Birdman Review

“Popularity is the slutty little cousin of prestige.” 

That line, said by Edward Norton during a heated exchange with Michael Keaton tells you all you need to know about Birdman. This is, essentially, a super-hero movie that despises super-hero movies and the trappings that go along with them. 

Twenty-Five years ago Michael Keaton lit up the screen as The Dark Knight in Tim Burton’s Batman, a role that went on to define his career whether he liked it or not. Fast-forward to 2014 and Alejandro González Iñárritu’s Birdman or (The Unexpected Virtue of Ignorance) and Keaton is playing a fictionalized version of himself, trying to right the damage done by playing such a famous character. Keaton plays Riggan Thompson, a once blockbuster-headlining superstar with one last chance at legitimacy as an actor. The man has sunk every last penny into a Broadway production of Raymond Carver’s “What We Talk About When We Talk About Love” and as the film starts, is at his wit’s end dealing with bad actors, a problematic daughter and oh yeah, the constant heckling from Birdman, the voice inside Riggan’s head.

Alejandro González Iñárritu, the director of Birdman, is a tough nut to crack. He’s previously shown a great ability to tell a globe-spanning tale of interconnected misery with his 2006 opus Babel. Here the misery and redemption is not globe-spanning but instead confined to a two block radius around the storied St. James Theatre in New York City. Iñárritu shows that he has an ear for great dialogue and is able to get some arresting performances from his cast. This is in thanks to some heartbreaking monologues where the actors/characters are able to bare their souls. Various subjects such as ego and obsession are touched upon with a grace (some would say heavy handedness), that approaches an ethereal quality that isn’t unwelcome in the least. This is a director who will constantly surprise you with the stories he chooses to tell.

Just so I don’t come off like a broken record from here on out, everyone in the cast is doing career best work. Keaton in particular is masterful as the on-the-cusp of redemption Riggan Thompson. He’s proven himself as a fine actor before in films like the underrated Game 6 and Quentin Tarantino’s Jackie Brown, but here he has upped his game into the stratosphere, giving his best performance yet. Filled with conviction and an indelible sadness, his is one of the towering performances of a year filled with great ones. The supporting cast is also one of the strongest you’ll see in theaters in 2014 as well. Emma Stone deserves particular praise for her portrayal of Riggan’s daughter, a fresh out of rehab twenty-something hiding a world of anguish behind her eyes. She’s truly given the opportunity to shine in Birdman, giving one of the strongest performances in the film outside of Keaton. Pathos that was only teased elsewhere in previous roles really comes to the fore.

The rest of the cast is aces as well, from Zach Galifianakas turning in a fine dramatic performance to Naomi Watts dazzling as always. Her character in particular has some strong moments and she hasn’t been this heartbreaking since 2001’s Mulholland Drive. The real star of the supporting cast, when it comes right down to it, has got to be Edward Norton. Playing a Broadway actor who is so full of himself he can be downright painful, Norton plays the role he was born to play: Himself. Few actors would have the courage to play an exaggerated version of themselves, especially when the character is so vile and Norton deserves some respect for even going through with it.

On a technical level Birdman is a masterclass. From the pounding drum score to the seamless editing, it’s a marvel. Emmanuel Lubezki is having an absolute field day here with his camera. Filmed and edited to resemble one continuous shot, the cinematography can be jarring at first but settles into a steady rhythm before long. Taking his sweeping camerawork he employed and won an Oscar for in Gravity and using it in the enclosed space of a Broadway theater is an inspired choice. Lubezki is a cinematographer with an eye for beauty in even the ugliest situations as evidenced by his previous work with directors Terrence Malick (The Tree of Life) and Alfonso Cuarón (Children of Men) and his work here reaches the same great heights as before.

An existential super-hero film if anything else, Birdman is one of the best films of the year. A great behind the scenes look into the world of Broadway and the way super-hero films can ruin the lives of those who star in them, this is a film that should be seen by anyone with even a passing interest in strange, unique stories. Breathtaking from start to finish and a truly surreal experience, Birdman is one of a kind and a high point for the Fall movie season.

Movie Review: Carrie

Matthew Curione’s review:

A thoroughly enjoyable remake of the DePalma classic.

