Critiqulous

State Of Critiqulous & New Music

2012-05-21T22:03:00.000-07:00

It has been a while since I posted on here. In this post, I will explain why.

A few weeks ago over a discussion of beers, a friend kicked the idea of starting up a blog together. The blog would be one about soccer. The concept is that the blog will be a collective of all things about the beautiful game. It's called Cheeky Backheel. The "back of the box" quote as to what Cheeky Backheel is all about is, "The attempted rationalizations of the irrationalities of being a football fanatic." Clever, right? Being a fan of any professional sport really is irrational because more often than not, one cannot explain why they've invested so much into it in terms of money, emotion, and time. The game of soccer is not exempted from that as the history of the game has inserted itself into the social, political, and religious fabrics of life for a lot of people. The blog is still in the infancy stages, but that is where I have been as of late. Getting the foundation set and taking those precious baby steps towards the objective of it becoming a forum for any and all soccer fans to come to. Or at least just add to their list of blogs checking out here and there. Cheeky Backheel is a joint production between myself and Ryan Sales of Sales On Sounders and if you're reading this, come check out the soccer blog.

CHEEKY BACKHEEL

So where does this leave Critiqulous? Well I am not packing up this operation for the shiny new toy that I helped co-create. If anything, being in charge of two blogs now will hopefully ignite me back into doing more writing. That is the thought process and I aim to keep myself disciplined in that.

Critiqulous is not going anywhere.

Thank you for your continued support of this blog.

With that out of the way, here's a band worth checking out.

We have from Savannah, Georgia rock trio Cusses. Are you a fan of Yeah Yeah Yeahs? If so then you will dig Cusses. The video is a well-composed mix of studio recording sessions with concert footage. Sprinkle in quick edits and what I can only assume are some outside shots of their hometown of Savannah. Nothing fancy here in terms of visuals and it doesn't need to be. It fits well with the music, to which it would've been overkill trying to have visuals match the narrative. I notice in the clip that front-woman Angel Bond has a little of Mick Jagger's stage movements. It sure looks a lot better when it's anyone but Mick doing it. This is a rock band that you'll want to play as loud as you can. Like at 11 territory. I have a new favorite band.

Cusses (MySpace)

As a bonus, check out their cover of The GoGo's "We Got The Beat" at one of their shows. See what I mean about her doing some Jagger-esque movements?

Music Video Break: Sick, Sick, Sick

2012-04-17T00:29:00.000-07:00

Really there's no reason to be inspired to post up a video from Queens Of The Stone Age. They are one of my favorite bands as I remember when I was introduced to the band. It was their second single off their Songs For The Deaf album, "Go With The Flow." It was 3 glorious minutes of something of a white-knuckle chase. Something of a blur, but the sweet dulcet voice of Josh Homme guided you through the adrenaline rush as if were happening at your own pace. Not to mention the music video for it as straight up awesome. Though as great as that music video was, the video for this post is the haunting clip for "Sick, Sick, Sick." You might wonder why this clip. Well a recent weekend marathon of Anthony Bourdain: No Reservations included last year's episode in which Bourdain once again had the company of Homme. Food, desert rock, and cannibalism. See it all goes hand in hand.

The song: "Sick, Sick, Sick"
The musician: Queens Of The Stone Age

WAZU & My Tiger My Timing

2012-04-13T00:49:00.001-07:00

The duo of Matt and Rizz make up WAZU and now call New York City home and their three-song EP is headlined by the single "Murder 1." They met while in college in Australia and after a couple of collaborations with other musicians, the two made their musical partnership a permanent one. The partnership had immediate results as WAZU dominated the "Best of the Fest" at Toronto Indie Week back in 2010. The crowd was hooked to their sound. Their recollection of that week in Toronto was, "We showed up planning to play three shows, but kept winning!" After Toronto, the natural move was to head down south to NYC where they are hard at work on their debut LP this May. It is a synth-pop sound graduating from the Depeche Mode school of thought set to an Orwellian universe.

Elsewhere, favorite of the blog My Tiger My Timing are putting the finishing touches on their debut LP. Titled Celeste and scheduled for release on July 2, the band have released a preview of what's to come. I have enjoyed their work since I was introduced to them last summer. The new song is called "Wasteland" a soundtrack to a dream sequence, or was it? I like this and it is serving as the opening number to my hunches of what is to be an enjoyable album. For those that remember, I had an interview with the band via twitter a few months ago, which you can read here.

WAZU (official website)
My Tiger My Timing (official website)

Quantic Dream's Kara

2012-03-22T19:00:00.001-07:00

One of the most compelling things I'll see this year isn't a television show or a movie. It's a short. David Cage, creator of the video games Indigo Prophecy and Heavy Rain is at it again with his Quantic Dream production team making some of the most life-like virtual characters using video game console hardware. As the clip indicates, this tech demo is but a rough draft of whatever next project Cage and Quantic Dream are working at. Once again though, this rough draft of sorts is another step forward into the power of what the PlayStation 3 holds when in the hands of an artist like David Cage. I'm not saying that no other studio has been able to fully grasp the power of the PlayStation 3, because there are plenty titles that are technical marvels (see the Uncharted series) but those that spend the proper time with the development are the ones that see what the hardware is capable of. David Cage is one of those people.

Kara is played by actress Valorie Curry, known for for playing Jane Kuhne in the under-appreciated TV series Veronica Mars and the seven minute short is a compelling film as it is an impressive tech demo of whatever is to come next from Cage and Quanitic Dream and I hope Curry will be a part of it. Her performance is a damn good one. I'd love the opportunity to interview Curry about this production should it ever arise.

It goes beyond capturing as much of the motions the human face makes though. Cage finds as much importance in capturing the motions we make with the rest of our body. The games Heavy Rain and L.A. Noire (from Rockstar Games) focused heavily on capturing facial movements. Cage wants to take it to the next level so that the body language and emotion is as clear as when we hear the voices of the characters.

And this is the behind the scenes video of Quantic Dream's Kara.

Music Video Break: Gunshot Blast

2012-03-21T00:40:00.001-07:00

Blog favorite J. Bair is back with a new project. The Harrisburg rapper is following up last year's The Bootleg with Dare To Be Different. The first single from the new project is the song and clip "Gunshot Blast," a commentary on the unnecessary violence, specifically gun violence that happens practically everywhere. I love the reference to O-Dog in the Hughes Brothers landmark film Menace II Society. Though I admit for a second I thought he was talking about O-Dog from The Wire. At the same time I also think about a line said by John Witherspoon in the Ice Cube and Chris Tucker vehicle, Friday. He said, "You kids have been nothin' but punks. Sissified. So quick to pick up a gun. Too scared to take an ass-whipping."

We live in a society where it practically is shoot first, discuss later. Or hell in some cases, don't even utter a word. Look at the very sad matter going on in Florida around the death of one Trayvon Martin. Side note,I hope his family gets proper justice.

