's soothing falsetto and Joe Goddard's weary monotone vocals, which makes for a pleasant yet unusual balance. Finally, when it comes to lyrics, Hot Chip mixes dry wit ("Wrestlers") and well-written sincerity ("Whistle For Will"), making for another interesting contrast. \nBut just as Alexis Taylor chimes on "Bendable Poseable," "there are holes in what we do." Whether it's the occasional overindulgence or the lack of cohesiveness, the album is flawed. "Hold On" carries on too long, and an undanceable "Don't Dance" makes its title easy to follow. \nEven with its shortcomings, Made In The Dark is electro-pop worth listening to.
(02/07/08 5:00am)
Larry David is back for the sixth time, and he is causing more trouble than ever. What started as a comedic experiment has turned into six seasons of cringing laughter. "Curb Your Enthusiasm" revolves around the life of Larry David, the co-creator of "Seinfeld," as a semiretired multimillionaire in the aftermath of the biggest show ever. The episodes revolve around the horrible behavior of Larry David and the situations that result from it. The show is done without a script, completely improvised and started as a one-hour mockumentary of his life, making it sort of HBO's version of "Seinfeld."\nIn season six, Larry and his wife Cheryl (Cheryl Hines) house "the Blacks," a black family misplaced from a hurricane that ravaged their home. The inclusion of "the Blacks" leads to plenty of racial humor, since Larry's awkward interaction with blacks has been a constant fixture in the show since the first season. Season six involves some of Larry's most ridiculous behavior, whether it's stealing bouquets of flowers from a roadside memorial to his friend's dead mother ("The Ida Funkhouser Roadside Memorial") or switching his grave plot so he won't have to be next to Ted Danson when he dies ("The Freak Book"). \nThe latest season also leads to Cheryl and Larry separating, giving the show a more dramatic aspect. This brings a new dimension of amusement with Larry going on dates and trying to interact with women. But just as the season seems to reach its sappy conclusion, it takes a crazy twist that makes you wonder what season seven will bring. \nThe special features give you a nice look behind the scenes of the show, with an on-the-set special that gives you great insight from the cast and crew. Additionally, you can see live footage of a conversation between Larry David and Susie Essman, who plays foul-mouthed Susie on the show. The gag reel also gives a look at the fun had on the set, demonstrating why improvisation has made this such a fresh and funny show.
(01/24/08 5:00am)
For those who aren't well-acquainted with Eels, here's your introduction. Eels is the band name and musical engine for one man -- Mark Everett, also known as Mr. E or just E. Over his 12-year career, E has made quite a name for himself with the ever-changing style and size of his band, along with his cool yet deeply personal catalogue. So alongside his first best-of collection Meet the Eels, Eels has simultaneously released the 3-disc rarities collection Useless Trinkets, including 50 tracks on two discs and most of the "band's" 2006 Lollapalooza performance on DVD. Although many of the tracks are worthless remixes, there is a great deal of meat in the package making it a great $20 deal for those most fond of E.\nUseless Trinkets includes some of the most cherished Eels rarities, from "Living Life" off a Daniel Johnston tribute to the unreleased live cover of Screamin' Jay Hawkins' "I Put A Spell On You." Other highlights include the Jon Brion-produced "Dog's Life," which is private and serene, and a version of Elvis' "Can't Help Falling In Love," which brings a new lonely-and-vulnerable dimension to the oldies classic. \nE's music has always been prominent in the movies, but people rarely buy a soundtrack for a single song. So Trinkets presents a nice format to include soundtrack favorites, such as the two tracks created for the movie "Holes" ("Mighty Fine Blues" and "Eyes Down"), as well as "Bad News" off the soundtrack for "The End Of Violence".\nThe collection also has plenty of one-time novelty songs that are meant only for the most extreme Eels fan. Whether it's the Moog Cookbook version of "Novocaine for the Soul" or the unbearably silly "Jelly Dancers," the collection has several gimmicks that demonstrate Mr. E's humorous side. Also the alternate live version of "Hospital Food" and the Michael Simpson remix of "Lucky Day In Hell" are reminders of why Eels draws so many Beck comparisons.\nThe DVD includes the stripped-down punk-rock set Eels put on at Lollapalooza 2006, although it lacks the mesmerizing version of "I Put a Spell On You" that was one of the set's highlights. The package also includes behind-the-scenes photos and commentary from Mr. E himself. This is a great package for only the truest of Eels followers.
