Not that most of you care, but the reason I've not been writing anything lately is threefold. First, I've been writing a book for National Novel Writing Month, and I just finished three days ago. Second, I've been rewatching Lost like a madman so I can do the pre-final-season recap. Third, I've been reading the webcomic Achewood furiously, and I think that if I could rewrite my Ten Best list, I've move it to number two, right under Dino Comics.
Here's what I will be writing soon, however.
The Lost list: Best and worst characters, moments, episodes, mysteries, the works.
Best of the decade: the ten best albums and movies of the first decade of the millenium. And, unlike the silly NME list, the friggin strokes are nowhere to be found.
Best of the year: the second annual.
Review of the Christmas Carol: Maybe.
Wednesday, December 2, 2009
Friday, October 9, 2009
Brief notes
I have been listening to, beginning to listen to and trying to listen to a fair amount of new/semi-new music lately, but I have been a bit lazy/busy as of late, so I'm going to give a series of updates and mini-reviews to clear up my backlog for an essay on indie music I've been meaning to write.
Listening to:
"Ellipse," by Imogen Heap
The electronically enhanced melodies of Heap's voice are often quite lovely, and the easy-listening feel is often punctuated by a surprising urgency and infectiousness. Most of the music might not be "real," but that doesn't detract from its beauty. This album will probably be on my albums of the year list, and "Swoon" might be the year's best song.
"Far," by Regina Spektor
While her intentional oddity might turn some people off, there is an overwhelming sense of buoyancy about this album that makes it both catchy and charming. I also find "Laughing With" to be quite thought provoking.
"Wild Young Hearts," by The Noisettes
I first heard about this band after hearing the absolutely fantastic "Never Forget You" on the radio, and I hoped for an equally fantastic album (their debut is of a completely different -- and not very good -- style). It's not a superb release, but it's growing on me. One of the things I appreciate the most about it is its intentional desire to feel like a throwback to some of of the 60's greatest female African-American artists, most notably Diana Ross. There's plenty of fun stuff here, too.
"Church Music," by David Crowder Band
Though it's not nearly as cohesive, lyrically inspired or original as the band's benchmark "A Collision," it's just as musically inventive and even more technically executed. It is very long and cut to seem like a continuous take, which can make it seem rambling at times, but the band's deft ability to change genres mid-album keeps things interesting. The two prog-rock songs at the end are must-listens.
Beginning to listen to:
"The Incident," by Porcupine Tree
This is a long album, and I've lacked time to listen to the whole thing, but I really like what I've heard. The lyrics are their usual blend of clever and thought provoking, and the music -- most of which consists of different segments of a long song -- is varied and ripe for immersion. While I prefer the pre-metal days of the band to the "In Absentia" and beyond releases, Steven Wilson & Co. still manage to consistently create admirable albums.
Wanting to listen to:
"I and Love and You," by The Avett Brothers
I've only heard two songs by this band, but both are fantastic examples of jangly folk-rock, and I'm a big fan of the vocals. Check them out.
"My Old, Familiar Friend," by Brendan Benson
Again, I've only heard the opening single "A Whole Lot Better," but I'm excited to hear more.
And lastly, after hearing John Lennon's "Mind Games" on the radio today, I wish to renew my quest to find out which of The Beatles would have made it as solo acts if not for the success of their original band. Paul would have succeeded without question, I'm thinking no with Ringo, and I'm not sure about George and John (although I'm leaning "no" with Mr. Lennon). We'll see what happens.
Listening to:
"Ellipse," by Imogen Heap
The electronically enhanced melodies of Heap's voice are often quite lovely, and the easy-listening feel is often punctuated by a surprising urgency and infectiousness. Most of the music might not be "real," but that doesn't detract from its beauty. This album will probably be on my albums of the year list, and "Swoon" might be the year's best song.
"Far," by Regina Spektor
While her intentional oddity might turn some people off, there is an overwhelming sense of buoyancy about this album that makes it both catchy and charming. I also find "Laughing With" to be quite thought provoking.
"Wild Young Hearts," by The Noisettes
I first heard about this band after hearing the absolutely fantastic "Never Forget You" on the radio, and I hoped for an equally fantastic album (their debut is of a completely different -- and not very good -- style). It's not a superb release, but it's growing on me. One of the things I appreciate the most about it is its intentional desire to feel like a throwback to some of of the 60's greatest female African-American artists, most notably Diana Ross. There's plenty of fun stuff here, too.
"Church Music," by David Crowder Band
Though it's not nearly as cohesive, lyrically inspired or original as the band's benchmark "A Collision," it's just as musically inventive and even more technically executed. It is very long and cut to seem like a continuous take, which can make it seem rambling at times, but the band's deft ability to change genres mid-album keeps things interesting. The two prog-rock songs at the end are must-listens.
Beginning to listen to:
"The Incident," by Porcupine Tree
This is a long album, and I've lacked time to listen to the whole thing, but I really like what I've heard. The lyrics are their usual blend of clever and thought provoking, and the music -- most of which consists of different segments of a long song -- is varied and ripe for immersion. While I prefer the pre-metal days of the band to the "In Absentia" and beyond releases, Steven Wilson & Co. still manage to consistently create admirable albums.
Wanting to listen to:
"I and Love and You," by The Avett Brothers
I've only heard two songs by this band, but both are fantastic examples of jangly folk-rock, and I'm a big fan of the vocals. Check them out.
"My Old, Familiar Friend," by Brendan Benson
Again, I've only heard the opening single "A Whole Lot Better," but I'm excited to hear more.
And lastly, after hearing John Lennon's "Mind Games" on the radio today, I wish to renew my quest to find out which of The Beatles would have made it as solo acts if not for the success of their original band. Paul would have succeeded without question, I'm thinking no with Ringo, and I'm not sure about George and John (although I'm leaning "no" with Mr. Lennon). We'll see what happens.
Thursday, October 8, 2009
Relient k does the breakup album
I've been awaiting Relient k's new album, "Forget and Not Slow Down," with cautious optimism. As I explained in a recent post, I hoped to see a move away from the poppier sounds of their last EP and album and a move back to frontman Matt Thiessen's consistently creative lyrics. In a nutshell, I wrote, "[the new album] needs to showcase how talented the band is rather than how talented it could be." Well, Oct. 6 has come and gone. How does the new album hold up? Quite well, actually.
The first and most obvious feature is yet another genre switch. The powerpop of their last two albums is all but gone, replaced by some throwback punk-lite (most reminiscent of the band's third album "Two Lefts Don't Make a Right ... But Three Do"), some full-blown rock and even a sizable helping of folk-rock.
The first and title track kicks things off with some classic-if-forgettable Relient k sounds, but it sets the tone for the remainder of the album: this is a melancholy, yet hopeful, reflection on Thiessen's breakup with his girlfriend. While this is borne out in the lyrics (more on those later), the band crafts the musical framework to reflect the subject matter, and many songs have a rather wistful feel to them. The title track is followed by "I Don't Need a Soul," "Candlelight," "Therapy" and "Part of It." The placement of all of the songs seems good, a tribute to the band's ability to seamlessly transition between songs of drastically different genres. Much of the transition is aided by a musical device new to Relient k: song outros, specifically "Flare" (after "Candlelight") and "Outro" (after "Part of It").