I've reached the point where new material J. Bair releases I like. He is a voice that should get a lot more attention because he is not your cookie-cutter rapper, taking the easy way and auto-tuning their way to rack up six or seven-digit YouTube hits. The man has actual talent and is working his ass off and it shows with each new track he puts out. "Gunshot Blast" is no different. There's a message calling for bringing back the days when we were actually rational and clear-thinking human beings. They say is true in that fashion, music, and all things entertainment/pop culture happen in cycles. Then maybe the days where hip-hop/rap weren't materialistic (and equally comically glorifying a gangster lifestyle) and engaged you in serious thought and discussion about improving the quality of life can see a revival. I know this is what J. Bair is trying to do and it is why I am a fan of his.

The song: "Gunshot Blast"
The musician: J. Bair

Bonus, check out the behind the scenes video for the "Gunshot Blast" video shoot.

Music Video Break: Unfamiliar Skirts, Slade Was Made, & Lullaby

2012-03-11T16:18:00.000-07:00

Instead of one music video for today, here are three. Today we go from a singer from the land down under with a haunting lover's scorn number to brothers in vampire costumes terrorizing a lady. In between there's a visit from a Louisiana area band that echoes my personal favorite in The Airborne Toxic Event. It is completely coincidental that the three clips are (mostly) shot in black and white.

The song: "Unfamiliar Skirts"
The musician: Teeth & Tongue

It is often said that the song creation process takes time. Then comes along Melbourne's Jess Cornelius' Teeth & Tongue single "Unfamiliar Skirts" where it was written, arranged and recorded in one night. The result is a 60s pop sound that belongs in a smoke-filled lounge and the video matches the sound. Cornelius' voice melts you as much as the song breaks your heart. I listen to it and I want to give her a hug as well as buy her a gin and tonic, yet in the back of my mind I know she'd probably smash the glass in the fashion of a lover's scorn. Director Lucy Dyson's vision is a page taken from the films that bear the well-respected Criterion Collection title.

The song: "Slade Was Made"
The musician: Super Water Sympathy

Here we have what I call a good mix of a female-led version of The Airborne Toxic Event, with a subdued version of Beth Ditto's (of The Gossip) stage presence. The Louisiana-area band's self-described "water pop" sound is, "A synthesis of classic symphonic ambience with modern ethereal anthems." And no doubt being from the area that gave us jazz and blues, there is that heart tugging and it's mixed well within the pop-rock sound. The clip's transition into a live performance isn't anything new in the music video age, but I like it here.

The song: "Lullaby"
The musician: Nat & Alex

I've already talked in praise about these brothers and their potential to be part of the spearhead of the youth movement in music. "Lullaby" doesn't jump "Illuminated" as my favorite song from the young duo, but it is a decent pop number. That said their depiction of what vampires do in the clip makes way more sense than anything in Twilight.

This Is The Destroyer's Club

2012-02-20T18:15:00.000-08:00

When you hear the title The Destroyer's Club, what comes to mind? A rock band? A gang of comic book super-villains seeking world domination? A stable of wrestling heels (bad guys)? Those are all fitting to carry such a title however in this case, The Destroyer's Club is a collective of artists from Chattanooga, Tennessee.

How I came to discovering The Destroyer's Club comes as a result of the write-up I made about the band Moonlight Bridge. The Destroyer's Club produced the teaser video for Moonlight Bridge's Twin Lakes EP. When the write-up was finished and I went through the now standard act of sharing the post across the other social media venues, I noticed the following day that The Destroyer's Club had picked up on it. What might be taken for granted for those with a bigger voice and audience, always catches my attention because it just doesn't happen often. It's one thing for the subject in which I've written about to pick it up and give recognition to it. It's another when it's another party with ties to the subject notices it. I think it's cool.

So I checked out who exactly were The Destroyer's Club and it did not take long for me to become a fan of the collective works of Michael Mahaffey, Carl Cadwell, and Drew Belz. These three are the self-proclaimed Destroyers and their works are not only showcasing their amazing talents as producers and artists, but also the talents of those in the arts and music scene of Chattanooga. When you visit the website you see right away a collection of their work. The first video is titled, "There's A Fire Down Here."

Shot by Drew Belz with help from Kelly Lacy (under the production name Fancy Rhino) and local area poet Jonathan Cate (who also provides narration) the video features the neighborhood of East Lake and their people. It was a submission to a contest in which other Chattanooga neighborhoods were called to prove why their neighborhood rocks. The video won and it is easy to see why. You watch it and it's easy to think about Clint Eastwood's "Halftime In America" commercial that got a lot of us talking about it during the Super Bowl. Yet there is something a whole lot more to "There's A Fire Down Here" than just highlighting a beauty that's not just exclusive to East Lake. This could have been shot in a million other neighborhoods and the words of Jonathan Cate are ones I find myself listening to over and over. Art has many definitions, but one universally accepted one is that it is something that invokes emotion. This is what I get when I watch "There's A Fire Down Here."

The Distribution are a R&B/funk/soul band that if you're a fan of Sharon Jones & The Dap Kings and all this Motown, must check out. Play it loud and enjoy the sounds crafted by the band and Destroyer Carl Cadwell. I can only imagine how fun the recording sessions were.

Michael Mahaffey designed the package for Matt Downer's Showtime Fields Recordings, a project highlighting four musicians from the Tennessee, Georgia, and Alabama tri-state area. Drawing inspiration from blues and bluegrass posters of generations ago, this is what Mahaffey came up with. In Showtime Fields Recordings, Volume 1 - Alabama, Downer had informal interviews and recording sessions of Wayne Heard, Jess Moore, Willie King, and Cast King. First, a picture of the packaging that Mahaffey designed and after that a preview of the first volume of Downer's project.

Home is where the heart is and it is evident that the passions of not only telling a story, but also invoking an emotion to their works shines. You wouldn't think Chattanooga, Tennessee as the next hotbed of rising artists, but The Destroyer's Club are definitely working to change that. Who knows, maybe in due time, the national eyes and ears will catch wind of what the artist collective with the really awesome sounding name is doing.

The Destroyer's Club (official website)

Music Video Break: Heartmeat/Lovemuscle

2012-02-13T13:34:00.000-08:00

If you remember my post discovering Tayisha Busay, you will remember the post had their latest single. Titled "Heartmeat/Lovemuscle," the song has been picking up steam with Valentine's Day in mind. And true to their word of having a music video for the song out in time for Valentine's Day, here it is. Featuring Valentine's Day themed candy, sexual hand gestures, and glitter (a Tayisha Busay staple). The addition of on-screen graphics like hearts and various shapes are the icing on the cake. The video captures the mood of the song very well. Enjoy.

The song: "Heartmeat/Lovemuscle"
The musician: Tayisha Busay

Movie Review: "Father's Day"

2012-02-13T12:43:00.000-08:00

The video above is the trailer for the movie "Father's Day," the first production from the Troma Entertainment's school of film making. Troma Entertainment are best known for creating the cult classic B-film "The Toxic Avenger." While the grindhouse/splatterhouse sub-genre has seen a revival in recent years thanks in large part to the Quentin Tarantino and Robert Rodriguez joint-project "Grindhouse," Troma have been doing it as they say for "almost 40 years." The film won the Beat Feature Film honor at the Toronto After Dark 2011 festival in addition to the honors Most Original Film, Best Kills, and Best Poster.