Carrie, updated for the modern era, is quite entertaining for what it is, though we've seen it all before.

Major credit to Moretz and Judy Greer who shine in this film. Moretz's Carrie has a much less "Deer in Headlights" look than Sissy Spacek which definitely helps elevate her performance. Greer on the other hand is great as always, bringing a nice touch to the gym teacher.

Juliane Moore, while great as the troubled and fanatical Mrs. White doesn't soar as high as Piper Laurie did in the original film. Still she was impressive as the religious mother that the character calls for.

Some nice added touches from the novel also help lift this above most of the dreck of modern horror films. Sure it basically follows the book/original film, but there's enough here to keep it interesting. The introduction of cyber-bullying was an especially nice touch, helping sell the story to a modern audience.

I was never bored with this remake of Carrie, something I honestly can't say for most other modern remakes.

Movie Review: Scream

Matthew Curione’s review:

An undeniable classic and one of Wes Craven's best films, Scream was a welcome shot in the arm for the horror genre in the 90's.

The film has been spoiled and parodied to death so to go into the plot is moot. Needless to say, Craven is at the top of his game here, weaving tension and humor throughout each scene. The screenplay by Williamson is top-notch as well, if a little dated by today's standards, with vivid characters and believable situations abound.

Simply great stuff all around and a pure delight of a slasher film.

Movie Review: Frances Ha

Matthew Curione’s review:

What a delightful little film. Having never seen any of Baumbach's other works, I can't comment on them but Frances Ha is one of the most charming films I've seen all year.

Greta Gerwig's lead performance was truly amazing, she plays such a great "poor thing," I just wanted to hug her every time something went wrong.

Fantastic music, stellar direction, believable down to earth performances and a good story make this one of the best films of 2013.

Movie Review: Only God Forgives

Matthew Curione’s review:

In his follow up to Drive, one of my favorite films, Refn takes a look at the seedy underbelly of Bangkok to mostly great results.

There's a serious dip in quality from Drive when it comes to the narrative but OGF is an exceptionally well photographed and acted film, even if Refn doesn't reach the heights of his past triumph. The real flaw here is the lack of characters you actually want to root for. These are some truly despicable humans on display.

Then again perhaps that's the point. Not every story needs to have characters you like or even respect for that matter, some people are just wretched and OGF is proof of that.

Gosling is great as usual, bringing his now trademark stare to almost every scene, even moreso than he did in Drive. It works here though, as the character of Julian seems off-kilter from the start, an aspect that becomes cemented once his domineering mother enters the film. Kristen Scott Thomas is completely insane in this film and it might be the best performance of the bunch. She's a cold, hard bitch who couldn't give two shakes what anyone thinks of her and even though she isn't likeable in the least, her command of the screen makes up for it.

This is a film where even the apparent good guy, a cop named Chang who wields a mean sword, is despicable in the way he goes about serving justice. Vithaya Pansringarm plays one tough dude who isn't afraid to beat you with his bare hands and then go out for a little karaoke. After the twisted nature of Thomas it was shocking to find that Chang might be just slightly more twisted.

This is a great film, don't let anyone tell you otherwise. The cinematography is some of the most beautiful I've ever seen, which is striking with a story so dark and unsettling. Cliff Martinez returns for another round as Refn's composer and I would dare say that his score here is more impressive than his output for Drive. This is a loud film and a good set of speakers is highly recommended.

Is Only God Forgives better than Drive? No, of course not, very few things are, that's just science. Does it stand on its own? Certainly. This is a crazy film that only gets crazier the more you think about it.

Game Review: Bioshock Infinite

Not a film per se, but with the way games have evolved, it's easy to rate it as one.

Great storytelling and performances on display here with one of the best tales I've experienced in the medium. Bioshock Infinite sucks you in with gorgeous visuals and an intriguing premise and holds you throughout its length.

Ken Levine is one of gaming's true auteurs with his ability to display his own personal vision on the screen and still allow it to be heavily interactive. Rarely does a game ask me to question myself and my beliefs but Infinite did so on numerous occasions. 

Troy Baker and Courtnee Draper steal the show here with two of the best performances I've ever witnessed in a game. Their chemistry is top-notch and highly believable.

