So, what exactly is Acoustic Recordings 1998-2016? Well, the album title should be quite indicative of its contents but that right there is where the confusion begins. Shortly before the collections’ release, Third Man Records put out a video announcing that Acoustic Recordings would be composed of “alternate acoustic versions, remixed and remastered” spanning across 26 studio tracks from the White Stripes, Raconteurs and Jack White solo releases. So far so good, right? Jack then went on to explain in an NPR interview that the upcoming release would not only be a collection of acoustic songs but also “a record to show where all these things begin” by taking electric heavy songs, stripping them to their bare acoustic bones in an effort to “let people hear the way it (the song) started off”. At this point it seemed that Acoustic Recordings was going to fit nicely among other iconic “unplugged” records (Nirvana, Eric Clapton, Alice in Chains)with not only acoustic classics such as Never Far Away and Hotel Yorba but with demos of other electric heavy Jack White classics like Seven Nation Army perhaps? Yeah, perhaps not…

Quite frankly, Acoustic Recordings is not an acoustic album at all, not as a whole that is. In fact, I dare to bet that if I presented you with this album (had you no previous knowledge of its contents or of White’s intention) you wouldn’t be able to guess what the common theme of the record was. Sure, the album begins with expected stripped down acoustic classics like Sugar Never Tasted So Good and We’re Going to Be Friends but by the end of the first disc you’ll start to notice less and less focus on the acoustic guitar. By the second disc you’ll be asking yourself “is there even an acoustic guitar in this song?” because the other instruments like electric piano, fiddle and steel guitar dominate the tracks. It’s a bit hard to put into words (great thing for a writer to say, right?) but the album just doesn’t feel like an acoustic collection but rather a random assortment of songs across various genres.

My next gripe with Acoustic Recordings lies with the alternate takes and stripped down remixes advertised for the collection. To my non-musically-trained ears every “remixed” or “alternate” track from the collection sounds just about the same as the original album versions of each song. Like I said, I am no musician and I don’t know every note to every Jack White song by memory but I do own just about every album he’s put out and even I would have to play the tracks side by side to tell you which song is the remix and which is the original. It’s disappointing because one would expect to hear barebones acoustic demos or at the very least extensively reworked acoustic versions of electric heavy songs (I.E. Clapton’s Layla) but this album fails to deliver in both departments.

One of the album’s biggest selling points (that also generated the most hype) is its inclusion of a “lost” White Stripes song, their first in many years. The track, titled City Lights, is not terrible but it falls way short of what I would come to expect from a White Stripes single and I can see how it ended up on the cutting room floor.  City Lights features no real chorus, or even verses for that matter, and just seems to be more of an exercise for Jack in writing as he plucks a guitar and throws lyrics at a wall for five lengthy minutes while Meg shakes a maraca.

I have to ask myself “who is this album for?” while listening to Acoustic Recordings. If you’re a fan of Jack White you most likely will already have every track on the album (with exception to City Lights and a B-Side or two). If you’re not a fan but want to check out what Jack White is all about, this album is a poor representation of his musical range. If you’re a fan of acoustic or “unplugged” albums in general and you think Acoustic Recordings falls in line with that category you’re in for a shock as well.

As I said above, I own all of Jacks records because I am a fan but this collection is confusing and disappointing with its lack of direction and it really comes off as a simple cash grab more than anything. This idea is further cemented when you notice the run time is 85 minutes stretched over two discs. Had Jack cut two or three songs off of this collection he could have fit this entire album on one disc and cut the price in half. My negative critique only lies with the collection itself but the songs within the album are great so I don’t feel right giving Acoustic Recordings a poor score so instead I’ll give no score at all and simply suggest you skip this release whether you’re a fan of Jacks or not.

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I can’t recall the very first time I heard a Radiohead song but I can assure you that, much like the rest of the world, the first song that I heard was the band’s 1993 breakout hit Creep from their debut album Pablo Honey. Although admittedly I was a youngster at the time I still had an astute ear for modern music and noticed that Creep managed to quickly fade into the alt-rock landscape of 1993. Creep wasn’t a bad song, in fact, it was a good song but it lacked any trace of innovation and depth, two elements that could have catapulted this song from goodness to greatness. Had Radiohead moved back to England and hung up their instruments after Pablo Honey one might categorize the band as a one-hit wonder but as we all know this would not be the case. No, the band would not sit quietly beside the other angsty teen pop fluff groups of the time with their follow-up album, The Bends, but instead, they would begin to carve out their own unique sound. No longer following trends but forging them instead. This upward momentum would continue with the band’s following albums, Ok Computer and Kid A finally peaking with 2001’s Amnesiac. This is where the band started making ham sandwiches.