Created by Canadian production company Astron-6, "Father's Day" is a revenge tale set around the hunt for a cannibal serial killer Chris Fuchman (Mackenzie Murdock) nicknamed "The Father's Day Killer" for his never-ending thirst for raping and killing of fathers. The hunting party consists of Ahab (Adam Brooks), an eye patch-wearing cowboy and a male prostitute named Twink (Conor Sweeney), both who lost their fathers to The Father's Day Killer. Joining them is Father John Sullivan (Matt Kennedy) who has sworn vengeance on The Father's Day Killer who took from him his mentor Father O'Flynn.

Before you read more into this review, take note of this. I cannot review "Father's Day" in the normal way I've reviewed films on here. Yes it is because of the genre in which the film is in because if you have seen any grindhouse/splatterhouse film, taking the absurdity in a serious manner is well, you're doing it wrong. The shock value is meant to be so over the top that you don't gag, rather you chuckle and/or say it's a bit much because it kind of kills the film's pace. So for this review, I am just going to list commentary that I shared with my friend Shane Charleson, the on/off (now very much off) creator of the blog Film-A-Day. If you have seen an episode of the television series "Mystery Science Theater 3000," then you'll get the idea. Onward and upward to the commentary.

It appears Adam Brooks' Ahab character is channeling H. Jon Benjamin and you know, it works.

THE ARISTOCRATS!
Ten minutes into the film and we've had a cannibalizing, a beating, and a sodomizing.

The only disappointing thing about Father John's montage of travelling across many miles was that there wasn't a cameo from a Sherpa or the GPS voice lady. I'm guessing the licensing fee for the latter would've crippled the film's budget to which they wouldn't be able to afford the blind contacts for Father O'Flynn.

MYSTERIES OF THE UNIVERSE CASE #812
Ahab: Sorry I'm tapping this maple tree.
Father John: That's not a maple tree.
Ahab: Well what the hell have I been making the syrup out of?

"Guess you're not the Ahab Father O'Flynn was talking about." That is correct, he was actually talking about the German funeral doom metal band. Pay attention Father John.

PRO TIP #94
If a stripper draws a chainsaw and is ready to attack, the natural reaction is to get into a karate chop stance, because if there's one invaluable life lesson it is karate chops hold a great defensive value against a chainsaw.

Why yes we did just have a monologue where Ahab makes an analogy between the process of making maple syrup and his estranged relationship with his sister Chelsea (Amy Groening), who is a stripper.

The way Father John denounces God and swears to take it upon himself to get revenge can only be a glimpse into how Ned Flanders should have snapped when Maude was killed by flying t-shirts.

Believe it or not there is a sweet science to self-mutilation. I think it's taught at The Learning Annex.

If there was a bigger budget, I bet the hallucination scene would have featured a cameo from Armand Assante. Why Armand Assante? Because he is Armand Assante, that's why.

A shot from a silenced pistol, a blast from a pump-action shotgun, and a bashing of the skull with a brick. It is also the way loved ones say hello in Estonia.

IF IT LOOKS LIKE A DUCK, SWIMS LIKE A DUCK...
Ahab: Look for a key Twink.
Twink: What's it look like?
Ahab: Like a freaking key Twink, look for a key.

"You do whatever we tell you to do." That's movie-logic and you can't argue with that.

And now the part where everyone reflects on what just happened with a somber piano ensemble.

Somehow it would've been disappointing if the movie did NOT have some sort of incestuous undertone that involves a demonic spirit jumping from body vessel to body vessel and Father John and Twink playing Rock, Paper, Scissors to see who shoots themselves first.

So Heaven is inhabited with topless women and the indestructible snack Twinkies. Replace Twinkies with mozzarella sticks and I am so there.

Why not have a scene where the soul of Father John is in Heaven and he aims a gun at God who looks like a used car salesman.

I BET HE SAYS THIS MORE OFTEN WHEN ANSWERING PRAYERS
God: You sure you wanna do that? You know it'll look bad for business.

Note to self, when your soul descends into the fiery pits of Hell, make sure you have your favorite jacket on.

Steven Kostanski's creature effects are impressive. I wonder though if it was intent or coincidence that the demon looks like a super-aggressive Sloth from "The Goonies."

"Maybe now you'll take me syrupsly." - paid for by The North American Maple Syrup Council and in part by the Mexican Council of Food.

The closing song to the credits roll, "We Are The Universe" is catchy as hell. I wonder where I can find the full song for download.

Winnipeg, is home to the honest man Chris Jericho (and not Toronto) and thanks to the informative credits roll, also home to Teaser's Burlesque Palace. No really, the credits roll tell you to check it out.

It is the little things that add to the enjoyable experience of the film. Case in point about halfway through it cuts to commercial break and runs a promo for this movie. Knowing Troma this film will be made eventually, but still it bears repeating, STAR RAIDERS MUST BE MADE!

"Father's Day" is out in theaters. Check out which theaters are screening it by heading over to the website, with some screenings featuring co-producer Lloyd Kaufman. A screener copy was provided to Critiqulous by the folks at Troma Entertainment for this review.

Father's Day (official website)

Movie Review: "Chronicle"

2012-02-11T18:54:00.000-08:00

Two things came to mind when I saw previews of the film "Chronicle." The first being, "Is that Seattle?" The second being that this was a film that looks intriguing and could be very entertaining, or it could flat out suck. I was rooting for the former because the film just had sort of underdog, little engine that could look to it.

The premise is simple. Three high school lads, one being the outcast (Andrew played by Dane DeHaan), their expected opposite Mr. Popular (Steve played by Michael B. Jordan), and the one that is the glue between the two (in this case the outcast's cousin, Matt played by Alex Russell) discover something not of this Earth that gives the boys supernatural powers. The powers are nothing you haven't heard of before. The ability to fly and telekinesis, two of the most sought after superpowers anyone has at one point fantasized about wanting to have. Yes, this goes for Aquaman.

What made the film work is that the journey felt organic as the boys get this power and realize what they have in them. And it was through the course of little things like throwing a ball at each other to see who could actually stop it before getting decked. The awe that they can fly, highlighted by a wonderful scene in which the boys throw a football around. As the growth and discovery goes, so does the idea of doing something more with the powers, and naturally since we are talking about teenage boys here, they have moments of mischief and play pranks at people at the mall. Wouldn't you have a bit of fun if you could move objects with your mind? It all leads to what is evident if you saw the trailer or any TV spots for the film in that one of the boys (Andrew) breaks out in violent manner and see the destructive side of the powers. Of course it comes by way of mounting pressure from an abusive father and the inability to properly take care of a dying mother. Again it is nothing original, but it was conveyed very well through DeHaan's performance. The rage and destruction that fills the film's climax is very familiar to anyone that's seen the anime classic "AKIRA" and I think what you see in "Chronicle" is as close anyone will ever get to a live-action adaptation of that film, despite how dumb of an idea it is anyways.