"Forget..." as an album is an exercise in buildup, and the second half ups the ante, starting with the melodic "Over It." Then comes the fantastic combination of the rocking "Sahara" and the mellow "Savannah," bridged by the interlude "Oasis" and closed by the odd "Baby." It's rare to hear musical interludes used as well as they are here, and it ends up being one of the album's strongest points. After the "Saharah"/"Savannah" combo comes the power ballad "If You Believe Me" and the climactic closer "This is the End," followed by the piano-laden "(If You Want It)" another outro (but only kind of. It's actually about as long as the song it closes).
Musically, it's the most cohesive the band has ever been. There may not be as many "moments" as there are on their fourth (and best) album, "Mmhmm," but "Forget..." is consistently enjoyable throughout, and the genre-switching combined with the continuous flow makes for a lasting musical impression. It's also nice to see a departure from the electronic sounds that marked parts of their last two releases. While they were often used to good effect, the more natural sound of this record (which, the band reports, only used "real instruments") is a refreshing change.
"Forget..." doesn't disappoint lyrically, either. It's hands down the best written thing the band has released since "Mmhmm," and while it may not as often reach the heights of tracks like "When I Go Down" or "Life After Death and Taxes," some of Thiessen's best writing is here, from the melancholy "I Don't Need a Soul" to the playful "Candlelight" to the poignant "(If You Want It)."
Thematically, the lyrics are diametrically opposed to "Five Score and Seven Years Ago," the band's last album proper. While the former album is fully of bouncy love songs to Thiessen's then-girlfriend, "Forget..." speaks almost exclusively of dealing with that relationship's aftermath. However, Thiessen manages to walk this oft-tread upon ground without relying on cliches, refusing to fall completely into the "so over it" or the "woe is me" categories. Rather, the wistful music complements the wistful lyrics, surveying a relationship with an end that was painful (and not entirely forgotten) but also probably for the best.
This lyrical maturity is still complemented by Thiessen's trademark clever rhyming, and no song ever dips even close to the repetitiveness and poor quality that plagued recent songs like "Give Until There's Nothing Left" or "I Just Want You To Know." Thiessen seems to be saying that he wants to keep growing lyrically while retaining the aspects of his songwriting that have always worked.
In fact, that seems to be one of the messages of the album as a whole. While some classic Relient k sounds are certainly retained, the band seems to be putting their greater independence (they are now signed with and partially manage Gotee's indie music imprint, Mono vs. Stereo) to good use.
In short: Relient k has definitely exceeded my expectations. While "Forget and Not Slow Down" might not be quite as good as "Mmhmm," it sure comes close.
The first and most obvious feature is yet another genre switch. The powerpop of their last two albums is all but gone, replaced by some throwback punk-lite (most reminiscent of the band's third album "Two Lefts Don't Make a Right ... But Three Do"), some full-blown rock and even a sizable helping of folk-rock.
The first and title track kicks things off with some classic-if-forgettable Relient k sounds, but it sets the tone for the remainder of the album: this is a melancholy, yet hopeful, reflection on Thiessen's breakup with his girlfriend. While this is borne out in the lyrics (more on those later), the band crafts the musical framework to reflect the subject matter, and many songs have a rather wistful feel to them. The title track is followed by "I Don't Need a Soul," "Candlelight," "Therapy" and "Part of It." The placement of all of the songs seems good, a tribute to the band's ability to seamlessly transition between songs of drastically different genres. Much of the transition is aided by a musical device new to Relient k: song outros, specifically "Flare" (after "Candlelight") and "Outro" (after "Part of It").
"Forget..." as an album is an exercise in buildup, and the second half ups the ante, starting with the melodic "Over It." Then comes the fantastic combination of the rocking "Sahara" and the mellow "Savannah," bridged by the interlude "Oasis" and closed by the odd "Baby." It's rare to hear musical interludes used as well as they are here, and it ends up being one of the album's strongest points. After the "Saharah"/"Savannah" combo comes the power ballad "If You Believe Me" and the climactic closer "This is the End," followed by the piano-laden "(If You Want It)" another outro (but only kind of. It's actually about as long as the song it closes).
Musically, it's the most cohesive the band has ever been. There may not be as many "moments" as there are on their fourth (and best) album, "Mmhmm," but "Forget..." is consistently enjoyable throughout, and the genre-switching combined with the continuous flow makes for a lasting musical impression. It's also nice to see a departure from the electronic sounds that marked parts of their last two releases. While they were often used to good effect, the more natural sound of this record (which, the band reports, only used "real instruments") is a refreshing change.
"Forget..." doesn't disappoint lyrically, either. It's hands down the best written thing the band has released since "Mmhmm," and while it may not as often reach the heights of tracks like "When I Go Down" or "Life After Death and Taxes," some of Thiessen's best writing is here, from the melancholy "I Don't Need a Soul" to the playful "Candlelight" to the poignant "(If You Want It)."
Thematically, the lyrics are diametrically opposed to "Five Score and Seven Years Ago," the band's last album proper. While the former album is fully of bouncy love songs to Thiessen's then-girlfriend, "Forget..." speaks almost exclusively of dealing with that relationship's aftermath. However, Thiessen manages to walk this oft-tread upon ground without relying on cliches, refusing to fall completely into the "so over it" or the "woe is me" categories. Rather, the wistful music complements the wistful lyrics, surveying a relationship with an end that was painful (and not entirely forgotten) but also probably for the best.
This lyrical maturity is still complemented by Thiessen's trademark clever rhyming, and no song ever dips even close to the repetitiveness and poor quality that plagued recent songs like "Give Until There's Nothing Left" or "I Just Want You To Know." Thiessen seems to be saying that he wants to keep growing lyrically while retaining the aspects of his songwriting that have always worked.
In fact, that seems to be one of the messages of the album as a whole. While some classic Relient k sounds are certainly retained, the band seems to be putting their greater independence (they are now signed with and partially manage Gotee's indie music imprint, Mono vs. Stereo) to good use.
In short: Relient k has definitely exceeded my expectations. While "Forget and Not Slow Down" might not be quite as good as "Mmhmm," it sure comes close.
Monday, October 5, 2009
"The Invention of Lying" is both funny and flat
Imagine a world in which no one ever lies. Not only do they never lie, but they have no concept what a "lie" is. It reminds one of the eyeless Aunt Beast from "A Wrinkle in Time." If someone has never seen, how can he understand what seeing is? So it is with the denizens of "The Invention of Lying's" version of Earth: they have no word for truth because, for them, the truth truly is self-evident. There are no lies, no polite untruths, no deceptions, no fiction and, as an unintended consequence, little politeness, as complete honesty also means utter frankness. It is an altogether more depressing, if less confusing, place to live in.
It is a very depressing place indeed for Mark Bellison (Ricky Gervais, who also wrote and directed the film), a scriptwriter at Lecture Films, a film company that only produces historical scripts read by professional readers because fiction is unheard of and it would not be truthful to have actors play the parts of the historical characters (not that the characters recognize this. They just never have thought otherwise). Mark is rather overweight and ugly, which ruins his date with Anna (Jennifer Garner), who likes him but would never want to procreate with him because his genes would not make for attractive kids. He is also stuck with the unenviable job of writing scripts for the 14th century at work. Since no one wants to see a lecture film about The Black Plague, he is soon fired, but not before his secretary and one of his coworkers give him a brutally honest appraisal of their feelings towards him.