It's rare for a first person shooter to come along and be this good with its story and gameplay. Highly recommended for fans of the genre, Ken Levine's storytelling or just good stories in general.

Movie Review- Rob Zombie's Halloween II

A disgusting movie filled with disgusting characters.

Never before in my life have I actively loathed a film throughout its entire runtime. Shame on everyone involved and anyone that can find a modicum of enjoyment in this garbage.

Heavy handed symbolism, the desecration of the Dr. Loomis character, a horrendous protagonist, and Hobo Michael are just some examples of what is wrong with this "film."

With the exception of one great helicopter shot, this looks like it was filmed by a five year old who just discovered the zoom button on his dad's camera. Absolutely atrocious cinematography is on display here.

The only high points here are the performances by Brad Dourif and Danielle Harris, who should've known better than to sign onto this. Being the freshest part of a pile of street trash is nothing to be proud of.

This is the absolute worst in the entire series, it even makes Part 6 look like a masterpiece. Stay far away from this wretched movie, you'll be thankful you did.

REVIEW: Resistance: Burning Skies

Let me be blunt here; Resistance: Burning Skies was one of my most anticipated games for the Vita and it succeeded in disappointing me at almost every turn. This is an extremely pedestrian, by the numbers shooter that does very little to entertain but everything to confound.

Burning Skies is a decent FPS, to be sure, but it certainly doesn't live up to the franchise's pedigree. The console Resistance titles all have compelling characters and clever story twists that keep you invested in the story, Burning Skies has neither of these things. You'll play as Tom Riley, a firefighter on his quest to save his wife and daughter who appear in exactly 3 scenes in the game. How are you supposed to care about these characters if you never get to spend time with them? The fact that Riley is such a boring character with very little to say doesn't really help much either. 

The game's controls are serviceable but the use of the front touchscreen can be a tad annoying, with wasted grenades and auxiliary ammo if you accidentally touch the screen. Why developer Nihilistic Games didn't put in an option to use the rear touchpad is beyond me, it wouldn't have saved the game, but it definitely would've made it slightly more user-friendly. 

Another turn-off and something that I thought games had moved past are the unskippable cut-scenes, which have very little bearing on Riley's situation. The cut-scenes are also extremely blocky which with a handheld of the Vita's power shouldn't even be a thing. Another knock I have is that the trophies are far too easy to unlock, this is a 6 hour Platinum if you really want it, and trophies will be popping every few minutes even if you play through the game with mediocre shooter skills.

I was severely disappointed in this game. I tried to like it and enjoy myself, I really did, but in the end it's shortcomings were just far too great. I can only recommend this to you if you can find it on sale and you really want that easy Platinum. It's a good showing of what the Vita is capable of, but not of what a Resistance game is capable of.

4/10

I'm Not Very Good At Sinistar

     Recently having been bitten by the "Retro Bug," I decided to dust off my copy of Midway Arcade Treasures: Extended Play for the PSP and give the dreaded Sinsistar a try. My experience was less than stellar. This is a difficult, brutal game that does nothing to make your time with it easier.

Originally released in the arcades in 1982, the game was notable for being the first to feature stereo sound and a 49-way optical joystick. Before playing I had heard how difficult it is, but I really wanted to try it out for myself, more for the history lesson than anything else. Good thing I went into this for the history and not enjoyment because with this game I was way out of my element. I consider myself to be pretty competent at old-school space shooters like Asteroids and Tempest, but Sinistar was so difficult right from the get go that my mind was effectively blown. The game starts off as a typical Asteroids clone then jumps into uncharted territory pretty fast.

  "Beware! I Live!"

With those immortal words, Sinistar himself appeared and promptly ate my spaceship, causing the first of many lives to disappear. This guy is a real jerk and since I hadn't really read about the game beforehand, I kept trying to shoot him with my space-laser, to no avail. Turns out I need to collect the difficult to see blinking sprites to gain bombs in order to destroy him, piece by piece. The game gets so frantic that you end up losing lives just trying to find the 13 bombs required to destroy him, leading to many a frustrating death along the way. Oh and while you're trying to destroy his evil mocking face, you still have to deal with other ships that are constantly trying to kill you.