The story of the boys was told through Andrew's personal camcorder to give it that "found footage" look. Some groan about the concept in general as it's up there with things being presented in 3D and see it as an annoying fad. I do not have a problem with the found footage concept because it is just another vehicle for telling a story. It is only going to work if the story invokes a feeling that this must be documented. "Cloverfield" did it well. In the case of "Chronicle" it absolutely works because Andrew is documenting the discovery and growth of the superpowers. Think about it, wouldn't you document every moment if you developed superpowers? Another reason the found footage vehicle works is of the times we live in. Just about everyone has a camcorder in their pocket, and hell we document fights at Waffle House as if they defining moments. Even when about halfway through the movie, Andrew is able to manipulate the camera hands-free, it still feels like you are still there with the boys as they sit atop a skyscraper along the Seattle skyline.

A couple years ago, there was a sci-fi film that won a lot of people over, called "District 9." That film too had that something of a dark horse feel to it because of the fact that it did not cost a whole lot to make, yet it still told a solid story. This is the same case with "Chronicle" as it's one of those rare, but very good moments where you have a film that cost next to nothing to make, yet covered all the bases for telling a story than some big-budget films. Charlie Jane Anders of io9 pointed it out in his review of the film how it cost 1/20th of what it cost to produce "Green Lantern." Part of that makes "Chronicle" so enjoyable is the fact that they definitely got their bang for the buck. From start to finish everything clicked. The chemistry of the three lads grows at a pace that does not feel rushed before it ultimately crumbles. The special effects crisp and Max Landis and Josh Trank created a superhero tale that felt real and free of any typical glitz and glamour.

Music Video Break: Somebody That I Used To Know

2012-02-09T22:43:00.000-08:00

From the land down under comes Wally de Backer, more commonly known as Gotye. While he has been making music since 2001, he only started making noise in the US markets last year and earlier this month he made his official US debut, performing on Jimmy Kimmel Live! Recently Gotye did an interview with John Jurgensen of the Wall Street Journal for their "Off Duty" video series. You can watch the interview at the end of this post in which he talks about his early success in Australia (which includes winning the radio station Triple J award for song of the year) and his native Belgium (where he was born), with all roads leading to here. As for the video, I like the art direction in this clip as really body painting in general is very cool. Joining Gotye is New Zealand singer Kimbra who just has a wonderful voice. I'll be checking out more from these musicians.

The song: "Somebody That I Used To Know"
The musician: Gotye featuring Kimbra

This Is Moonlight Bride

2012-02-06T23:43:00.000-08:00

From Chattanooga, Tennessee comes Moonlight Bride and I got a hold of their 5-song EP titled, Twin Lakes due for a release later this month on the 28th. The band cites New Order and Sonic Youth as some of their chief influences and the styles of those two bands are there. I would also say there's Band Of Horses and Silversun Pickups mixed in. Twin Lakes opens up with "Diego" a sort-of, "Here we are in a nutshell," introduction to those discovering the band. It starts up the EP effectively. Following that is "Lemonade," the focus track/official single of the EP and the band calls, "The happiest song we could possibly write." It invokes a laid back vibe fit for any spring/summer playlist as the calendar eventually turns to warmer days. The fade-out of "Lemonade" transitions into the next track, "Versinthe" a track that is along the lines of Trent Reznor and Atticus Ross' soundtrack for The Girl With The Dragon Tattoo film. "Drug Crimes" takes a step back on the intensity and lyrically comes off as a gateway to a dream sequence. Closing out the EP is "And The Death Ship Had A New Captain" with a sound that lives up to the haunting title. A mix (or dare I play the pun card and say marriage) of new age, ambient, and alt-rock is what these guys bring and I like it. The video below is a teaser clip for the EP.

The band is currently on tour (check the website to see where) which will include a stop at this year's SXSW. You can also listen to tracks from their 2009 debut, Myths (check out the track "Young Guns") on the website.

Moonlight Bride (official website)

This Is Nabiha

2012-01-31T22:41:00.000-08:00

From Denmark comes Nabiha, a singer that as I write this is blowing me away. It is rare and really, something has to be really special for me to listen to and it instantly grabs me. This is the case with Nabiha as there is just an explosion of pop, soul, R&B, and soul. Think of Nelly Furtado (just her first two albums, the good ones) meets Martina Topley-Bird.

The focus of this discovery centers on two songs, "Deep Sleep" and "Never Played The Bass." Though having heard the album "More Cracks" in its entirety (find and listen to "Sound Of My Gun"), the album from start to finish is just awesome.

The upbeat nature of the song sure makes you feel like trading in staying in bed all day under the covers for jumping up and down like we all did as kids. There is an element in the song that is an African and French-language lullaby that Nabiha's mother sang to her as a child. This inclusion makes for a wonderful ode to not only her mother but as well as to her family's west African roots. One last thing about song. While contextually they share no similarity, there is just something about the beat that reminds me of the song "Peter Gunn" from the amazing Verve Remixed series. Come to think of it, I can already picture the joy and splendor of Nabiha doing a cover of a track from the iconic Verve catalog.

If there is someone to be a successor to Sharon Jones (of Sharon Jones & The Dap Kings), I would consider this to be Nabiha's application for the job. There is just a lot of things here that remind me of when I caught Jones' set at Bumbershoot 2006. Nabiha's sound just makes you want to get up and dance much in the same way you listen to The Go! Team or Cansei de Ser Sexy.

"More Cracks" an updated version of her 2009 debut, "Cracks" which serves as an introduction of what's to come for us Yanks while she works on new material for a release sometime this year. This February will mark her debut here in the US with performances in New York (Rockwood Music Hall on the 12th) and Los Angeles (Hotel Cafe on the 25th). From what I've just listened to, she is going to make more than just cracks over here.

Nabiha (official website)

Album Review: "River Seven" (River Seven)

2012-01-30T16:30:00.000-08:00

Before this review gets underway, I just have to say, doesn't the lead singer, Michael Bongertman look like he could be the musical, younger brother of actor Michael Fassbender? I mentioned that to contributing writer Kayla and she agreed, adding, "Oh he's cute." I can also hear my good friend Shane saying, "Well have you seen both Mike's in the same room at the same time?"

However there is more than a celebrity-likeness to Bongertman. There is a sound coming from this Toronto band that is along the lines of Jason Mraz, John Mayer and Maroon 5 (minus the highly annoying smug attitudes of the last two). Add in classic rock, blues, and hints of R&B for good measure. This mix of styles is the work of the aforementioned Bongertman, Peter Anzelmo on the bass and Tony Carpino on the drums. They are River Seven and this is their self-titled debut.

01. Follow Me In
02. Something's Gotta Give
03. You Changed The Rules
04. Long To Belong
05. Falling Hard
06. Baby I'm Alive
07. Doesn't Feel Like It Used To
08. Stand Up
09. Leave The Light On
10. Little Wing
11. Happy
12. Everybody Here Wants You
13. Blue
14. Baby I'm Alive (Remix)

The song and video above is how I was introduced to River Seven. The song has a good message, calling to attention the shape of our world and how we use/abuse it. However something about the clip just doesn't sit well with me. I'm not saying "Something's Gotta Give" is a bad song, rather the music video for it could have been something else than something of a literal translation of the lyrics.

The interesting element about discovering River Seven is that there is far more to enjoy with their music than the quasi-rocky start with the aforementioned music video. In this case the (very) good outweighs the iffy.