Things are certainly looking down for Mark, until he goes to the bank and the teller asks him how much money he has in his bank account (he planned to withdraw the entire amount, as he was about to get evicted from his apartment). While he only has $300, he discovers that he can tell the teller that he has $800 dollars. Since she has known from birth that everything that anyone ever tells her is correct, she simply assumes that there is a computer error and gives him the money.
Mark is thunderstruck. He has an incredible new ability, one that he doesn't even have a word to describe. His friends don't even understand what he's trying to explain to them, which leads to an amusing scene in which he tells them increasingly outrageous lies about himself which they believe without question or even much surprise.
When he realizes that he can lie with complete impunity, he immediately sets out to benefit himself as much as possible. This takes up the majority of the movie, and it never gets boring, thanks to the cast's ability to play their honest innocence completely straight and Gervais' nearly flawless comedic timing. Indeed, after seeing him in this movie and last year's criminally unappreciated "Ghost Town," I'd say that he joins fellow "Office"-terrible-boss-actor Steve Carell on the very top of the heap of modern comedic actors. The majority of the film plays like a long, brilliant Monty Python sketch, with the actors and their surroundings (including buildings, advertisements and even epitaphs) never missing a beat in their odd little world. The film even touches on philosophical points like our basic need for self-deception and the little white lies that each of us tell every day, all the while recognizing that in the end, the comedy is what's most important.
Until, that is, about halfway through the film, when Mark's mother is on her deathbed.
You see, it turns out that there is no religion in the land of truth, and Mark's mum is terrified of "an eternity of nothingness." Mark is heartbroken, and to comfort his mother in her final moments, he tells her that death is not the end and that after she dies she will go to a happy place where she will be with all of the people she loved. Unfortunately for Mark, his mother's doctors hear his fib, and the world soon waits at his doorstep, eager to hear from him about his afterlife revelation. What follows is a long scene in which Gervais, a lifelong atheist, makes up a story about "the man in the sky" and in so doing takes shot after shot after shot at any and all religions, all but abandoning the cleverness and subtlety that made the film's outrageous moments shine all the more.
After the aforementioned scene, the film regains some of its comic footing, but every now and then Gervais feels the need to take another cheap shot at a God that he doesn't believe in. To call it a satire or an argument against religion is laughable, as even moderately intelligent people should realize that all Gervais is doing is setting up straw men that he can immediately knock down. At times, it almost seems like Gervais is angry at God for supposed injustices but hasn't taken the time to figure out who this God really is or why He does the things that he does.
Even here, the film can be funny, although to laugh at some of these jokes will make most religious people a bit uncomfortable, and even the non-religious should be able to see past Gervais' rather sophomoric and vindictive gibes. But perhaps the most disappointing thing is to see such a poorly thought-out "message" shoehorned into what is otherwise one of the funniest movies I've seen in a long time (and one that is still worth viewing, if you are willing to sit through the heavy-handed moments).
Gervais is essentially preaching to the choir here. Anyone but the most staunch of atheists should be able to see that his "man in the sky" nonsense is not an accurate or even satirical look into the way Christians or anyone else thinks. In fact, the chillingly sad death scene of Mark's mother seems like a far better window into the mind of an atheist than any view of the religious that the film purports to offer. After all, if we are truly all that there is, what is there to hope for?
It is a very depressing place indeed for Mark Bellison (Ricky Gervais, who also wrote and directed the film), a scriptwriter at Lecture Films, a film company that only produces historical scripts read by professional readers because fiction is unheard of and it would not be truthful to have actors play the parts of the historical characters (not that the characters recognize this. They just never have thought otherwise). Mark is rather overweight and ugly, which ruins his date with Anna (Jennifer Garner), who likes him but would never want to procreate with him because his genes would not make for attractive kids. He is also stuck with the unenviable job of writing scripts for the 14th century at work. Since no one wants to see a lecture film about The Black Plague, he is soon fired, but not before his secretary and one of his coworkers give him a brutally honest appraisal of their feelings towards him.
Things are certainly looking down for Mark, until he goes to the bank and the teller asks him how much money he has in his bank account (he planned to withdraw the entire amount, as he was about to get evicted from his apartment). While he only has $300, he discovers that he can tell the teller that he has $800 dollars. Since she has known from birth that everything that anyone ever tells her is correct, she simply assumes that there is a computer error and gives him the money.
Mark is thunderstruck. He has an incredible new ability, one that he doesn't even have a word to describe. His friends don't even understand what he's trying to explain to them, which leads to an amusing scene in which he tells them increasingly outrageous lies about himself which they believe without question or even much surprise.
When he realizes that he can lie with complete impunity, he immediately sets out to benefit himself as much as possible. This takes up the majority of the movie, and it never gets boring, thanks to the cast's ability to play their honest innocence completely straight and Gervais' nearly flawless comedic timing. Indeed, after seeing him in this movie and last year's criminally unappreciated "Ghost Town," I'd say that he joins fellow "Office"-terrible-boss-actor Steve Carell on the very top of the heap of modern comedic actors. The majority of the film plays like a long, brilliant Monty Python sketch, with the actors and their surroundings (including buildings, advertisements and even epitaphs) never missing a beat in their odd little world. The film even touches on philosophical points like our basic need for self-deception and the little white lies that each of us tell every day, all the while recognizing that in the end, the comedy is what's most important.
Until, that is, about halfway through the film, when Mark's mother is on her deathbed.
You see, it turns out that there is no religion in the land of truth, and Mark's mum is terrified of "an eternity of nothingness." Mark is heartbroken, and to comfort his mother in her final moments, he tells her that death is not the end and that after she dies she will go to a happy place where she will be with all of the people she loved. Unfortunately for Mark, his mother's doctors hear his fib, and the world soon waits at his doorstep, eager to hear from him about his afterlife revelation. What follows is a long scene in which Gervais, a lifelong atheist, makes up a story about "the man in the sky" and in so doing takes shot after shot after shot at any and all religions, all but abandoning the cleverness and subtlety that made the film's outrageous moments shine all the more.
After the aforementioned scene, the film regains some of its comic footing, but every now and then Gervais feels the need to take another cheap shot at a God that he doesn't believe in. To call it a satire or an argument against religion is laughable, as even moderately intelligent people should realize that all Gervais is doing is setting up straw men that he can immediately knock down. At times, it almost seems like Gervais is angry at God for supposed injustices but hasn't taken the time to figure out who this God really is or why He does the things that he does.
Even here, the film can be funny, although to laugh at some of these jokes will make most religious people a bit uncomfortable, and even the non-religious should be able to see past Gervais' rather sophomoric and vindictive gibes. But perhaps the most disappointing thing is to see such a poorly thought-out "message" shoehorned into what is otherwise one of the funniest movies I've seen in a long time (and one that is still worth viewing, if you are willing to sit through the heavy-handed moments).
Gervais is essentially preaching to the choir here. Anyone but the most staunch of atheists should be able to see that his "man in the sky" nonsense is not an accurate or even satirical look into the way Christians or anyone else thinks. In fact, the chillingly sad death scene of Mark's mother seems like a far better window into the mind of an atheist than any view of the religious that the film purports to offer. After all, if we are truly all that there is, what is there to hope for?