I eventually got Sinistar down to just his face, having destroyed all his shields, when a friend decided that he wanted to play Rampart. This dashed all my chances at killing Sinistar and actually beating the first level. That's right, I never made it past the first level! I'm kind of glad I didn't however, since from what I've heard, it only gets harder as the game progresses. 

So essentially, If you find yourself in the mood for some light masochism, give Sinistar a try. It's a ridiculously difficult space shooter with some pretty impressive graphics and effects for it's time. Pretty much the entire game is a boss-fight, so it certainly has that going for it. Who knows...you might actually enjoy yourself, I know I did, before Sinstar ate me for the 30th time in a row. 

I just wish I'd watched that strategy video before playing.

So as you can see I'm trying to change this into a gaming site offering news, reviews and various feature articles. Let me know what you think in the comments below! 

Review: Arcade Fire - The Suburbs

It's very rare these days for a band to be able to achieve the kind of success and acclaim that Arcade Fire has, and not fall on their faces. Arcade Fire however, seems to be the exception to the rule as they've released their third great album in a row.

Most bands would have chosen to start their album with a straight-ahead rocker like the second track here, "Ready To Start," instead Arcade Fire chose to start off with the poignant title track. Here lead songwriter/singer Win Butler recounts his childhood in suburban Houston, TX, recalling how he learned to drive and how things just aren't what they once were. 'The Suburbs' carries on that theme throughout the entire record and never loses track of the plot, something that's difficult to do for an entire hour, as they do here.

So yes, the album is long at a little over an hour in length, but it rarely feels that way. This is one of those rare albums where you just can't bring yourself to skip a track. Every song is important to the overall "story" and they all flow into each other. Like a good mixtape 'The Suburbs' never lets you down, with varying song-styles and lyrics that are always on point.
Arcade Fire has been compared in the mainstream press as being a combination of Springsteen-esque lyrics and U2 style music. Although this is true of some of the songs to be found here, it's not always the way things sound. On a song like "Modern Man" you get the sense that Butler was inspired not by the Boss and Bono but by Neil Young, a style that's also used on songs like "Wasted Hours" and "Deep Blue." "Modern Man" is such a high point that the band has started using it as an encore at recent shows. In the song, Butler clearly feels a yearning for times gone by but realizes that it's not to be and "maybe when you're older will understand."

The type of lyrics Butler comes up with on this album really tell you a lot about the man, he's not rallying against suburbia, he's just saying it doesn't have to be the way it is. "Half Light II" with its haunting backing vocals by Régine Chassagne and propulsive backbeat might just be one of the bands greatest songs. A tale of going back home to where you grew up, only to find it totally changed is heartbreaking and with the coda of "One day they will see it's long gone," it's very easy to relate to.

The lyrics aren't the only reason this album is a success, there's the music that surrounds them as well. If the instrumentation seems a tad pedestrian at first, give it a few listens and you'll be able to discover new parts everytime you listen. Owen Pallett's ear for an amazing string arrangement really shines on this album, from the hyperactivity of "Empty Room" to the rocker "Month of May," this man obviously knows what he's doing. If you haven't heard his work as Final Fantasy or his most recent album 'Heartland' you owe it to yourself to do so if you find yourself as enamored with his string arrangements as I am.
As great as the rest of the album is, it's blown out of the water by the breathtaking "Sprawl II" with Chassagne taking center stage. Her voice is in top form here with lyrics to match. The first time I heard this song I got goosebumps when I heard the chorus and still do. "Living in the sprawl, the dead shopping malls, rise like mountains beyond mountains," is the perfect picture of the suburbs and its sometimes never ending boredom.

Needless to say I was not let down by this album. It might not have the immediacy of "Funeral" but it also doesn't have to over-orchestrated sound of "Neon Bible." It will make a great addition to anyone's music collection and I couldn't recommend it more to anyone who ever grew up in the suburbs, if you did, you'll find more than a few songs that you can readily relate to. Expect this to be at the top of my, and other critics, year end lists this winter.

10/10
Best Tracks:
Sprawl II (Mountains Beyond Mountains)
Modern Man
Half Light II (No Celebration)
Month Of May
Deep Blue

Oh and if you get the chance, PLEASE go and see this band in concert. I got the opportunity to see them last week and their energy and musical ability will blow you away.