"BABY I'M ALIVE"
There are two versions of this song on the album. The remix version really only adds in a whimsical-like opening. Otherwise the original and remix versions are essentially the same. I look at it as two opportunities to listen to a song that I can see being received well here in the US. It has a fit for radio melody with a sprinkle of some blues rock that gives it enough reasoning to be the focus track of the album.

"HAPPY"
The chorus simply cannot be ignored. An often repeated message that really we all ought to subscribe to and live out more often, myself included. Add a bridge that includes what my guess is, the saxophone with the brief guitar solo and this track is without my favorite on the album.

It isn't about dollar bills, it isn't about freedom of will. It's the little things that make us happy. It isn't about diamond rings or the superficial things. It's the little things that make us happy.

Rounding out the album are two fantastic covers of Jimi Hendrix and Jeff Buckley songs, "Little Wing" and "Everybody Here Wants You" respectively. Bongertman's smooth voice make the covers a very worthwhile listen, and hell just how smooth it is, the iconic Al Green would be a fan as well. Like I said, the good outweighs a somewhat rocky start here. I am a fan and will certainly be revisiting this album come end of the year discussions. There is just that feeling of this is a complete package where just about everything comes together in strong fashion. Another example of something recently having that I would say is The Airborne Toxic Event. On a bigger platform, people will be hooked by River Seven's strong debut. It is just a matter of time before they are standing on that platform.

It should be noted that the album is already out in digital format with the physical (old school) CD format due for release in March. You can hit up the band's website where you can listen to the album with strong recommendations on the songs I mentioned here. Listen to the music. It's a good one.

River Seven (official website)

Movie Review: "Haywire"

2012-01-27T00:56:00.000-08:00

Like David Fincher, Steven Soderbergh is one film director that whenever I see his name attached to something my interest goes up just a smidge. Okay more than a smidge. Very few people would argue his body of work (that reminds me, watch "Che" soon) as he can make films with mainstream appeal (the "Ocean's" trilogy) and those that will fly under the radar but still tell a rock solid story (everything else -to paint with a broad stroke). For me, his film with former adult film star Sasha Grey, "The Girlfriend Experience" was that film (read the review here) that put him in the category of favorite directors. Last year he had "Contagion*," with an all-star cast and this year he has "Haywire" staring mixed martial artist Gina Carano.

*I saw "Contagion" under the guise of a work outing and I remember coming out of the theater and colleagues had the fear of God in them in the form of an addict-like need to wash their hands and worry about a sneeze. I was amused.

When you look closely at the premise of "Haywire" and if you have seen enough action/spy thrillers, you can see how the plot unfolds. So why see it? Well the thing about Soderbergh is that he likes to take a chance at times with casting a lead. It was the case with Grey and "The Girlfriend Experience" in the sense of can this girl do a legitimate acting role, and it is such the case with Carano. That's if you want to call it taking a chance, because what Carano brings to the role of Mallory Kane, contract assassin is credibility to the fight sequences in the film. Not to say that if another actress were given the role and spent some time doing some fight training they would not have made it work. Carano's MMA background is why you watch the film. The fight sequences in "Haywire" are nowhere in the neighborhood of the grandiose, served up on a platter scenarios reserved for video games. And the beauty of the fight sequences in "Haywire" are that the majority of them are shot from a proper distance that you see all of the action unfolding right there in front of you. Think of the fight sequences in the Jason Bourne movies, then think of the opposite. You won't find any quick-cut, motion sickness inducing snapshots here. The punches, kicks, and slams are very believable as far as individuals that would have proper close quarters combat training. It all results in a pretty good action flick.

That said, her acting chops were okay enough. Those that choose to see this film should have it in their mind that when you are opposite some damn good actors like Michael Dougls, Michael Fassbender, Bill Paxton, and Ewan McGegor, you are not going to top them in that department. Could Carano build on this should she pursue more films down the road? Absolutely. Carano has talent and that vaunted "crossover appeal" that is some sort of a requiem for someone to be a star. In a lot of ways, Steven Soderbergh cannot do wrong for me. He can tell a good story, as well as doing a good job with the visuals under his pseudonym of Peter Andrews. His films always have that certain look as far as visuals go. A form of suave and cool is displayed (not the glitzy and glossy kind) in his films in the fashion of that timeless statement of less is more. "Haywire" follows Soderbergh's formula and works as only Soderbergh does with his films. Going into watching "Haywire," I had an idea of what to expect and they were satisfyingly met. In short, Soderbergh does it again, this time with the talents of Gina Carano.

Nat & Alex And Smoosh, The Wave(s) Of The Future

2012-01-25T21:22:00.000-08:00

If you can call it a problem, one problem about trying to be a proper blogger is that I get quite a few of e-mails. Various press releases to check this or that out. If really there were only enough hours in a day to check it all out, much less have the drive to write something that does the subject proper justice if it is good or bad.

Case in point a couple of weeks ago I received an e-mail about the latest single from duo Nat and Alex Wolff. The brothers first established themselves from the Nickelodeon show, "The Naked Brothers Band." Television show under their belts, the brothers have upped their game and are making a lot of noise with their debut album, "Black Sheep." Reception of the album has been positive as their sound is reminiscent of their influences like The Killers, Coldplay and their biggest influence, The Beatles.

Listening/watching their latest single "Illuminated," those echoes ring very true. Halfway through the clip, Nat swings the guitar that made me think he was about to trash the set like Nirvana did at some MTV VMA show so many years ago. Their last single from the album, "Thump Thump Thump" which the music video featured Abigail Breslin (yes the girl from "Little Miss Sunshine" and "Zombieland") was a song about love that anyone young or old can relate to. With "Illuminated" touches the question of identifying who we are and living to our respective full potential. It reminds me of Simon Spire's song "Liberate Your Love," and by now you ought to know my thoughts on that song. Their choosing to branch out and create an identity beyond their television show years has resulted in a very promising debut. Those that supported the brothers from the start of their television days have embraced the growth and new direction towards a mature tone and not the bubblegum pop route. Upon further look at Nat & Alex, it reminded me of another teen band that is making some damn good music years above their age, Smoosh.

If anyone recalls my songs of 2010 post, you will see the sisters from Seattle were on the list with their song "The World's Not Bad." Check out the clip below of them performing said song for the Seattle station 90.3 FM KEXP. Tori Amos and Neko Case would be proud of these girls.

Where Willow Smith, Selena Gomez, and Justin Beiber continue the beat of teen pop acts (all snarky disposition towards them aside) we have amazing talents like Nat & Alex Wolff and Smoosh. The way these young bands are establishing themselves, I can't help sense that it echoes the way some ambitious kids from England did so many generations ago. I'm not going to say that Nat & Alex and/or Smoosh will make a cultural impact the way The Beatles did, but all signs point to these musicians already making some great music now, and will continue to do so ten, twenty, maybe thirty years down the road. Or however long they choose to keep it going. We live in the present with a limitless offering of music and our respective opinions on who we vault as our favorite musicians, kids like Nat & Alex and Smoosh are holding it down and doing so very well in the grown ups world. In some ways better than said grown up colleagues. Should the next wave of talented musicians be spearheaded by these kids, then the future is looking pretty bright.