Wednesday, September 16, 2009
It's not music, it's not muzak, it's Muse-ic
I'm not really sure how I missed out on Muse until this year. They are, after all, one of the most popular rock bands in Europe, if not the most popular. However, I can be a bit behind with the musical times (I'm still trying to figure out what this whole "Coldplay" business is about), so perhaps it's not that surprising that I never really listened to Muse until my friend Jacob introduced them to me in January. I'm still catching up on their back catalogue (I'm not that familiar with "Showbiz" or "The Origin of Symmetry" yet), but I absolutely love the marriage of technical ability and raw energy that is showcased on "Absolution" and "Black Holes and Revelations." With their latest album, "The Resistance," I was hoping for more of the marriage and more of the variety that keeps their other releases fresh and distinct.
I'm not entirely sure what I got, exactly.
I am sure that the album is flawed, but I'm also sure that the album is a great display of musicianship. I'm sure that the album is pretentiously epic, but I'm also quite positive that sometimes that works. Let me explain.
The first of the two most noticeable flaws in the album is the rather languid pace of almost every single song. It's almost a subconscious thing, but it's one that greatly affects the replay value. As I said before, "Absolution and "BHAR" both abounded with an unbridled verve that ripped through their fast-paced songs (see, for example, "Hysteria") and writhed just beneath the surface of their more laid back songs ("Starlight," "Supermassive Black Hole"). With "The Resistance," it seems like just the opposite. A musical haze seems to have settled over the arrangements this time around, with even the more energetic songs sounding like they could use a shot in the arm. A notable example of this is the first track and first single "Uprising," which, for all of its fight-the-power spirit and chunky guitar riffs, feels like it should pack a little bit more of a punch.
The other flaw that is immediately apparent is the attitude that the musical proceedings of the album's 54 minutes are big news. Every flourish seems to be an epic event to be accompanied by a choir and strings, many of the tracks have lyrics that vaguely suggest fighting the man (ironic considering the band's very in-the-mainstream status), and even the names of the songs suggest a bunch of pretentious art students dismissing the Philistines who dare to question their work. Seriously, "The United States of Eurasia," "Undisclosed Desires," "Unnatural Selection"? Tell me that doesn't sound like an abstract painting display, I dare you.
However, the album is not without its charm. Muse is still Muse, so you can expect quality arrangements and impressive musical chops. The album also gets better (and a bit more energetic) as it progresses, with the languor-free "MK Ultra" being a late highlight. The three part rock "symphony" is appropriately impressive, and I'm sure I will appreciate it even more with repeated listens (it purportedly features the talents of something like 40 different musicians). Is it in the range of greatness inhabited by the likes of "Absolution" and "BHAR"? No. Is it still worth a spin on the CD player once in a while? For sure.
In a way, there is a lone feature of the album that summarizes both its positive and negative aspects. That epic power ballads are the bread and butter of Muse is no question; indeed, some of the most over-the-top grandiose moments on the album (see the inner-Queen-coming-out "...Eurasia") are also the most fun. However, the complete abandonment of any sort of musical modesty on "The Resistance" makes for an album that almost wears you out and at times borders on self-parody. Muse has made good music many times before. This time, they've settled for good Muse-ic.
I'm not entirely sure what I got, exactly.
I am sure that the album is flawed, but I'm also sure that the album is a great display of musicianship. I'm sure that the album is pretentiously epic, but I'm also quite positive that sometimes that works. Let me explain.
The first of the two most noticeable flaws in the album is the rather languid pace of almost every single song. It's almost a subconscious thing, but it's one that greatly affects the replay value. As I said before, "Absolution and "BHAR" both abounded with an unbridled verve that ripped through their fast-paced songs (see, for example, "Hysteria") and writhed just beneath the surface of their more laid back songs ("Starlight," "Supermassive Black Hole"). With "The Resistance," it seems like just the opposite. A musical haze seems to have settled over the arrangements this time around, with even the more energetic songs sounding like they could use a shot in the arm. A notable example of this is the first track and first single "Uprising," which, for all of its fight-the-power spirit and chunky guitar riffs, feels like it should pack a little bit more of a punch.
The other flaw that is immediately apparent is the attitude that the musical proceedings of the album's 54 minutes are big news. Every flourish seems to be an epic event to be accompanied by a choir and strings, many of the tracks have lyrics that vaguely suggest fighting the man (ironic considering the band's very in-the-mainstream status), and even the names of the songs suggest a bunch of pretentious art students dismissing the Philistines who dare to question their work. Seriously, "The United States of Eurasia," "Undisclosed Desires," "Unnatural Selection"? Tell me that doesn't sound like an abstract painting display, I dare you.
However, the album is not without its charm. Muse is still Muse, so you can expect quality arrangements and impressive musical chops. The album also gets better (and a bit more energetic) as it progresses, with the languor-free "MK Ultra" being a late highlight. The three part rock "symphony" is appropriately impressive, and I'm sure I will appreciate it even more with repeated listens (it purportedly features the talents of something like 40 different musicians). Is it in the range of greatness inhabited by the likes of "Absolution" and "BHAR"? No. Is it still worth a spin on the CD player once in a while? For sure.
In a way, there is a lone feature of the album that summarizes both its positive and negative aspects. That epic power ballads are the bread and butter of Muse is no question; indeed, some of the most over-the-top grandiose moments on the album (see the inner-Queen-coming-out "...Eurasia") are also the most fun. However, the complete abandonment of any sort of musical modesty on "The Resistance" makes for an album that almost wears you out and at times borders on self-parody. Muse has made good music many times before. This time, they've settled for good Muse-ic.
Saturday, September 12, 2009
Thoughts on the future of Relient k
Relient k is an interesting band. The five-piece group, led by frontman Matt Thiessen, has shown marked musical progression since its mostly-bad-but-still-occasionally-charming eponymous debut album in 2000, and the band's commitment to release new music every year (a commitment that has only been broken once) means that there's always something new to listen to. The band's rise in proficiency is well documented, and Thiessen & Co.'s upward trending musical ability is matched by a simultaneous but gradual transition in the band's genre, progressing from garage punk to punk/pop to slick powerpop.
In short, Relient k has not been content with rehashing previous albums, and each release showcases a group that has grown more technical and production-savvy since the last outing. Thiessen's deft songwriting ability should put the icing on the cake of a band that has the chops to be successful without being dull and popular without being the lowest common denominator. And yet, their upcoming album, "Forget and Not Slow Down," may be the last RK album that I ever purchase.
There are a few reasons that my enthusiasm for the band has waned a bit. One reason might be as simple as the fact that it's not the same band that I went through high school with. The band's "classic lineup" began to disintegrate after their fourth (and best) album, 2004's "Mmhmm," with the departure of the original bassist, Brian Pittman. Longtime drummer Dave Douglas left after their next album, and the one-two departures (and the three replacements they spawned) have made the band seem like a revolving door of backups to Thiessen. Add that to the fact that the new members were already notable in the Christian music scene prior to their RK tenure, with resumes that include the likes of the Supertones, Audio Adrenaline, Ace Troubleshooter and others and sometimes it feels like a Christianized version of The All-Starr Band.