(01/17/08 5:00am)
With global warming on the front of everyone's mind, how about the thought of the world ending from just the opposite? \nThat's what Alex Garland's script suggests. In "Sunshine," the Sun is dying, resulting in a permanent winter. A group of seven individuals with various specialties take off on the Icarus II project, the second ship sent to try to reignite the Sun with a nuclear bomb. The crew, which most notably includes physicist Kappa (Murphy) and engineer Mace (Evans), is hit with several surprises on its way to try to save the world.\nThe movie starts right in the middle of the action, requiring a few scenes for you to get on your feet. But once the movie gels in the middle, it approaches brilliance. Right before true enlightenment arrives, though, a twist nearly ruins the rest of the movie. What was an engaging sci-fi flick quickly turns into a slasher B-movie.\nAlthough the movie takes a bit of a dive, it still retains some value. Danny Boyle's knack for great visual effects comes into play, bringing the film to life. There is also a solid cast, led by Cillian Murphy and Chris Evans, making the film more human and believable. \nAs with any sci-fi movie, you may wonder how realistic the film is. That's why Danny Boyle brought in Dr. Brian Cox from the University of Manchester to keep the film scientific and possible. So while "Sunshine" may not be for the average movie-goer, it will be enjoyed by sci-fi fans and people who are interested in this subject.\nThe special features are few but they are well-worth watching. They contain the usual commentary by the director, but even better, they include a commentary by Cox talking about the scientific aspect of the movie. There are also a few great deleted scenes, led by a great opening sequence that introduces everyone on the ship -- something that would have made for a more helpful start to the film. \nThere are also two very cool short films, the 7-minute "Dad's Dead" by Chris Shepherd and the 7-minute "Mole Hills" by Dan Arnold, which Boyle decided to spotlight on the DVD. \nThe DVD is worthwhile for those who have seen the film as well as sci-fi fans in general.
(11/29/07 5:00am)
Since 2004, The Killers has been one of the biggest bands in rock music. A band always criticized by its peers, The Killers has still been able to land both mainstream and indie acclaim. Sawdust is a collection of rarities, new material, covers and b-sides from its first two albums, and it is composed of both good and bad cutouts. \nThe album's selling point and opening track "Tranquilize," its collaboration with Lou Reed, serves as a possible look into the new Killers. "Tranquilize" is a rocker that is quite a bit darker than the rest of the band's work but is a great track. "Under the Gun" was a song performed plenty on the band's Hot Fuss tour, and it's nice to see it's found a home on an album, since it's one of The Killers' most infectious songs. "Leave the Bourbon on the Shelf" is the third and final part of a murder trilogy that started with the Hot Fuss songs "Jenny Was a Friend of Mine" and "Midnight Show." While those two are straightforward rockers, "Leave the Bourbon on the Shelf" is the dramatic finale with a great slowed-down Springsteen-esque finish. \nBut with the good comes the bad. "Show You How" is a mid-tempo bore-fest, with no memorable qualities. "Who Let You Go?" has some of Brandon Flowers' simplest and worst lyrics to date, and the Lu Cont's Thin White Duke Mix of "Mr. Brightside" is a horrible eight-minute dance version of the band's best single. \nThe album's covers fall short of its originals but still present something new in their approach. The cover of Joy Division's "Shadowplay" doesn't have the original's raw hypnotic quality, but instead becomes brighter and harder. The take on Dire Straits' "Romeo and Juliet" loses its understated beauty with Brandon Flowers' dramatic vocals, but it's still a decent version of an undeniably great song. \nWhile Sawdust has its fair share of strong points, it lacks the overall quality to make it worth purchasing. Unless you are a Killers fan looking to collect all the band's rarities on one disc, I suggest just downloading "Tranquilize" and "Leave the Bourbon on the Shelf"
(11/15/07 5:00am)