Nat & Alex (official website)
Smoosh (official website)

Music Video Break: Barack Obama

2012-01-20T19:31:00.000-08:00

Here is the US President, Barack Obama singing a couple bars of the Al Green classic, "Let's Stay Together." You know what this means right? Al Green. Barack Obama. Summer concert series. Book it.

This Is Tayisha Busay

2012-01-19T22:38:00.000-08:00

Banded together, Tessa Greenberg, Ariel Sims, and Brandon Lalavek are Tayisha Busay. A Brooklyn trio that made some noise back in 2010 with the single "WTF You Doin' In My Mouth." 2011 saw their debut album "Focus/Virus" and with the new year in full swing, a new single from the album is making the rounds. The song "Heartmeat/Lovemuscle" has a R&B fell to it, but still retaining the electro-pop dance hall sound. Think of something along the lines of a subdued mix of Cansei de Ser Sexy (better known as CSS) and Scissor Sisters. I dig the track because of Tessa and Ariel's divine voices and there's just something charming and identifiable about the lyric, "I heard this track, takes me back, saw you there looking like a heart attack." Give a listen yourself.

A music video for the single is slated for release just in time for Valentine's Day. In the meantime, check out the videos for two other tracks off their debut album.

I can't help but think the yellow outfits are an ode to the legendary Devo. Oh and laser pointers!

Initial reaction to the climax in this clip reminds me of the tail end of the Takashi Miike film Audition, just a lot more tamer and something you can actually dance to.

What I get from these two videos is that the trio takes the music video medium and just has fun with it. Whether it's spelling with laser pointers or escaping captivity and getting revenge (which I'm sure the girls enjoyed rehearsing repeatedly during the shoot), Tayisha Busay is all about the glittery dance-pop fun with two wonderful voices.They themselves describe their music as, "Imagine the lovechild of Cyndi Lauper and Trent Reznor raised on The Cosby Show." How can one not be curious to give them a listen after such a description. It will be interesting what the clip for "Heartmeat/Lovemuscle" will bring, but the fact is this trio is now on my radar.

Tayisha Busay (official website)

Music Video Break: Whole Life Blues

2012-01-09T21:31:00.000-08:00

One of my favorite songs of 2011, Warren Malone's "Whole Life Blues" tells the tale of how his parents met. A beautiful as much of a tragic tale that echos along the lines of a Cash or Waits song. An intimate tale that gets a fitting video. Warren told me in a brief chat a while back that the clip was shot with just an iPhone and it features his son Gibson.

The song: "Whole Life Blues"
The musician: Warren Malone

Music Video Break: Big Top

2012-01-06T20:07:00.000-08:00

Happy New Year everyone. Enjoy some new music from across the pond. From Oxford, Alphabet Backwards describe themselves as "joyous technicolour indie-pop," which rings true as you listen/watch the clip below for the song "Big Top." Boy tries to impress girl with the help of some very skilled individuals in the form of a talent show. These kids are all about having fun with their music and the new year will bring their debut album, tours around Europe and a tour around the US in October. Here's hoping Seattle is one of their destinations.

Also, check out their other single, "Taller."

The song: "Big Top"
The musician: Alphabet Backwards

Movie Review: "The Girl With The Dragon Tattoo"

2012-01-03T20:50:00.000-08:00

My exposure to The Millenium Trilogy aka The Girl With The Dragon Tattoo and the sequels that followed it started with the books. Nothing more than being curious as to what the hooplah was about. Honestly, I though it was a medieval tale. I picked up the books because the US version was coming, knowing there was a Swedish language version already out. I was indifferent on the whole matter of a US version being made. It's Hollywood folks, whatever they do in this day and age should not surprise any of us. Then I heard who was going to direct the film. David Fincher.

I don't want to say that right then and there it became an automatic must-see. However I sure was going to be very interested in his vision of the story. Then came the trailer with the hammering cover of Led Zepplin's "Immigrant Song" crafted by Trent Reznor, Atticus Ross and Karen O of the Yeah Yeah Yeahs. At that point for me (and I'd like to think a few David Fincher fans) I was sold.

The big question about Fincher's "The Girl With The Dragon Tattoo" is how is Rooney Mara's portrayal of Lisbeth Salander. Is it up there with Noomi Rapace's portrayal? My take is this. Both actresses did a fantastic job of bringing life to the computer hacker that is well, pretty lifeless. Over the course of reading the books and creating a picture of Salander, I've always had the idea that unless it was deliberate or otherwise provoked, Lisbeth's emotions were well hidden through very subtle facial expressions. Something that you'd have to look out for and really pay attention. Rapace did it in the Swedish films and Mara nailed it here as well. It was actually within the first ten minutes of the film, a scene in which she enters a conference room and as she shuffles towards a chair, she acknowledges in the slightest of movements her boss and a client at the far end of the table. It was deliberate that the camera shot Mara in a side profile as she enters, and it was close enough that you can spot her motion of recognizing the party in the room with the simple motion of her looking out of the corner of her eye. It was there that I knew that Mara had done her homework and invested in the little things about the Lisbeth Salander character, and as such she got recognized with a Golden Globe nomination for one damn good performance. I can't say if her portrayal was better than Rapace's or vice versa, in that I'd rather not. It is natural to make comparisons and try and pick one over the other. Many people will do that, but I just think both actresses did it great in their respective ways that it makes the Lisbeth Salander character just a bit more memorable.

Mara's opposite in the film is the already well-known Daniel Craig playing the role of Mikael Blomkvist. Then again, the focal point of the film, like the books were is Lisbeth Salander. That said, Craig does a good job of being something of a co-pilot to Mara. There are times where he pulls off fairly convincing that as good of researcher he is, he does not have all of the answer and Mara steps in one-ups him. The rest of the film's all-star cast (featuring Stellan Skarsgard, Christopher Plummer, and Robin Wright) play their roles well enough as supporting roles to the duo of Craig and Mara.

David Fincher's film is not a remake of the Swedish version. That is the common misconception about it. It is a retelling of the Steig Larsson book of the same name. For someone that has read all three books and seen the Swedish film adaptations, it was fun to see the differences between the two films. Fincher and screenwriter Steve Zaillian created a film that in some ways is more faithful to the book than the Swedish film. A friend of mine asked me where does this film rank on Fincher's resume. I think it's too early to even put it into discussion with his past works. I think if the second and third films are given the greenlight and he is directing them, then once the trilogy is complete, I will revisit the question. With the studios announcing today that the sequels will be filmed, I do hope he directs them. Should he choose to not direct the follow-ups, then a system where a different director for the next two films like the "Harry Potter" films could work; paging Alfonso Cuarón, paging Alejandro González Iñárritu.

Does the story of Lisbeth Salander warrant two movie adaptations? I think it's subjective to you if you've read the books, and/or seen the Swedish films, and/or are going into the whole universe that Steig Larsson created naked and watching Fincher's film first. Traditionally one can start with the books, then the Swedish films, and then Fincher's. Whichever way your curiosity will take you into seeing what the buzz is about this Lisbeth Salander, you have options, and David Fincher's take is definitely worth adding to the options.