Another reason is that I'm not the same person who listened to Relient k in high school. While I would reject the notion that all of the band's music is targeted at the high school demographic, it's undeniable that most of their first three albums and much of their later work has appealed to that age group. I still appreciate Thiessen's inventive turns of phrase, but I don't always appreciate the subjects whose phrases he's turning. Likewise, as I progressed through college, my musical horizons continued to broaden. While I certainly recognize that the band is proficient at the mildly-fuzzy, radio friendly punk-lite of their early work, it's just not something that I'm that into anymore.
However, the primary reason that I'm contemplating leaving the RK fold after "Forget..." is that, though the band remains talented, it has not lived up to its potential.
The year is 2004. Relient k has released "Mmhmm" to much success, due in part to their decision to co-sign with Capitol Records in addition to their small Christian label, Gotee. The album is home to many current concert staples, including "Life After Death and Taxes," "I So Hate Consequences" and, of course, "Be My Escape." But it is more than just a commercial milestone for the group. It marks a transition in style and songwriting.
Thiessen had always been clever, but the lyrics on "Mmhmm" packed an emotional punch that was never reached in his prior work. With few exceptions, gone were the songs about 80s pop culture and... well, no, 80s pop culture about covered most of their silly songs, now that I think about it. In those songs' place were honest, insightful rockers covering the shortcomings that everyone faces. "Mmhmm" ended up being just what Relient k needed: it shot them to national prominence while establishing them as a band with musical chops and lyrical skill (for their genre, anyway). Their success allowed them more flexibility in the studio and more recognition from producers. That means better music, right?
Well, no, but it does mean better produced music. In 2007, the band released "Five Score and Seven Years Ago," which, while undeniably well executed, still seemed to come up short. The shortcomings of the album were only highlighted in the double album length "EP" of 2008, "The Bird and the Bee Sides" (attentive readers will note that this disc made my five best list of 2008. Subsequent listens have soured me on it to a certain extent).
The most obvious shortcoming is the fact that Thiessen often seems to undergo mental lapses in his writing. I'm not sure if I've ever come across another album that contains such a contrast between lyrical brilliance and lyrical dregs as "Five Score" does. Yet, as odd as it seems, "Deathbed," an 11 minute ballad that eloquently examines the life of a dying man, exists only seven tracks away from "Give Until There's Nothing Left," a sappy, simplistic throwaway that Thiessen had no business writing at all, let alone placing on an album.
The contrast remained on "The Bird...," with songs like "Curl Up and Die" and "The Stenographer" showcasing Thiessen's abilities while clunkers like "The Lining is Silver," "There Was Another Time in My Life" and "I Just Want You to Know" simultaneously undermined them. These tracks are repetitive and trite and seem like better produced songs from the band's infancy.
It's obvious that Thiessen is capable of consistently good songwriting. Perhaps he has become a little too self-confident in his talents, presuming that whatever flows from his pen is lyrical gold. I hope he wises up soon. I'm not too keen on albums where I consistently skip three tracks or more because of cruddy writing.
The other way that the band has failed to live up to its potential is its genre choice since "Mmhmm." While "Mmhmm" was their most energetic and riff-laden album yet, "Five Score" saw a foray into pop music that showed no signs of stopping when "The Bird..." came out. Now, there's nothing wrong with well-executed pop, and Relient k does execute it well, but their last two releases have sounded, as a general rule, just like any other band who can write well-executed pop. Their recent success has given them more musical flexibility, and they have responded by becoming more color-inside-the-lines commercial. They've reached a point where their popularity would survive and probably thrive in risk-taking, but instead they've taken no real risks. Their music sounds great, but there are fewer great sounds.
So, what does "Forget and Not Slow Down" need to do to hold my interest in Thiessen & Co.? Simple: it needs to showcase how talented the band is rather than how talented it could be. I want solid, creative lyrics and musical twists throughout. Maybe rock a little harder. They certainly are capable of it.
I'm cautiously hopeful that they will come through. The title track is up on Myspace, and it's not anything super-special, but the album blurb promises a more organic, rockier album than the past two efforts. Thiessen also advertises thoughtful lyrics, the result of sequestering himself in a backwoods lake house for over two months. The ingredients are there, but are the boys up to using them well?
We'll find out on October 6.
In short, Relient k has not been content with rehashing previous albums, and each release showcases a group that has grown more technical and production-savvy since the last outing. Thiessen's deft songwriting ability should put the icing on the cake of a band that has the chops to be successful without being dull and popular without being the lowest common denominator. And yet, their upcoming album, "Forget and Not Slow Down," may be the last RK album that I ever purchase.
There are a few reasons that my enthusiasm for the band has waned a bit. One reason might be as simple as the fact that it's not the same band that I went through high school with. The band's "classic lineup" began to disintegrate after their fourth (and best) album, 2004's "Mmhmm," with the departure of the original bassist, Brian Pittman. Longtime drummer Dave Douglas left after their next album, and the one-two departures (and the three replacements they spawned) have made the band seem like a revolving door of backups to Thiessen. Add that to the fact that the new members were already notable in the Christian music scene prior to their RK tenure, with resumes that include the likes of the Supertones, Audio Adrenaline, Ace Troubleshooter and others and sometimes it feels like a Christianized version of The All-Starr Band.
Another reason is that I'm not the same person who listened to Relient k in high school. While I would reject the notion that all of the band's music is targeted at the high school demographic, it's undeniable that most of their first three albums and much of their later work has appealed to that age group. I still appreciate Thiessen's inventive turns of phrase, but I don't always appreciate the subjects whose phrases he's turning. Likewise, as I progressed through college, my musical horizons continued to broaden. While I certainly recognize that the band is proficient at the mildly-fuzzy, radio friendly punk-lite of their early work, it's just not something that I'm that into anymore.
However, the primary reason that I'm contemplating leaving the RK fold after "Forget..." is that, though the band remains talented, it has not lived up to its potential.
The year is 2004. Relient k has released "Mmhmm" to much success, due in part to their decision to co-sign with Capitol Records in addition to their small Christian label, Gotee. The album is home to many current concert staples, including "Life After Death and Taxes," "I So Hate Consequences" and, of course, "Be My Escape." But it is more than just a commercial milestone for the group. It marks a transition in style and songwriting.
Thiessen had always been clever, but the lyrics on "Mmhmm" packed an emotional punch that was never reached in his prior work. With few exceptions, gone were the songs about 80s pop culture and... well, no, 80s pop culture about covered most of their silly songs, now that I think about it. In those songs' place were honest, insightful rockers covering the shortcomings that everyone faces. "Mmhmm" ended up being just what Relient k needed: it shot them to national prominence while establishing them as a band with musical chops and lyrical skill (for their genre, anyway). Their success allowed them more flexibility in the studio and more recognition from producers. That means better music, right?
Well, no, but it does mean better produced music. In 2007, the band released "Five Score and Seven Years Ago," which, while undeniably well executed, still seemed to come up short. The shortcomings of the album were only highlighted in the double album length "EP" of 2008, "The Bird and the Bee Sides" (attentive readers will note that this disc made my five best list of 2008. Subsequent listens have soured me on it to a certain extent).