We all like ham sandwiches right? Well, maybe not my Jewish or Muslim brothers and sisters but you get what I’m saying here. We all know that ham sandwiches are a universally accepted lunch across the country but does anybody really love them? I mean, sure, I’ve had a good ham sandwich and they’ve always left me satisfied but I’ve never had a great one worth bragging about. I’ve had a great steak, I’ve had great fried chicken and I’ve even had great pork chops but ham sandwiches? Even at their best, they’re just good, not great. This is the Radiohead catalog from 2003 to 2016 to me. Not bad. In fact, good! Just, not great. Am I nuts to bitch about an album being good but not great? Probably so but that’s just because I’ve come to expect nothing less than greatness from the band because I know they’re capable of so much more.

So, what makes A Moon Shaped Pool good and not great? To explain this I’ll have to break the album down into three distinct categories. First up are songs I like to call “phoning it in” that really hold the album down for me. Songs like True Love Waits, Desert Island Disk, and Identik feel like they were thrown together at the last minute with barely a thought placed into their composition with the former sounding as if the band improvised the entire track. Next up are “same ol same ol” tracks. These songs are good songs just nothing really new and exciting. You’ll surely enjoy Daydreaming, Ful Stop, and Glass Eye but these tracks could have been on any of the band’s last several albums and they don’t really have an identity of their own.  This brings me to the final category “nuggets of greatness”. These are the tracks that manage to break away from the rest of the pack and show what the band is really capable of. The opening track Burn the Witch is an excitingly unique song that blends plucked string elements that I’ve not often heard with a marching digital drum and bass track. Also, Decks Dark is a well-crafted song with its interesting mix of funk elements with delicate piano arrangements. Lastly, my hands down favorite track on Moon Shaped Pool is Present Tense with its haunting vocals, delicate guitars, and catchy chorus. It hits all the high spots all at once.

If you like Radiohead you’ll like A Moon Shaped Pool because it is indeed a good album. It’s not perfect but there are enough shades of greatness here to keep your thumb in an upward direction as you listen. This record might not top my “favorite Radiohead albums” list but it’s definitely not at the bottom and certainly worth a listen. I give it four out of five Thom Yorkes!

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The Simple Gist: Have you ever enjoyed the music of Weezer? If so, go ahead and pick this album up. It teeters comfortably near the sound of what is commonly known as the bands “prime” so fans of both old and new should enjoy it.

The Overanalyzed Breakdown: I’ll just go ahead and say it… it is generally accepted that Weezer passed their prime long ago. Have they? I can’t really say.  I’ve always enjoyed the band’s music but their mid-90’s albums have always held a special place in my heart (and the hearts of the majority) because of the era from which they were created. Can any of us go back to the mid-90’s and relive our young teen years? Of course not. So then, who could expect a band like Weezer to continue to pump out songs with the same exact sentiment for over 20 years? The best any of us could hope for from a new Weezer album is an experience that mainly resonates with our modern selves and only mildly tugs on our nostalgia strings. Weezer’s White Album does just that.

California Kids: If the album cover didn’t give it away then the chirping seagulls and crashing waves from the first 20 seconds of this track will inform you that The White Album is dedicated to the beaches of California.  Even more importantly (especially if you’re not a fan of the Golden State) you’ll recognize a glaring ode to California’s greatest export, The Beach Boys. California Kids is a perfect introduction to the beachy power pop style of the record so if you want to hear the feel of the whole album in one track, it’s right here.

Wind In Our Sail: The first and most noticeable thing that stands out on this fun track is the infectious drumming of Weezer’s Patrick Wilson. I could definitely see a rapper using this beat and keyboard combo to create a great backing track but as the song progresses you really get a great sense of the bands unity. I’m not sure if this is more a testament to the track’s mixing but no one element really overpowers any other and it all comes together like one tasty club sandwich of sound.  Mmmmm, club sandwich….