Review: River City Extension - The Unmistakable Man

Every once in a while you'll see a band at a local show and you'll ask yourself repeatedly, "Why aren't they well-known?" This reviewer had that occur this past December at the Holiday Show at Cool Beans. The performance they put on that night dropped my jaw, how could a band this talented not get huge?

Well I'm pleased to inform you that River City Extension's first full-length LP, "The Unmistakable Man" is one of the best things to come out of New Jersey in quite some time. They are a band that is so full of energy and passion that you can't help but invest yourself in the songs on a personal level. Lead Singer/Guitarist Joe Michelini's lyrics remind me of the everyman tales from Springsteen's "Greetings from Asbury Park, NJ," one of the best debuts of all time.

The album starts off rather awkwardly however, with a truly unnecessary intro. In my opinion they would have been better off just starting right off the bat with the solemn vocals/guitar of 'Friends and Family.' One minute into the song and you have a good idea of what you'll be hearing the rest of the way; inspired playing, excellent singing and fantastic lyrical content.
The highlight of this album has got to be 'Our New Intelligence' which mixes excellent singing by both Michelini and Samantha Tacon, who go back and forth with such fervor that you know the song is going to explode at any moment. A very interesting "Pirate" bridge leads to the song transforming into one of the best songs Arcade Fire never wrote.

From that point on the album takes many twists and turns, some for the better, some for the worse. I'm not the biggest fan of religious lyrics and a few of the songs do in fact deal with that subject matter. Not to say that they're bad songs, I'm just not a huge fan of that kind of material.

Another top track is 'Mexico' which features an extremely mariachi-esque horn part that you won't be able to get out of your head. I've loved this song since I first heard it in concert back in December. It's so insanely catchy with top-notch playing from the band. It's songs like this that make "The Unmistakable Man" a truly memorable record.
This is an excellent debut full-length, by an excellent band, but if you truly want to experience the energy of these songs in the proper fashion, I implore you to see their live show. In a live setting, this 8-piece is truly a sight to behold, their shows are less concerts than they are parties, and you're guaranteed to leave with a smile on your face and a song in your head.

I'd highly recommend this LP to anyone who enjoys the heartfelt DIY-ness of bands like Modest Mouse, Spoon and Arcade Fire. If you like even just one of those bands, I promise you'll like what you hear on "The Unmistakable Man." This is truly American WildMan Rock, with a little bit of folk and punk thrown in for good measure.

River City Extension recently signed to XOXO Records and "The Unmistakable Man" is available on Amazon.com, iTunes and at their shows. Do yourself a favor and pick this one up, you won't regret it and you just might find something great to add to your library.

7/10
Best Tracks:
Friends And Family
Mexico
Our New Intelligence
Adrianne
Too Tired To Drink
Waiting in the Airport

Review: Devo - Something For Everybody

"Something For Everybody" marks the first full album of new Devo material since "Smooth Noodle Maps" a full 20 years ago. It's very rare that a band takes a layoff of that length and is able to return with an LP of material that's this strong.

The band sounds absolutely energized on this album with songs that sound as if they could have easily been released on "Freedom Of Choice" or "New Traditionalists," and yet sound totally modern at the same time. Personally, this has been one of my most anticipated releases ever since I first heard 'Watch Us Work It' years ago, and it's quite reassuring that "Something For Everybody" lives up to the hype.

This album truly does have something for everybody; fast rockers, inspirational ballads, and lyrics that appear to be wake-up calls to the de-evolutionized masses. The album starts off strong with the current single 'Fresh.' This song gives you but a taste of what you're in for with the rest of the album; great lead guitar, solid drumming from Josh Freese, and the typically cryptic/insightful lyrics of Mark Mothersbaugh.

What follows on the album's remaining 11 tracks (15, if you get the deluxe edition) is a Devo for the 21st century at the peak of their abilities.
In the second track 'What We Do', Mothersbaugh seems to go off against the entirety of the human race, stating that no one is truly unique, and that what we all do is basically the same. The bridge of "Eatin' and breedin' and pumping gas, cheeseburger, cheeseburger, do it again," perfectly summarizes a lot of our daily lives, and as usual, Mothersbaugh is pretty much on point with the lyrical content.