After the Bob Dylan show at IU, my friends and I discussed Dylan's new arrangements of his classics. As an artist known for reworking his songs, Dylan's reinterpretations have been hit-or-miss. However, this is almost never the case on I'm Not There, the soundtrack to Todd Haynes' Dylan biopic.\nThe soundtrack boasts rock 'n' roll's finest covering Dylan in their own ways. It is a double disc packed with 34 songs total, including covers from every Dylan era. \nThe covers range from faithful to obscure, yet the album feels cohesive thanks to two great house bands in Calexico and the Million Dollar Bashers -- a supergroup made for this project that consists of Steve Shelley and Lee Ranaldo of Sonic Youth, Wilco's Nels Cline, guitarist Smokey Hormel, keyboardist John Medeski and Dylan's own bassist Tony Garnier. Calexico is also perfect for the project, aiding on five tracks, including Willie Nelson's incredible cover of "Senor (Tales of Yankee Power)" and Jim James of My Morning Jacket's heartfelt rendition of "Goin' to Acapulco." The Million Dollar Bashers adds the psychedelic element to breathe new life into Tom Verlaine of Television's take on "Cold Irons Bound" and performs as a rollicking rock band on Karen O of the Yeah Yeah Yeahs' quirky cover of "Highway 61 Revisited."\nSome of the best covers come from indie's finest. Cat Power's take on "Stuck Inside of Mobile with the Memphis Blues Again" is simply a blast. Pavement's Stephen Malkmus comes forth with three of I'm Not There's best covers, the greatest being his rendition of "Ballad of a Thin Man." Yo La Tengo shows two very different sides of Dylan, with Georgia Hubley doing the wistful "Fourth Time Around" and Ira Kaplan singing the relentless "I Wanna Be Your Lover."\nHowever, a few of the covers simply don't work. Eddie Vedder's take on the often covered "All Along the Watchtower" is uninspired and Sufjan Steven's reinvention of "Ring Them Bells" is disposable. But even with a few misfires, this is one of the best tribute albums and one of the best soundtracks of all time.
(11/15/07 5:00am)
Move over, Tenacious D. A new musical-comedy duo is in town. Self-proclaimed as "formerly New Zealand's fourth most popular guitar-based digi-bongo acapella-rap-funk-comedy folk duo," Flight of the Conchords consists of Bret and Jemaine, who started working as a standup duo nine years ago. \nTheir new series finds them living in New York City, trying to make it big and build an American fan base. The show also stars Rhys Darby as their incompetent manager Murray, Kristen Schaal as their only fan Mel, Arj Barker as their stoner friend and a fair share of other guest stars. The show mixes their classic songs into a plotline, similar to the Tenacious D shorts but much more developed. What results is one of the freshest and smartest comedies produced in years.\nSeason one is filled with several great moments, musical and unmusical. On the "Bowie" episode, Bret is guided in his dreams by David Bowie, played by Jemaine, who even leads him to flash a music executive. "Bret Gives up the Dream" has Bret quitting the band for a career in sign-holding. "Drive By" finds Bret and Jemaine being discriminated against by a kiwi-hating fruit stand owner played by Human Giant's Aziz Ansari. Bret and Jemaine mix deadpan delivery, quirkiness and silliness to make a smart and original blend of comedy.\nMusically, Flight of the Conchords tackles more genres than The Beatles' White Album. Its songs are often imitations of artists, producing extremely accurate musical and visual impressions. For example, "Inner City Pressure" finds Bret and Jemaine doing their best Pet Shop Boys impression, with conversational vocals, still-shot video and a whole lot of synthesizer. "Think About It" is a classic impression of political Marvin Gaye, imitating his smooth streetwise soul while Jemaine sings hilariously stupid lines like "They're turning kids into slaves just to make cheaper sneakers / But what's the real cost, cause the sneakers don't seem that much cheaper / Why are we still paying so much for sneakers when you got little kid slaves making them?" No song feels like any of the others, and all have plenty of comical lines.\nThe season consists of twelve episodes on two discs. Unfortunately, there are no extra features that add to the value of the package, because the only extras it contains are episode previews. But with a price tag of only $20, the first, and hopefully not last, season of "Flight" is definitely worth it.