The most obvious shortcoming is the fact that Thiessen often seems to undergo mental lapses in his writing. I'm not sure if I've ever come across another album that contains such a contrast between lyrical brilliance and lyrical dregs as "Five Score" does. Yet, as odd as it seems, "Deathbed," an 11 minute ballad that eloquently examines the life of a dying man, exists only seven tracks away from "Give Until There's Nothing Left," a sappy, simplistic throwaway that Thiessen had no business writing at all, let alone placing on an album.
The contrast remained on "The Bird...," with songs like "Curl Up and Die" and "The Stenographer" showcasing Thiessen's abilities while clunkers like "The Lining is Silver," "There Was Another Time in My Life" and "I Just Want You to Know" simultaneously undermined them. These tracks are repetitive and trite and seem like better produced songs from the band's infancy.
It's obvious that Thiessen is capable of consistently good songwriting. Perhaps he has become a little too self-confident in his talents, presuming that whatever flows from his pen is lyrical gold. I hope he wises up soon. I'm not too keen on albums where I consistently skip three tracks or more because of cruddy writing.
The other way that the band has failed to live up to its potential is its genre choice since "Mmhmm." While "Mmhmm" was their most energetic and riff-laden album yet, "Five Score" saw a foray into pop music that showed no signs of stopping when "The Bird..." came out. Now, there's nothing wrong with well-executed pop, and Relient k does execute it well, but their last two releases have sounded, as a general rule, just like any other band who can write well-executed pop. Their recent success has given them more musical flexibility, and they have responded by becoming more color-inside-the-lines commercial. They've reached a point where their popularity would survive and probably thrive in risk-taking, but instead they've taken no real risks. Their music sounds great, but there are fewer great sounds.
So, what does "Forget and Not Slow Down" need to do to hold my interest in Thiessen & Co.? Simple: it needs to showcase how talented the band is rather than how talented it could be. I want solid, creative lyrics and musical twists throughout. Maybe rock a little harder. They certainly are capable of it.
I'm cautiously hopeful that they will come through. The title track is up on Myspace, and it's not anything super-special, but the album blurb promises a more organic, rockier album than the past two efforts. Thiessen also advertises thoughtful lyrics, the result of sequestering himself in a backwoods lake house for over two months. The ingredients are there, but are the boys up to using them well?
We'll find out on October 6.
Wednesday, July 8, 2009
Ten Best: Webcomics
Let's face it: newspaper comics just aren't what they used to be. Granted, it's not as if they're a cultural wasteland or anything - Zits, Dilbert, Get Fuzzy, Non Sequitur and what's left of Foxtrot all have at least occasional flashes of genius - but formats for comics have gotten much more strict (read: confining and small) since the days of Krazy Kat and the like. Add that to the fact that the two greatest cartoonists of the 90s - the aesthetic groundbreaker Bill Watterson (Calvin and Hobbes), and the king of absurdity Gary Larson (The Far Side) - have left the scene, and you get a comics page that is dominated by the likes of Cathy, Mutts, Beetle Bailey, and the once-funny Garfield: rigid, formulaic strips that substitute an "Aack!" or a fourth wall sarcastic glance for a joke.
If the rise of webcomics is any indication, a generation accustomed to Internet use agrees with me. The Internet's freedom to self-publish breaks down many of the boundaries that newspaper comics function within.
Webcomics have several advantages over their print-based counterparts, most of which can be summed up in two categories: form and content. The form (ie: graphical elements, size, presentation and even animation) is restricted only by bandwidth and the cartoonist's imagination and skill, and the content (ie: subject matter and dialogue) is entirely up to the comic's creator. Content's non-restriction also enables more niche humor to be published, and many webcomics devoted to nerds or videogames or what have you have enjoyed much success online. However, this virtually unlimited freedom does have one major drawback: the vast majority of webcomics suck.
Oh sure, there's a fair share of gems out there (hence this list), but even some of the more popular comics (Ctrl+Alt+Delete, just to name one of many) are terrible. Having an editor may mean that you can't publish everything, but it also means that you can't publish just anything. How, then, can you expect to successfully navigate the hostile deserts of webcomicdom to find the sweet oases of good comics? Simple; just read this list.
First, however, I have a couple of disclaimers. These are not the only good webcomics out there. Some readers may be unhappy that a couple of their favorites (mostly I am thinking of Penny Arcade) didn't make the list, but that doesn't mean I am consigning them to the Internet dumpheap. Since most of you (wink) have good taste, it most likely it means that I find the humor just a little bit too specific or inconsistent. The other disclaimer is that the tearing down of content restrictions means that most of the comics on this list have at least some content that could be deemed offensive, be it swearing, sexual humor, etc. There are a couple that are perhaps more offensive than the others here, and I will point those out, but be forewarned that webcomics are, in general, not for those who can't stand language or suggestiveness. OK, enough of this; on to the list!
In order to better describe the types of humor you might encounter in these comics, I have arbitrarily set up a genre classification system for them (yes, I know that there are other kinds, but no "soap opera" or biographical strips will be appearing on this list). A "storyline" comic is a comic in which the humor is derived from the cast of characters and an ongoing story arc of their predicaments. "Punchline" comics are obviously more traditional. "Situational" comics are ones in which the joke is in the set-up and the setting rather than a defined punchline, and "surrealist" comics are those in which the humor is derived from sheer weirdness or shock value.
10. Thinkin' Lincoln
Author: Miles Grover
Style: surrealist, punch-line
Thinkin' Lincoln is a comic about the daily adventures of a group of historical figures' anachronistic talking heads. While many historical and not-so-historical figures appear frequently throughout the comic, Thinkin' Lincoln's main focus is reserved for Abraham Lincoln, a simplistic and overenthusiastic nitwit, George Washington, Abe's snide rival, and Queen Elizabeth II, a kind of motherly figure for the other characters. The comic is also frequently visited by the likes of Freud, Darwin, Otto Von Bismark, Poe and other weirder characters like Skeleton Shakespeare and Zombie Mark Twain (both exactly what they sound like).
While a lot of the humor is derived merely from these famous characters spouting clearly uncharacteristic dialogue, Grover often goes one step further and invokes the true historical facts about these people, creating a humorous mishmash.
Recommended for: history buffs, people who like Monty Python
Favorites: http://www.thinkin-lincoln.com/index.php?strip_id=261, http://www.thinkin-lincoln.com/index.php?strip_id=876, http://www.thinkin-lincoln.com/index.php?strip_id=838
9. Terror Island
Authors: Ben Heaton and Lewis Powell
Style: storyline, surrealist
Terror Island has probably the weirdest premise of the comics on this list. It is a photocomic dealing primarily with the struggles of two roommates who are both determined to get the other one to buy groceries. Also, almost all of the characters are played by pieces from popular board games. While this probably doesn't sound like a premise that could keep a comic afloat, the subplots and arcs become pretty complex and surprisingly hilarious. My favorite character is Jame, so named because he thinks that "James" is plural.
Recommended for: Fans of deadpan, Demetri Martin style comedy
Favorites: You've got to read this one from the beginning to grasp the humor. Since the comic came to a close after strip 300, it shouldn't be that hard to finish.