Thank God for Girls:  It wouldn’t be a Weezer album if it didn’t include a few tracks dedicated to the lovely ladies. Rivers Cuomo delivers most of the vocals on this one in his rapping style (which typically I’m not a big fan of) but the chorus for Girls is catchy as hell and I find myself singing along even if I don’t want to. This will probably be the first song you hear from album on radio and TV so if you’re not very impressed by it (as I wasn’t) don’t let that steer you away from the rest of the album.

(Girl We Got A) Good Thing: Am I listening to Brian Wilson at his peak? It sure feels like I am (and I like it)! I really feel like this track is the perfect predecessor to the band’s 2002 hit Keep Fishin’ which is a hell of a song to proceed.  If the band’s management has half a brain they will try and make this song a summer anthem because it would fit right in with any beachside barbeque.

Do You Wanna Get High: This track is a little hard to describe because nothing truly stands out with it other than the grungy guitar solo at its’ end. Don’t get me wrong, it’s not a bad song it just sort of gets lost in the shuffle and comes off more as filler rather than a standout hit. Hey, they can’t all be Buddy Holly’s.

King of the World: Just when one might start to get bored with The White Album this track gets the action back rolling along. It’s got everything you’d want from a Weezer single, catchy chorus, power pop guitars and lots of “woah oh oh oh ohhhhh”. King of the World is sure to put a smile on your face (it did mine).

Summer Elaine and Drunk Dori: It’s got everything you’d want from a Weezer single, catchy chorus, power pop guitars and lots of “woah oh oh oh ohhhhh”. (INSERT SONG TITLE HERE) is sure to put a smile on your face (it did mine). Alright, alright, The White Album doesn’t exactly break new ground with sound or variety but this is power pop, not prog rock. If you can do something well, why mess with it?

L.A. Girlz: I’ll overlook my irrational hatred for intentionally misspelled words for this track because L.A. Girlz is hands down my favorite song on The White Album. It completely embodies the concept of the album by taking a bold step into the modern era while still managing to sound like the Weezer we know and love. Stop what you’re doing right now and listen to this song. Hell, put it on repeat.

Jacked Up: As we begin to reach the tail end of The White Album the band starts to slow down the tempo and focus more on soft piano with smooth vocals. It’s a delightfully subtle tune with subtle results that follows seamlessly into the soft acoustic guitars and the soothing sounds of the beach on the album’s final track Endless Bummer. These songs are a great way to end an album.

The Verdict:  The White Album isn’t a perfect record but it’s probably the closest thing to a perfect Weezer album as we’ve had in a very long time. I said it above and I’ll say it again: if you’ve ever had the slightest interest in the band, do yourself a favor and pick this album up.

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The group has been known to describe their sound as “horror epic punk/metal” but Wolf’s Breath contains thirteen tracks that seem to defy all genre with its diversity. Tracks like Kali seem to dance between doom metal and speed punk as if NOFX and Pentagram had a baby. I could probably spend an entire day trying to define the genre that this record fits neatly into and which bands it sounds the most like but the point I want to really drive

as stated in the record’s liner notes, lead singer Jason Virus thinks that this particular group of fellas has put out the best album he’s ever been a part of and I tend to agree. Each musician’s touch comes across loud and clear on every track from Johnny Davis’ thundering bass to Evan Jones’ always-impressive drumming. Lead guitarist Spencer Lewis is easily the most diverse element to this record’s sound taking the dark grungy tones of doom and sprinkling in bright moments of 80’s inspired guitar work. Of course, this wouldn’t be a Sugar Virus record without lead singer Jason Virus so I’ll take a moment to mention that his vocal range on this album is quite impressive. As I stated before, he could have taken the easy road and did Glenn Danzig melodic impersonations the entire record but he honestly makes Wolf’s Breath his own.

The album’s lyrics revolve around your standard horror fare: robot monsters, crimsons ghosts and bitches in black. This is not exactly groundbreaking source material but it works just as well now as it ever has for the band so why mess with that now?