(11/08/07 5:00am)
Muzaic is Bloomington's premier jam band, just as Umphrey's McGee was South Bend's not so long ago. Umphrey's is now playing festivals and large venues all around and is returning to play at the IU Auditorium on Friday, Oct. 9. So with all this in mind, will Muzaic be Indiana's next big jam band? Well, on its debut Hundred Acre Parlor, it surely shows the potential.\nMuzaic is a five-piece funk-rock-reggae collective that came together in its current lineup in April 2004, according to the band's MySpace page. But just as its name Muzaic suggests, it also blends a great deal of art/progressive rock into its sound. Instead of being your usual jam band influenced by the Grateful Dead or the Allman Brothers Band, Muzaic sounds much more like Frank Zappa and jazz musicians such as Herbie Hancock and John McLaughlin. Its blend of funky bass, progressive guitar rock and complex yet danceable rhythms make the band similar to Umphrey's McGee yet unique in its own right. While much of the time jam bands fail in the studio and excel in the live setting, Muzaic does a good job of working enough with the studio and making Hundred Acre Parlor experimental enough to pull off a strong debut.\nWith 16 songs and 66 minutes of music, Hundred Acre Parlor is full of great moments. With "OUT," Muzaic opens the album with simply a funky bass line to prepare you for a good time. "Reflections On Main St." is sonically advanced and nicely blends jazz, reggae and art rock. "Musical Biosphere" sounds exactly like it's named, submerging the listener in a world of music in just five minutes. "Start" is strictly instrumental and feels like an exciting race to the finish with its sped-up tempo.\nOn the other hand, tracks such as "Sexual Couch" and "Please A Tease" fall into jam-band mediocrity.\nBut while not every moment of it is great, Hundred Acre Parlor serves up more than enough good to compensate for the bad. With the musicianship of a jazz ensemble and the energy of a rock band, Muzaic could be that next big thing out of Indiana.
(11/01/07 4:00am)
o one in the music world is more unpredictable than Neil Young. That's why his sequel to the scrapped 1977 Chrome Dreams almost comes as no surprise, being from a guy with a pretty strange track record. \nWhile Chrome Dreams had its classic tracks such as "Powderfinger" and "Like A Hurricane" spread through several different releases, Chrome Dreams II is a hodgepodge of outtakes and B-sides from old Neil Young albums and new songs. It turns out Chrome Dreams II comes through as a nice collection of the multifaceted Mr. Young. \nThe album opens with a newly recorded version of an outtake from 1985's country-tinged Old Ways, "Beautiful Bluebird," which comes off as simply wistful, with its banjo and harmonica. Then there is "Boxcar," where Neil embodies a vagabond over a great minor-key banjo groove. \nThe album's centerpiece, the 18-minute "Ordinary People," was a long-lost and much-desired B-side on 1988's This Note's for You. It's full of blasting horns and slashing guitar and serves up 20 verses worth of classic Neil, almost making the album worthwhile on its own. "Dirty Old Man" is not its only single, but it is the sort of grunt rock Neil hasn't showcased in years. "No Hidden Path" is 14 minutes of sledging garage rock, sounding like a lost track from Rust Never Sleeps. Finally, "The Way" is backed by a children's choir and works well as a catchy and rather innocent ending. \nHowever, Chrome Dreams II has its shortcomings. "Ever After" is stale and lazy country, and "Shining Light" has Neil bordering on cheesy adult contemporary, as his more sentimental work has lost its appeal with age. "The Believer" has Neil attempting Motown style but coming up short. But even with its filler, Chrome Dreams II is the best Neil Young album since 1989's Freedom and is a nice return to his grab-bag albums of old. While it does not sound like Chrome Dreams or live up to those classic tracks, it is full of Neil's many signature sounds and is truly a return to form for the rock legend.