Album highlight 'Later Is Now,' is an ode to procrastination with some excellent musical and vocal performances. The hook of "I'll deal with it later...Later is Now!" is another dig at society's "put if off" attitude. 'No Place Like Home' is one of the best ballads Devo has ever produced. It's an absolutely beautiful song that describes the insignificance of all our lives and how sometimes there's "No place like home, to return to."

'Don't Shoot (I'm a Man)' addresses the fear of dying that we all fear everyday, sometimes on our way to work. Mothersbaugh's transformation of the YouTube clip/Internet Meme "Don't Tase Me, Bro" into a hook is absolute genius. His lyrics are one of the high points of this album, he's able to make both the mundane and the political extremely catchy and not sound preachy.
That's not to say that the lyrics are the sole reason you'll want to hear this album if your a Spud (Devo Fan) or a newcomer to their music. The main draw is the return of the classic Devo sound that infected music fans back in 1980 with the release of the classic "Freedom of Choice." The band is super-tight on this record, without a dull note anywhere. It's all solid with some of the weird "Devo-Synth" that fans have come to expect and love.

Sadly, the album does stumble with the too bizarre for it's own good, 'Cameo.' I don't know what they were thinking putting this on the album. It's the only letdown on this album, and would've made more sense as a B-Side or bonus track.

In a world where a new buzz band seems to sprout up every other day on the web, it's comforting to know that Devo, a classic band of the late 70's and 80's have been able to make an album that sounds as vital and important as this one.

If only every comeback album could be as good as "Something For Everybody" the musical landscape would be a much more interesting place.

9/10
Best Tracks:
No Place Like Home
Fresh
What We Do
Please Baby Please
Don't Shoot (I'm a Man)
Human Rocket
Watch Us Work It (iTunes exclusive)

Review: The National - High Violet

It all comes rushing back. That's how it feels to listen to 'High Violet', The National's 5th studio album. It's one of those albums that has the power to remind you how great music can really be.

This album also proves that this band isn't afraid to take some welcome chances. Starting off an album as anticipated as this one with a 'demo' takes a lot of balls. It also takes a lot of confidence in your material as well. "Terrible Love" starts the album off in a raw manner, leading you to think that perhaps the entire album is going to have the same 'Basement Tapes' sound to it. The rest of the album isn't nearly as dirty, in fact it's quite lush with just the right amount of polish.

Taking it's lead from 'Boxer,' The National's previous album, this is a beautiful sounding record filled with little bits and pieces you won't even notice until the 10th listen. 'High Violet' seems like the end of a trilogy at times, taking what worked for 'Alligator' and 'Boxer' and taking it to it's practical conclusion. Where those previous albums may have stumbled occasionally, their latest is always on point, which is a real treat for listener.

Bryan Devendorf's drumming and Matt Berninger's lyrics/vocals are still at the forefront of most of the songs, and if it ain't broke, please don't fix it. Devendorf plays with perfect precision and restraint on songs like "Little Faith" and "Bloodbuzz Ohio" and Berninger's lyrics are better than they've ever been.

On "Anyone's Ghost," Berninger paints a deeper and more lyrical painting than most listeners are accustomed to, with lines like; "Go out at night, with your headphones on again, and walk through the Manhattan valleys of the dead." With such great imagery, a National trademark at this point, this song is a definite highlight on an album filled that's filled with them.

Another of which is lead single "Bloodbuzz Ohio," which defies the common logic that the first single is usually the worst song on an album. While it's not the best song on the album, that honor goes to "Conversation 16," (more on that gem in a minute). Featuring the surreal lyric of being "carried to Ohio in a swarm of bees." This is not only one of Berninger's best songs lyrically, but vocally as well.
Back in 2001 on their debut there was a track titled "The Perfect Song," well now nine years later they finally have the perfect National song in the form of "Conversation 16." A thing of pure beauty and a little bit of malice, this song captures everything that's great about this band. Berninger sings with such conviction that it seems as if he truly believes what he's saying and when he repeats "I was afraid I'd eat your brains, Cause I'm evil," you believe it too.