In short, Sugar Virus II: Wolf’s Breath is a fun album with great diversity and the effort put into this record is quite evident.  I would recommend any fan of horror punk like The Misfits or fans of metal in general to pick this album up.  Wolf’s Breath will be available on Amazon.com June 06!

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It seems like there is a bit of an uproar about this picture. Actor Jared Leto’s version of the iconic Joker character was shown off on the 75^th anniversary of the first appearance for the classic Batman villain. The image was revealed by Suicide Squad director David Ayer, and judging by the response on social media and forums, the majority of fans were not pleased.

The tattoos seem to be the focal point of hate from most people. From the playing cards and skull to the odd looking mouth on one arm, the new tattoos seem to brush the high-points of the character’s personality, but ‘damaged’ across the forehead looks to sum it all up. The hardware in the mouth and wide-eyed look round out an intimidating expression, alongside the classic purple glove and green hair fans have come to expect. This is certainly a different look for the Clown Prince of Crime than has been seen in the films, but the comics have held several versions of the Joker in many different titles, with some of those similarities shining through here. Many have sited Alan Moore’s The Killing Joke, Frank Miller’s All Star Batman and Robin, the Boy Wonder, and Brian Azzarello’s Joker all as possible inspirations for this new look. The main canon Joker has undergone some cosmetic changes himself recently in the DC Universe by losing and regaining his face, so there may be some inspiration behind that as well.

The press has not been all bad. Some fans have adopted the new look favorably though, already producing fan-art and cosplay so soon after the image was released. Sometimes, something new can be scary, but history may be on Leto’s side.

It is important to remember that this has not been confirmed as the final look for the character, and Ayer has not revealed exactly how big of a role Joker will play in the film. I am curious about that last part, as I want the film to be good, but am still afraid too much focus on him could take away from the movie overall. I think it is important to note that Nicholson and Ledger also received similar reactions when they were announced to be playing the character, even if it was not purely based off of their look. Also, Leto is an Oscar-winning actor who seems dedicated to the role. Personally, I try to give all of the comic book movies a chance, and I do not think this should hurt Suicide Squad’s with fans who were previously excited for it.

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In a recent article from The Wrap, author Todd Cunningham reported that on Friday, April 3rd, Fifty Shades of Grey officially crossed the $400 million revenue mark at the international box office.

Despite the film receiving a paltry rating of 25% “rotten” among critics on Rotten Tomatoes, fans are still heading to theaters in droves to fill showings. In fact, so many have packed theater seats, 50 Shades is now the eighth-highest grossing film ever made.

But it’s not just the ticket sales that have granted the film top headlines. Not surprisingly, the continued success of the movie caused an increase in sales for the associated products. According to TIME, today you can indulge in everything from Fifty Shades of Grey nail polish and wine, to a Christian Grey teddy bear and Fifty Shades of Grey laundry detergent from Surf—their “naughtiest fragrance yet,” whatever that means.

There’s also the ever-popular line of adult products, many of which were inspired by the toys and accessories mentioned throughout the trilogy. Fans can test their limits with BDSM products like the FSOG handcuffs and even use FSOG cream to soothe their backsides after a rigorous spanking session. As Adam and Eve writes, the cream in particular was a direct recreation of a product that Christian uses on Anastasia in the book.

“‘Your bum is a glorious colour,’ he says approvingly, and he tenderly massages the cooling lotion into my pink behind.”

You can’t get more authentic than that.

Unfortunately, if you’re not a fan of the series, you’re probably not going to like the latest updates posted by Deadline.

It turns out, the sequels are already a go.

According to writer Mike Fleming Jr, producer Mike De Luca “is leaving his post as Sony Pictures president of production to return to producing the Fifty Shades Of Grey saga at Universal.”

Along with producing the first film in the Fifty Shades of Grey franchise, De Luca is well-known for his work on big budget blockbusters like The Social Network, Captain Philips, Boogie Nights, and Blow.

“I literally wish I could be in two places at once,” said De Luca, “but the opportunity to resume my producing career right now, including the possibility of continuing on the Fifty Shades trilogy, makes this the right choice for me at this unique moment in time. I look forward to continuing to work with Columbia on my existing productions there.”

So if you’ve already had your fill of kinky entertainment, don’t expect it to go away time soon. Looks like even Hollywood’s top producers can’t get enough of this BDSM cash-cow.

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