The Albums Of 2011

2011-12-28T16:41:00.000-08:00

From start to finish, these albums were an absolute joy to listen to. Very little, if anything nothing at fault with these albums as they provided some memorable sounds throughout the year. So here they are, my favorite albums of 2011.

"Torches" by Foster The People
I think Foster The People were the other most-talked about musical act of the year outside of Adele. All the talk was rightfully just as the noise made by Mark Foster, Mark Pontius, and Cubbie Frank were impossible to resist. Listen to any of the songs on their album and try not to bounce a knee or bob your head. For example, start with the opening track on the album, the raucous "Helena Beat" (you gotta love the Mad Max/Lord of the Flies theme in the music video) which is tied with "I Would Do Anything For You" as my favorite songs on the album. What will 2012 bring the boys? Honestly I could see them taking some much deserved time off and working on a much anticipated second album in the later stages of the year. That said, they made one loud and entertaining mark this year.

"Cinemetropolis" by Blue Scholars
The wait for their next full-length after 2007's "Bayani," I don't want to say was nearing some sort of tipping point as the hip-hop duo released EPs and various singles during the time, but fans of Blue Scholars definitely were waiting for the next album. The wait was worth it as this year saw the release of "Cinemetropolis." It was more than just an evolution in the sound of Blue Scholars, as they utilized the power and influence of moving pictures (film, television, etc.) in daily life. It was one of the very rare moments where the album came about through the actual involvement of their supporters via their highly successful Kickstarter campaign. Listening to the album had all of the familiarities of what I've come to know and love about Blue Scholars, while introducing the new beats and theme of the album. I really hope their overall vision of the album becomes reality in that a series of video projects (music videos, shorts, etc.) are made all utilizing songs from the album. Speaking of, here is the video for the track "Fou Lee." How many musicians do you know are going to cut a video where they go grocery shopping? Exactly. Also, anyone who has ever had chicken adobo will appreciate this clip, as well as end up being hungry for the dish.

"All At Once" by The Airborne Toxic Event
Watch the video for the song "All For A Woman." Watch the video for the song "Numb." Watch the video for the song "All I Ever Wanted." Watch the video for the song, "Half Of Something Else." Watch the video for the song "It Doesn't Mean A Thing." Watch the video for the song, "The Kids Are Ready To Die." In short, the seemingly autbiographical album about love and relationships, life lessons from parents, and questioning a government's actions is well, beautiful.

"There Will Be Stars" by Elisapie
Invoking a French chanteuse sound, but yet just across the border up in The Great White North, Elisapie's album was an instant favorite when I listened to it. The mix of English, French, and her native Inuit language in the songs was beautiful as it was fresh and something I had not been exposed to, but glad I was. While I may never know what she says in Inuit, I prefer to keep it that way as the harmonies are just divine and some things are better left as something of a mystery.

"Suego Faults" by Wolf Gang
Yes, I was brought into this one by the hit single, "Lions In Cages." However, further exploration into the album, it is "Midnight Dancers" and "Planets" that are my favorites on the album. Each song could be complimentary pieces to the Elton classics, "Tiny Dancer" and "Rocket Man" respectively. I'm not saying front man Max McElligott is the second coming of Elton John, but he must have used him as an influence when creating those two songs. There is also "Dancing With The Devil," which in the video below is an amazing acoustic version.

Twas a good year in music. Readers, what were your favorite albums of the year?

The Songs Of 2011

2011-12-19T13:46:00.000-08:00

I still can't believe that 2011 is nothing but a few weeks away from being over. Seriously oh how does the time fly. That said, 2011 had a lot of enjoyable music. Here are my favorite songs of the year. Some of them you've seen me write about before, while others I am mentioning for the first time. This is separate from my favorite albums of 2011. That is in a different post. No Homer, unlike Starland Vocal Band, these musicians do not suck. These are my favorite songs of the 2011. Tally ho.

"Silent Singer" by Edward Rogers

Rogers' touching tribute to his father still shines as the standout track on his "Porcelain" album.

"Written In Red" by My Tiger My Timing

They caught my ear over the summer with "Endless Summer." Then that one got remixed, a few of which were featured here. But it was the second song from My Tiger My Timing is the one that sticks. I look forward to their 2012 (as they've indicated in an interview I did with the band) that's when their full length album will be released. These kids are set to make some noise.

"Return Of Simba" by J. Cole

The final installment to the now heralded "The Simba Trilogy," J.Cole has been one of the most anticipated talents coming out of the world of hip-hop. Something of a protege to Jay-Z, J.Cole won me over with his first installment of the trilogy simply called, "Simba." Then came "Blow Up," and once I heard the trilogy in it's entirety, it was set in stone that I am a J. Cole fan. While I'm certain he will continue to drop some amazing tracks, "The Simba Trilogy" has that quality of no matter what else he will do, this is the track (or in this case, tracks) that sold me that J. Cole is damn good.

"Whole Life Blues" by Warren Malone

After being introduced to him by Simon Spire, I got a hold of his latest release. It echoes sounds of Waits and Cash, two all-time greats. "Whole Life Blues" still stands as my favorite song on his 2011 release, "And The Ants Ate The Bee."

"Free" by Nine 11 Thesaurus

Speaking of emerging talents in hip-hop, this collective of emcees from New York is one to look out for. It's most likely a very lofty comparison, but the group has the inklings that they're cut from the schools of thought that Boogie Down Productions and A Tribe Called Quest laid forth. This song comes off their release this year, "Ground Zero Generals."

"On The Corner" by The Twilight Singers

The song with an incredible build-up and a sound that reminds me of The Hold Steady. Loved the song when I first heard it back in February and I feel the same way about it now as this year ends. The band released a live album back in November, which I think I ought to check out.

"Buckle Up" by Roxanne de Bastion

An open mic night at a New York City cafe later and I am a fan of Roxanne de Bastion. The video for the song is just fun to watch as she goes to multiple office lobbies and performing right then and there. I look forward to more music from Roxanne in 2012.

"Hard In The Booth" by J. Bair

Another favorite emcee in the emerging new class of hip-hop is Pennsylvania's J. Bair. He wowed me last year with "10 Rap Classics" and came back this year with "The Bootleg." This song was my favorite on that release thanks in part to the killer beat. If there's a 2012 wish as far as music goes, I would love to see J. Bair and J. Cole work together.

"Nightcall" by Kavinsky & Lovefoxxx

This song comes off the soundtrack to the Ryan Gosling film, "Drive." The movie was one of my favorites for the year (read the review here) as the acting was superb. The movie was accompanied with a killer soundtrack, with most of the songs composed by Cliff Martinez. However this one was not, instead produced by French DJ Kavinsky and features Lovefoxx, lead singer of the band CSS. It was used in the opening sequence of the film, instantly setting the film's mood. The song exudes the sort of cool from the 80s electropop scene.

"Liberate Your Love" by Simon Spire

Not much else needs to be said about this song, as I've covered it before. I think Spire will have a great US debut in 2012 that will start with the emergence of this song. Watch out for him next year.

Readers, what were your favorite songs of the year?