For those of us in need of real music from a real band, The National's 'High Violet' will certainly deliver. If you're a fan of bands that clearly know what they're doing and are really good at it too, than I urge you to get this album as soon as possible.

'High Violet' is everything an album should be; great without being pretentious, very interesting/far fetched lyrically, and amazing instrumental prowess all rolled into one great package. At one point on the album Berninger claims he's "a confident liar," and that just may be the key to The National's continued success.

10/10
Best Tracks:
Conversation 16
Bloodbuzz Ohio
Anyone's Ghost
Terrible Love
Vanderlyle Crybaby Geeks

Review: MGMT - Congratulations

Gosh golly gee. Forgive my childishness but I love it when a band makes a sharp turn and releases something this surprising and different from their previous output.

So far 2010 has been a pretty great year for music with new albums from Black Francis, Brick+Mortar and Vampire Weekend. Well now you can add MGMT's 'Congratulations' to the list. This is without a doubt one of the better albums I've heard in sometime and to top it off it puts their last album, 'Oracular Spectacular', to shame.

To be honest, I wasn't a huge fan of that album, it seemed to be built around a few "single-ready" songs and a lot of lesser songs. 'Congratulations' on the other hand treats you to a sonic journey like few other albums in recent memory. From the fun ode to hallucinogens that is "It's Working" to the beautiful closing title track, this is nothing less than a great album.


Most critics have said that this album has no "obvious singles", I'm looking at you, Pitchfork, but they couldn't be more wrong. Sure there's nothing on here as catchy as 'Kids', but this album doesn't need a retread of that song. It has amazing songs like 'Song For Dan Treacy' with it's refrain of "He made his mind up," which I've had stuck in my head for weeks, and the aforementioned title track, with it's lush keys and acoustic guitar to sooth your soul.

Does the album stumble? Yes, but only for one track. That track however is the 12 minute plus 'Siberian Breaks.' I'm all for the long song in a band's catalog but this song seems to meander a bit after the 9 min mark.

If you absolutely loved 'Oracular Spectacular' and can't get enough of 'Time To Pretend' and 'Kids', guess what? You're going to be sorely disappointed and probably a little lost here. The only song that comes anywhere close to that level of "fun" is 'Flash Delerium', which much like 'Kids' has a pretty trippy video, after that the similarity essentially ends.

Overall, this is a stellar album by one of the more interesting bands to come along in the 2000's. They've moved away from the Electronic/Pop of their first album and dove head on into some intense Psychedelia with 'Congratulations.' Truthfully, they're all the better for it.

'Congratulations' is available for free streaming on MGMT's website here.

9/10
Best Tracks:
It's Working
Song For Dan Treacy
Someone's Missing
Brian Eno
Congratulations

Review: Brick+Mortar - 7 Years in the Mystic Room

Let me just start off by saying this is one of the best albums I've heard all year. That's a pretty bold statement, but in this case it's undeniably true.

Brandon Asraf (Vocals/Bass/Samples) and John Tacon (Drums/Drums/Samples) combine to make music that has a little something for everyone. From insane beats to haunting vocals to introspective lyrics this debut has broad appeal. There's just no way that these guys aren't going to get huge in the next year or so.

The EP starts off with '20LB' and never lets up all the way to closer '185 Drop'. '20LB' has some amazing lyrics and bass playing mixed with some complex drumming that all adds up to a great song. If you haven't seen the music video yet, directed by Dan Feeny, see my previous post...it'll blow your mind.

Second track 'Told You' is an autobiographical tale of Asraf's life. These are some of the best lyrics on the album, recalling an upbeat Dylan at times. I love a good "story song" so this is a definite highlight for me.


Next is the medley of 'Backwards Clock/New Possibles', it starts off in a truly somber mood and evolves into a total rocker by the end. A story of addiction, regrets and eventual realization, these are the two best tracks on the album without a doubt. Backing vocals by both John and Samantha Tacon (River City Extension) really add to this shocking medley. Plus...as a friend of mine once said, "Clapping makes every song awesome."

The album comes to a close with '185 Drop', another song that proves what a great band this is. It seems like they've decided to end the album with a song that shows what each member can do when they're at the top of their game. Everything about this song; lyrics, basslines, drumbeats and samples is right on target. "Learn to let go so your heart don't gotta," has to be one of the best lines I've heard in quite some time.