(10/18/07 4:00am)
In August 1965, the boundaries of rock and folk music were torn down by Bob Dylan's Highway 61 Revisited. Continuing the move he started on Bring It All Back Home (1965), Dylan hired a full band and went completely electric for the first time. Not only is Highway Dylan's most rocking effort, it proved that music doesn't have to be acoustic and reserved to be literate and complex. \nHighway begins with perhaps the most famous bit of percussion in history, the snare shot that opens "Like a Rolling Stone." The song sets the album's mood -- a cynical, chaotic attitude that had never been heard before. Then comes the raucous "Tombstone Blues," led by the squealing guitar of Mike Bloomfield, in which Dylan spins out his challenging, surreal lyrics with ease. Al Kooper's organ makes "Ballad of a Thin Man" a prison-blues song, letting you know this is the Dylan of the streets, not of upper-class New York. The title track finds Dylan challenging American principles, from capitalism to religion, over a romping rhythm-guitar line. Highway closes with the highly ambitious 11-minute "Desolation Row," which runs through troubling stories of several unlikely characters above an elegant guitar line. \nEvery second of the album is classic, and it includes some of rock's most well-written songs. Lyrically, Highway can be seen as the first punk album, with its hopeless anarchic talk of America in a time of chaos. Although Dylan made Highway during the '60s in the middle of the Vietnam War, the lyrics are still relevant to America today. Along with The Beatles albums Rubber Soul and Revolver that came out the same year, Highway 61 Revisited proved that rock 'n' roll could be intelligent and rebellious at the same time.
(10/11/07 4:00am)
hen I think of Iron and Wine, the first thing that comes to mind is sleep. That's because Sam Beam's whispery falsetto and lo-fi folk so beautifully lull me into just that. But The Shepherd's Dog is a new kind of Iron and Wine record. Iron and Wine is no longer a guy and a guitar, as a large cast of musicians now surround Beam. Shepherd's Dog is a continuation of a direction he started on with 2005's Woman King EP and 2005's In the Reins (his collaboration with roots rockers Calexico) -- toward a bigger, more diverse sound; and what he has created with this move is wonderful. \nShepherd's Dog is filled with a wide array of instrumentation and musical styles. This becomes apparent just 12 seconds in, as bass and drums surprisingly blast into "Pagan Angel and a Borrowed Car" then continue with piano and violin filling in throughout this blistering opener. Then the album flows into the hectic "White Tooth Man," which sounds equal parts Eastern European, country and rock. Then Beam slides nicely into the steady twang of "Lovesong of the Buzzard," which fills out nicely with a careful mix of pedal steel, accordion and Hammond organ. \nMusically, Shepherd's Dog proves to be his most experimental outing to date. "Wolves (Song of the Shepherd's Dog)" delves into dub-reggae with its last half exploring musical depths. "House by the Sea" is strangely danceable, with its West-African rhythm and catchy melody, as is "The Devil Never Sleeps," with its barroom piano and bluesy approach. Beam experiments with his vocals on "Carousel," in which he sings through a Leslie speaker connected to a Hammond organ, producing an underwater effect. \nHowever, Beam's voice does not lose its intimate spookiness, and Shepherd's Dog is proof that Beam can expand his horizons without losing what makes him so special. And for those who may be longing for the stripped-down folk of Beam's first two records, "Resurrection Fern" and "Flightless Bird, American Mouth" will sing you to sleep. \nShepherd's Dog is a display of an artist at the top of his game, putting forth his richest and most rewarding record to date.