New Music From Simon Spire & This Is NoAliaz

2011-12-08T15:26:00.000-08:00

In preparation of his US full-length debut next year, I received a copy of Simon Spire's EP, "No Solid Ground." The set includes "Liberate Your Love," which I've already covered and praised. The EP also has two new offerings from Spire with one being a remix. The first one is a new tack titled "The Blue Pill," which I remember him playing in person at an open mic night when I was in NYC this past October. It is a change of pace from the song that introduced me to Spire and I love the simplicity of just having a piano and xylophone (or is it the vaunted xylo-piano). Check it out for yourself.

The second one is a remix of the song "Knocking On An Open Door."

The remix features what sounds like (and I'm probably on the wrong and will be properly corrected) a drum beat machine. It is a nice remix, but I still prefer the original, which you can listen to below.

The new additions on the EP definitely build momentum for his debut here next year. At the same time, it makes me hungry for more new music from Simon.

Simon Spire (official website)

Next up on today's block of new music, is Virginia beat-maker NoAliaz. Brought to my attention from a friend (thanks Brandi), NoAliaz's sounds are a mix of hip-hop, dubstep, and techno. I'm digging the Star Wars track titled "Pathway To The Darkside" and think if that film franchise ever wanted to show some bit of edge or -cough- dark side, this song would have some fit in a re-cut trailer.

Another track, titled "Spaceship Rider (The Abduction)" has a sound that reminds me of the Kylie Minogue song, "Come Into My World." Give it a listen below and check out the rest of his track son his Soundcloud. The beats are there and it'd be interesting to hear what someone can do with them as far as putting words to them.

NoAliaz (Soundcloud)NoAliaz (Facebook)

"Sons Of Anarchy" Is The New "The Wire"

2011-12-07T14:03:00.000-08:00

For some it might be a very lofty, if not a hyperbole to say it, but Kurt Sutter's show is just that damn good that it's impossible for me to not hold it such high regard. I know if I said that to my dad right now, he'd raise an eyebrow and try to call me on a bluff. Though if you are familiar with this blog, you will know that I've said nothing but praise for "Sons Of Anarchy." Yet with the fourth season ending last night, Sutter is no longer on the outside looking in. He's sitting at the table with David Simon and Ed Burns (creators of "The Wire") along with J.J. Abrams (creator of "Lost"), and did so by kicking in the door with one of the best single-season journeys of any television show I've seen.

While the show may never be discussed in a sociology class the way "The Wire" has been. Those that have tuned into "Sons Of Anarchy" are seeing something very good and we have to credit the mad genius creator responsible for it.

Sutter recently wrote in his blog about the now standard (or as he calls it, cunty) protocol that comes with covering television shows. The demand for instant coverage moments after, if not hell maybe as the show is going on in a live commentary manner takes away from the creative process. Yet this is the way in which media operates and along with the archaic system of ratings, determines if show lives or dies. I don't like the system and I agree with Sutter that it's still a necessary evil. At the same time, it's the instantaneous demand of covering a television once the credits roll that I know for myself I could never do. Make fun of me if you want, but I'd rather watch an episode of a television show that I enjoy greatly, from start to finish and sit back and absorb what I just saw. Let it sit in my mind and recover from whatever emotions I experienced as the story unfolded. This is what Sutter has done with "Sons Of Anarchy," with specifics to this season as there was plenty to be happy about (Jax playing with his boys), to feel rotten and sick to your stomach (Juice's identity crisis, and the whole of the episode titled "Hands"), and the anxious curiousness about what is going to happen next (who is exactly Lincoln Potter and at the same time I'm scared of him). In fact, the element of fear was often discussed between me and fellow fan of Sutter, Shane Charleson (creator/editor of the blog Film A Day) in which the fourth season offered a lot of characters to fear. The aforementioned Lincoln Potter, the emergence of Tara into the very definition of the saying, "Hell hath no fury like a woman's scorn." There was also the Juggernaut-like rage of Opie, and of course there was Danny Trejo being well, Danny Trejo.

The other telling aspect about the fourth season that Shane and I discussed and agreed with on multiple occasions was that not one episode felt like it was a filler episode. If there's one thing anyone can take from Sutter's blog posts and tweets (to which I can also assume is how he is if you spoke to him face to face) is that he is direct and right to the point. No bullshiting around. It sure carried on with every episode this season as he might have very well written an updated guidebook on plot advancement that a lot of television shows could use to spend a night reading. Someone might at this point jump and scream how could I say this and at the same time call the show the new "The Wire." Here's the thing. "The Wire" was meant to be slow and methodical because it was a detective saga. Creators Simon and Burns designed it that way so for once we the viewers would have a realistic portrayal of detectives doing their job as opposed to something being neatly wrapped up in one hour. "Lost" did the same thing, albeit not without some bumps in the road, but Abrams (cannot forget to include Damon Lindelof and Carlton Cuse) still gave us one of the more memorable rides in television history. The way Sutter is telling us a story, he's doing so with adrenaline and he wouldn't dare hit the brakes, to which even then the brake lines would probably be cut. Truth be told, that's what you'd expect from a story centered around a motorcycle gang with a colorful history. The modern day outlaws with their own code isn't told through them sitting around and shooting the breeze. Here in lies another connection "Sons Of Anarchy" has with "The Wire" and "Lost." The characters. All three shows have characters you root for, wish suffering upon and the beauty comes in the fact that it's not always clear cut. There is that proverbial gray area. Sure it's nothing new, but very few television shows have pulled it off to where you walk away remembering it. Half of it is the writing, which credit goes to Sutter and the rest of the writers. The other half goes to the amazing cast, pulling off some incredible performances. It's not just one person taking on the identity of Atlas and carrying the world on their shoulders. It's a genuine, collective ensemble cast doing some of the best work around. Hunnam, Siff, Perlman, Sagal, Rossi, Boone, Jr., Coates, Hurst, Lucking, Callie, LaBrava, and everyone else make the episodes memorable. If there's one thing I think all award shows need, it's a category for ensemble cast. It's for damn sure a category that "Sons Of Anarchy" need to be nominated for, if not win it.

In last night's season finale, new sheriff of Charming, Eli Roosevelt (played by Rockmond Dunbar, another amazing performance all-season long) says to Juice, "You're a criminal. You do bad shit. And I have to stop you." Then later on Potter closes the scene saying, "The good guys gotta win something." At the same time, do we really know who are the good guys and the bad guys in the "Sons Of Anarchy" world?

Note: What Roosevelt and Potter said may not have been word for word accurate. Forgive me as I had to draw it up from memory.

This is what Sutter has done in his own style. He will tell you himself he is not striving out to be like "The Wire." As I write this, he just posted on his blog about the critics' reaction to the close of the fourth season, hammering in that he is not trying to be like "The Wire." It's true, he is not. No one can replicate what "The Wire" did. But as far as giving me something to watch and ultimately end up saying, "Damn that was great." "The Wire" did that, so did "Lost." This is what the fourth season did for me, and in general what "Sons Of Anarchy" has done. So if I were to answer the headline in Sutter's latest post, "What is Sons Of Anarchy?"

Ask me, a fan more ever than a critic, and my answer is it is the best television show around.