Admittedly I was a huge fan of these guys before the album came out, having personally known them for years. Don't take this as a biased review however...I'm pretty picky when it comes to music. I haven't met one person who's heard these guys not become a fan. All in all, this EP will be a highlight of 2010 for anyone who hears it.

The EP is available in both physical and digital format. Download your copy here.

10/10
Best Tracks:
The Entire 5 Song EP

Review: Peter Gabriel - Scratch My Back

So Peter Gabriel is back after an 8 year absence of new material...and still doesn't have new material. Oh, and that's not a bad thing in this case, at all. He doesn't even have a band this time around, just piano and orchestra to reinterpret some pretty great songs.

Those hoping for Gabriel to run the indie gamut and cover some of the newest artists today will be disappointed, but he did choose some pretty stately songs on this, his first album since 2002's Up. Earlier last year he released a cover of Vampire Weekend's Cape Cod Kwassa Kwassa and even though that song is not included on the album, it's still a top-notch effort on his part.

The album starts with a haunting rendition of David Bowie's 'Heroes' which has certainly changed the way I listen to the original classic. Gabriel goes on to cover Elbow's 'Mirrorball' which is pretty impressive when placed next to the original song. 'Mirrorball' flows nicely into a startling version of Bon Iver's 'Flume' which features some of PG's best vocals of his career.

A definite highlight of the album is his version of Talking Heads' 'Listening Wind' which although it doesn't improve on the fascinating original, it definitely adds a new layer to this tale of terrorism.

The album ends with an exceptional version of Radiohead's 'Street Spirit (Fade Out)' from The Bends. It's a bit of a downer to end the album on but for some reason it works.

This album certainly isn't for everybody...it might not even be for all of Peter Gabriel's fans, but it is a great album and a great example of what can happen when an artist challenges himself and takes his time making an album.

Now if he could only get around to recording I/O (his supposed album of new material)...

8/10

Best Tracks:
Listening Wind
Mirrorball
Flume
Heroes

Review: Julian Casablancas at the Trocedero in Philly

What a way to start my concert experience for 2010. As readers will know, Phrazes For The Young was my top album from 2009. The songs are pretty stellar and in a live setting they just get better and better.

The opening band was Tanlines, a band I had never heard before, and they were actually quite good. They're a weird mix of electronic beats and guitar, although the guitar was barely audible for some reason. They have a new single that came Tuesday called "Real Life" which they performed and is pretty darn good.

The Trocedero is a small venue, one perfectly suited to the likes of Casablancas' brand of music, which can only be described as "Classical Rock." His backing band The Sick Six are simply top-flight musicians, and they would have to be in order to reproduce this music for an audience. Hearing the Bach-Esque guitar parts from 'Glass' in concert is a brain-melting experience.

Casablancas mixed in a cover with his originals in the form of 'Velvet Snow' by Kings of Leon off of their 'Aha Shake Heartbreak' album. It was a great performance of an already great song from one of my favorite albums.

He then debuted what may be a new Strokes song which sounds really good as well. I wasn't able to catch the name, but it was almost punk-like in it's speed but with a tunefulness not usually present in the genre. With news today that The Strokes are currently getting along great and recording their upcoming 4th album, this song should be able to fit right in.

He went on to play the original demo version of The Strokes' 'You Only Live Once' entitled 'I'll Try Anything Once' accompanied by only keyboard, and it was one the highlight of the evening for me personally. Casablancas simply has one of the best and most pure voices in rock music today, and this performance proved it.

He closed out the show with a soaring rendition of the amazingly titled '4 Chords of the Apocalypse' and I was effectively blown away. To be able to hear a live rendition of my favorite song from his album (and have it be the closer) was a fan's wish come true. He didn't perform an encore, but he didn't need to at all, he had done his job of putting on a fantastic show and the audience was incredibly pleased.


All in all, Julian Casablancas came across as a very humble and genuine person, the rare singer that isn't full of himself and is just an all around great guy. In the end, this was simply a kickass rock show at an awesome venue. If you ever have the chance to see this man live, do it. You won't regret it.

9/10