(09/27/07 4:00am)
his will be forever known as the year of Judd Apatow.\nApatow and his crew are responsible for 2007's two best comedies and summer smashes: "Knocked Up" and "Superbad." The first of the two to be released, "Knocked Up" is memorable not only for its side-splitting hilarity but also for its heart. The movie is centered around two characters, lazy stoner Ben Stone (Seth Rogen) and successful and gorgeous Alison Scott (Katherine Heigl), who meet at a club one night. They hook up in a drunken one-night stand, only to find out eight weeks later that Alison is pregnant. The result is a movie that is the year's best comedy thus far. \nApatow's brand of comedy is an equal blend of pop-culture references and obligatory raunchy humor. The blend makes the movie feel real; the dialogue mimics banter you and your roommates have on a daily basis. Ben and his roommates' discussion of what made "Munich" so awesome or Ben and Pete's De Niro impressions are clever and spot-on. \nThe movie serves as a launching point for Rogen, who not only starred in Apatow's feature film directorial debut "40 Year Old Virgin," but also co-wrote "Superbad." Rogen is perfect as the lovable loser, and "Grey's Anatomy" star Heigl is also perfect as the successful young blonde. Even with the great lead roles, the movie is loaded with a bevy of great supporting roles. Whether it's Ben's hilariously pathetic roommates or Alison's sister Debbie (Leslie Mann) and her husband Pete (Paul Rudd) or the slew of gynecologists, every new character introduced in "Knocked Up" serves more laughs. \nThe extras are nothing short of spectacular, serving up more than three hours of bonus features and the Apatow-brand of hilarity. "Being Ben Stone" is a fake documentary about all the other actors who were "in line" to play the lead. Michael Cera didn't get the part because he was "too young and birdlike," and Orlando Bloom wasn't quite "American" enough. "Directing the director" is entertaining and features "Capote" director Bennett Miller hounding Apatow to make "Knocked Up" more artsy. And in case you didn't get enough beard quips from the feature film, "The Beard-O-Rama" is filled with snappy one-liners from the cast ripping on Martin's face shag.\nWith the brilliant movie and the uniquely engaging special features, "Knocked Up" is a must-have for your DVD collection.
(09/20/07 4:00am)
n 1970, possibly the greatest sports tragedy occurred when a plane crash killed 75 people, including most of the Marshall University football team. But what seemed like an absolutely hopeless situation turned into an inspiring one. The following year the Marshall Football team returned to the field under new coach Jack Lengyel, and while playing with nothing but freshmen and scrap players, it went on to win two games and inspire the people of Marshall and restore the town. Unfortunately, while this is a very moving story, it is delivered poorly and does not capture the spirit of Marshall on screen. \n"We Are Marshall" has a very unconventional story line for an inspirational sports movie, in that it starts in the middle of the 1970 season and ends at the beginning of the '71 season. Most of the movie takes place off the football field, from the tragedy 'till the beginning of the next season. While this irregular plotline would seem like an out-of-the-box sports movie, it ends up fitting into the old mold of the inspiring football film. Whether it's the "football is everything" small-town mentality that is a main focus of the movie, or the feel-good oldies soundtrack, the movie feels very old-hat and reminiscent of movies such as "Remember the Titans" or "Friday Night Lights."\nAnother issue is the acting, which at times is unconvincing. Matthew McConaughey stars as oddball head coach Lengyel. While he is right for the part, his performance comes off simply awkward at times. Also, there is Matthew Fox of "Lost," who stars as Red Dawson, Marshall's assistant head coach. He plays the same role that he does on "Lost" -- the leader who battles with inner conflict. I couldn't stop thinking that it was Jack on a football field. Other characters and subplots (such as the relationship between the fiance and father of a deceased player) don't amount to much and serve as nothing more than distractions from the main plot. There are, however, a few moments of brilliance, such as Coach Lengyel's understated speeches, that keep the movie out of the dumps. \nThere are only really two features, one worthwhile and the other worthless. The legendary coaches feature is a segment approximately 20 minutes long that includes interviews with various coaches, from Marshall's Lengyel to Tennessee's Pat Summit. The extra proves to have nice insight into what makes these coaches great. However, the only other extra is a short segment on Marshall University today, which is more of a short advertisement for the university than anything. \nThe story is truly inspiring; the movie is not worth your time.