8. Unwinder's Tall Comics
Author: Eli Parker, alias Parker Wilson
Style: situational
Unwinder is a kid (possibly alien?) from Minnesota who is an over-the-top-satire of the pop culture saturated indie guy. Everything he does is a conscious effort to appear cool and different (that is, everything that doesn't involve harassing his friend Barbecue Sauce). While Parker usually sets his sights on self-congratulating preeners, no cultural bastion is safe from his pen, be it corny science fiction novels, gossip tabloids, or Tag body spray. However, the most distinctive feature of this comic is its height. It is, as the name suggests, a very tall comic.
While there is a kind of demented genius behind much of this comic, it loses points for an inconsistent update schedule (I know, I know, Eli, you have an actual job) and the fact that some comics are just so completely out of left field that they're less funny than confusing. Still, however, a solid comic (and he updates it more frequently than he sent The Column his newspaper comics, so there's that too).
Recommended for: people who have indie friends or who know a lot about pop culture
Favorites: http://tallcomics.com/index.php?strip_id=6, http://tallcomics.com/index.php?strip_id=32 (really, anytime he writes script treatments are completely worthwhile), http://tallcomics.com/index.php?strip_id=25
7. Achewood
Author: Chris Onstad
Style: surrealist, storyline
WARNING: This strip is one of a couple wherein the humor can become entirely inappropriate, and if you are unwilling to sift, then this comic is definitely not for you (in fact, if you are not willing to sift, do not even go to the comic that is on the main page at the time of posting). However, if you are willing to sift, Achewood will certainly yield some gems.
Achewood is a comic about a large friend/acquaintance group of animals and other creatures/robots/etc (many of whom were originally stuffed animals, although it is unclear whether that is still canon or not) who embark on sundry adventures and absurd exploits. The backlog for this comic is immense, and it's probably best if you start reading from the beginning.
The highlight of this strip is its ability to evoke hilarity from complete and utter absurdity. Many times, I have finished laughing at a strip only to wonder how Onstad even thought to combine the strange pairings of dialogue, characters and setting. And it's not just a giant Python skit either. Most of the main characters are very well developed and even have motivation behind their actions (some of them even have in-character blogs loosely maintained by Onstad). If you don't mind a rotten apple every so often, this is definitely a strip to check out.
Recommended for: fans of the Douglas Adams style of developed absurdity
Favorites: It would take me far too long to search through the backlogs for my favorites, and I haven't even read the whole comic. I would recommend starting at (or at least toward) the beginning.
6. Pictures for Sad Children
Author: John Campell
Style: surrealist, situational
This is an odd comic that the author describes as being "about a bad feeling you get when you are feeling good, or a good feeling you get when you are feeling bad." It's (almost) all in greyscale, with no caps and sometimes no obvious punchline. That being said, it's sometimes hit and miss, but when it's good, it's pretty darn funny.
PFSC started out mainly as a comic about a ghost named Paul, although the character and his storyline have mostly been abandoned in favor of short, unrelated storylines or one-offs. When the comic is at its best, it points out weird ways of seeing everyday things or just revels in absurd situations. When it's not at its best, it can be boring or offensive, so be forewarned. However, the good here definitely outweighs the bad.
Recommended for: people who are too introspective
Favorites: http://picturesforsadchildren.com/index.php?comicID=28 (this is in the middle of a storyline, but I love it), http://picturesforsadchildren.com/index.php?comicID=237, http://picturesforsadchildren.com/index.php?comicID=257
5. Perry Bible Fellowship
Author: Nicholas Gurewitch
Style: surrealist
Once again, be forewarned: this is far and away the most offensive comic I have linked to. You absolutely should not browse this website if you are not OK with viewing some things that will offend you. That being said, it is also occasionally genius and frequently hilarious.
Gurewitch draws and writes (well, drew and wrote; the comic is essentially defunct now) the comic in a variety of different styles and about a variety of things, all intended to shock or surprise the reader into laughter. His range and ability to mesh different ideas is usually quite impressive, unless it is offensive (which, as I said, it can be, and even then it still can be pretty funny).
Recommended for: fans of The Onion (particularly the news videos) and Monty Python
Favorites: http://www.pbfcomics.com/?cid=PBF210-Wishing_Well.gif, http://www.pbfcomics.com/?cid=PBF149-Svens_Revenge.jpg, http://www.pbfcomics.com/?cid=PBF084-No_Survivors.gif (shock value on display here)
4. Daisy Owl
Author: Ben Driscoll
Style: storyline, situational
Daisy Owl is a year-old comic dealing with the daily lives of an owl named Mr. Owl, his two (human) kids Daisy and Cooper, and Mr. Owl's polar bear friend Steve. These four frequently interact with other members of their weird universe, including Steve's grizzly bear brother, a magician who does very little actual magic and the giant queen bee in the honey research lab in which Steve and Mr. Owl are sometimes employed.
The comic has a charm that rivals most of the best newspaper comics, and each of the main characters has a distinct personality that you could almost imagine inhabiting a close friend. Indeed, that is one of the main draws of the strip: the world of Daisy Owl, minus a few surreal elements like the honey lab and the fact that most of the cast is comprised of anthropomorphous animals, seems very much like our own, only slightly nicer and just a bit exaggerated for comical reasons. If you give this comic a chance (I would recommend reading from the beginning), I'd be willing to bet that you'll soon be taken in by the clever writing and humorously quaint characters.
Recommended for: fans of clever-but-charming newspaper strips
Favorites: http://daisyowl.com/comic/2008-09-29 (no one understands why I enjoy this so much, but I just do, ok?), http://daisyowl.com/comic/2009-06-29 (background: this is from an origin story of the characters. Cooper and Daisy have just crash landed in a rocket outside of Mr. Owl's tree), http://daisyowl.com/comic/2009-05-08
3. Wondermark
Author: David Malki ! (yes, he always includes an exclamation mark after his name)
Style: punchline, surrealist
This is an odd one. The panels are mostly cobbled together from illustrations found in Malki's extensive antique book collection. The humor is almost always derived from the anachronistic juxtaposition of modern-day language onto the old and oftentimes unexplainable illustrations.
This website is fascinating to me because, in addition to being hilarious, Malki is also very clearly intellectual. He occasionally publishes essays on his under-the-comic blog, and he used to publish brilliant and funny critiques of popular newspaper comics, the archives of which are still available on his site here. This is definitely one to check out.
Recommended for: anyone who is able to appreciate jokes both historical and flatulence-related. It's a very broad comic.
Favorites: http://wondermark.com/463/ (make sure to read the alternate panels below this one), http://wondermark.com/218/, http://wondermark.com/508/
2. xkcd
Author: Randall Munroe
Style: situational, punchline
This is the one that started it all for me. I was only vaguely aware of what webcomics were until I clicked on a link to this strip. If you aren't a fan of Orson Scott Card, don't worry: this comic is so great because of its relatability.
While Munroe is a skilled writer who can conjure a ridiculous punchline just as well as the next guy, this strip is at its best when he's making fun of things that we've all subtly or unconsciously observed (and, in some cases, feared) in the world. His best humor comes when he points out things that we've never truly thought about but immediately recognize.
There are also a fair amount of math and computer jokes in this strip, and since I'm not a math buff (nor a huge computer buff), I usually find strips with those themes to be incomprehensible. However, if that's what you're into, you may like this strip even more than my number one choice.