(07/12/07 4:00am)
1. Led Zeppelin -- Highlights: Jimmy Page taking a violin bow to the guitar for "Dazed and Confused" and John Bonham's epic, eight-plus-minute guitar solo on "Moby Dick" where he pounds every part of the kit, including the stand, and throws the sticks aside for a bare-handed explosion. \n2. The Who -- The Kids Are Alright -- It's got everything from an early "Smothers Brothers" performance where excessive dynamite in the drum kit caused Pete Townshend to go deaf in one ear to videos of a drunk Ringo Starr and Keith Moon to live arena anthems "Won't Get Fooled Again" and "Baba O'Reiley" perfectly remastered. \n 3. Weezer -- Video Capture Device: Treasures from the Vault 1991-2002 -- A nice set of videos we grew up with such as the Spike Jonze "Happy Days" inspired video for "Buddy Holly" and the brilliant one-take "Sweater Song." The videos are bolstered by extras. like the band goofing off in their hotel room lighting things on fire, an alternate video from "Island in the Sun" and live footage.\n4. Pink Floyd -- Dark Side of the Moon -- A fascinating deep study of the intricate layering of the classic album. The producers and musicians open up the vault and get back in the studio to strip down the songs into their unique parts.\n5. Wilco -- I am Trying to Break Your Heart -- From great live concert footage to the intimacy of the film, this documentary showcases the enduring spirit of rock 'n' roll as well as what's wrong with the music industry these days.
(07/12/07 4:00am)
Filmed in the Empress Ballroom in BlackPool England during the Elephant tour, this DVD showcases the White Stripes at their rawest and most glorious. The film is shot in 8 mm to give it a grainy look, adding to the back-to-basics feel of it all, and Jack showcases why he is considered a modern guitar god.\nThere are no extras, but with 26 songs there's a ton of concert footage to keep you busy.\nThey run through several blues covers as well as plenty of their early work. Highlights include "Ball and a Biscuit" and the Son House cover "Death Letter"
(07/12/07 4:00am)
Shot and released just last year, "Okonokos" was shot at the Fillmore in San Francisco and captures one of the most exciting and dynamic live bands around. Director Sam Erickson has done a wonderful job of capturing not only the energy but also the atmosphere of an MMJ show. \nJim James's voice is as hauntingly beautiful and reverb-heavy as ever, and the band is at the top of their game. The set list spans their entire catalog, everything from the heartfelt melodies "Golden" to the spacey riffs of "Gideon" to southern jams of "Mahgeetah." Buy this DVD and be taken to another place.
(04/26/07 4:00am)
As a band part of the emergence of the British pub-rock revival scene, garage rock trio The Noisettes sound like a band ready for a big break. The band turned their popularity gained through touring Europe -- opening for Muse and Baby Shambles -- into an international deal with Universal Music in 2006. The album showcases a band at their very best, displays the manic energy of a live show but also displays the tightness of a more veteran act.\nSinger/bassist Shingai Shoniwa's voice brings to mind everyone from Billie Holliday to Karen O, going from soulful singing to ferocious shrieks instantly. Shoniwa's uniqueness separates the band from the rest of the UK pub-rock scene, whether it be the Fratellis or the Arctic Monkeys. Someone with this much energy and attitude has enough to carry a band alone, but guitarist Dan Smith and drummer Jamie Morrison do a great job of matching this energy. From the wailing blues guitar solo in "Sister Rosetta (Capture the Spirit)" to the crashing cymbals of "Nothing to Dread," the band flourishes when they're the most frenzied.\nThe album opens with a bang with "Don't Give Up," a rallying cry of sorts. From there the energy continues with the anthem "Scratch Your Name." "The Count of Monte Christo" begins with a jazzy acoustic strum before leading into a soulful climax. This is followed by the album's single, "Sister Rosetta (Capture the Spirit)," an ode to one of the original female guitar heroes, gospel singer Sister Rosetta Tharpe. The three concise minutes of great garage punk is the most riveting point of the album. However, from this point the album falls off, with only three great tracks remaining. After the forgettable "I WE," there are two dynamic tracks. "Nothing to Dread" which rings of classic '80s punk, and "Minding the Gap," which is the most complex arrangement on the album as well as being the best showcase of Shoniwa's vocal range. While the last two tracks disappoint, they are almost made up for by the blissful hidden track, "Never Fall In Love Again," a song that has guitarist Dan Smith sharing vocal duties. While this song would fit only as a hidden track, it serves as an interesting closer to one of the most energetic and promising albums of 2007.