Recommended for: nerds and obsessives of all kinds
Favorites: http://xkcd.com/245/, http://xkcd.com/310/, http://xkcd.com/346/
1. Dinosaur Comics
Author: Ryan North
Style: surrealist, situational, punchline
Dinosaur Comics is a hilariously written comic about the musings and ambitions of a t-rex named T-Rex. He is overly enthusiastic, vain, lazy, lacking in common sense and far too obsessed with the English language, but he is still a pretty good guy. He is joined in every strip by his friends Utahraptor and Dromiceiomimus, who often comment on his outrageous behavior or ideas.
The instantly noticeable quality of Dinosaur Comics is that it is a constrained comic, or one that operates under certain arbitrary artistic parameters. In DC's case, the parameter is that virtually all of the comics use the exact same art in the exact same panel order and formation (minus a few clip art additions in a few strips, and some alternate universe storylines in which the same art is used, only backwards). However, if you think that this approach would limit the creativity or humor in DC, you couldn't be more wrong.
North has published, at the time of writing, 1,511 comics. Minus a few guest comics, every single one of these comics has followed the exact same artistic structure, and the comic still manages to be the most hilarious comic on the World Wide Web. The secret is found in both the vague art and the ingenious writing.
If you look at the panels, you'll notice that any number of things could be going on in them, provided the proper contextual dialogue. Yes, T-Rex appears to be conversing with Utahraptor in the fourth and fifth panels, and he appears to be pretty enthusiastic in all six panels, but if the writer recognizes those artistic boundaries, he can shape the art to fit the dialogue. North is a hilarious writer, and every word that is said by any of the three characters (or by DC's versions of God and the devil, who also speak in the strips from time to time) fits perfectly. The topics DC covers range from philosophical and scientific difficulties to video games to grammar to historical facts to anything in between, all with a hilarious twist. If this doesn't get you laughing, something might be broken.
Recommended for: intellectual fans of absurdity
Favorites: http://www.qwantz.com/index.php?comic=584, http://www.qwantz.com/index.php?comic=1481, http://www.qwantz.com/index.php?comic=1380
If the rise of webcomics is any indication, a generation accustomed to Internet use agrees with me. The Internet's freedom to self-publish breaks down many of the boundaries that newspaper comics function within.
Webcomics have several advantages over their print-based counterparts, most of which can be summed up in two categories: form and content. The form (ie: graphical elements, size, presentation and even animation) is restricted only by bandwidth and the cartoonist's imagination and skill, and the content (ie: subject matter and dialogue) is entirely up to the comic's creator. Content's non-restriction also enables more niche humor to be published, and many webcomics devoted to nerds or videogames or what have you have enjoyed much success online. However, this virtually unlimited freedom does have one major drawback: the vast majority of webcomics suck.
Oh sure, there's a fair share of gems out there (hence this list), but even some of the more popular comics (Ctrl+Alt+Delete, just to name one of many) are terrible. Having an editor may mean that you can't publish everything, but it also means that you can't publish just anything. How, then, can you expect to successfully navigate the hostile deserts of webcomicdom to find the sweet oases of good comics? Simple; just read this list.
First, however, I have a couple of disclaimers. These are not the only good webcomics out there. Some readers may be unhappy that a couple of their favorites (mostly I am thinking of Penny Arcade) didn't make the list, but that doesn't mean I am consigning them to the Internet dumpheap. Since most of you (wink) have good taste, it most likely it means that I find the humor just a little bit too specific or inconsistent. The other disclaimer is that the tearing down of content restrictions means that most of the comics on this list have at least some content that could be deemed offensive, be it swearing, sexual humor, etc. There are a couple that are perhaps more offensive than the others here, and I will point those out, but be forewarned that webcomics are, in general, not for those who can't stand language or suggestiveness. OK, enough of this; on to the list!
In order to better describe the types of humor you might encounter in these comics, I have arbitrarily set up a genre classification system for them (yes, I know that there are other kinds, but no "soap opera" or biographical strips will be appearing on this list). A "storyline" comic is a comic in which the humor is derived from the cast of characters and an ongoing story arc of their predicaments. "Punchline" comics are obviously more traditional. "Situational" comics are ones in which the joke is in the set-up and the setting rather than a defined punchline, and "surrealist" comics are those in which the humor is derived from sheer weirdness or shock value.
10. Thinkin' Lincoln
Author: Miles Grover
Style: surrealist, punch-line
Thinkin' Lincoln is a comic about the daily adventures of a group of historical figures' anachronistic talking heads. While many historical and not-so-historical figures appear frequently throughout the comic, Thinkin' Lincoln's main focus is reserved for Abraham Lincoln, a simplistic and overenthusiastic nitwit, George Washington, Abe's snide rival, and Queen Elizabeth II, a kind of motherly figure for the other characters. The comic is also frequently visited by the likes of Freud, Darwin, Otto Von Bismark, Poe and other weirder characters like Skeleton Shakespeare and Zombie Mark Twain (both exactly what they sound like).
While a lot of the humor is derived merely from these famous characters spouting clearly uncharacteristic dialogue, Grover often goes one step further and invokes the true historical facts about these people, creating a humorous mishmash.
Recommended for: history buffs, people who like Monty Python
Favorites: http://www.thinkin-lincoln.com/index.php?strip_id=261, http://www.thinkin-lincoln.com/index.php?strip_id=876, http://www.thinkin-lincoln.com/index.php?strip_id=838
9. Terror Island
Authors: Ben Heaton and Lewis Powell
Style: storyline, surrealist
Terror Island has probably the weirdest premise of the comics on this list. It is a photocomic dealing primarily with the struggles of two roommates who are both determined to get the other one to buy groceries. Also, almost all of the characters are played by pieces from popular board games. While this probably doesn't sound like a premise that could keep a comic afloat, the subplots and arcs become pretty complex and surprisingly hilarious. My favorite character is Jame, so named because he thinks that "James" is plural.
Recommended for: Fans of deadpan, Demetri Martin style comedy
Favorites: You've got to read this one from the beginning to grasp the humor. Since the comic came to a close after strip 300, it shouldn't be that hard to finish.
8. Unwinder's Tall Comics
Author: Eli Parker, alias Parker Wilson
Style: situational
Unwinder is a kid (possibly alien?) from Minnesota who is an over-the-top-satire of the pop culture saturated indie guy. Everything he does is a conscious effort to appear cool and different (that is, everything that doesn't involve harassing his friend Barbecue Sauce). While Parker usually sets his sights on self-congratulating preeners, no cultural bastion is safe from his pen, be it corny science fiction novels, gossip tabloids, or Tag body spray. However, the most distinctive feature of this comic is its height. It is, as the name suggests, a very tall comic.
While there is a kind of demented genius behind much of this comic, it loses points for an inconsistent update schedule (I know, I know, Eli, you have an actual job) and the fact that some comics are just so completely out of left field that they're less funny than confusing. Still, however, a solid comic (and he updates it more frequently than he sent The Column his newspaper comics, so there's that too).
Recommended for: people who have indie friends or who know a lot about pop culture
Favorites: http://tallcomics.com/index.php?strip_id=6, http://tallcomics.com/index.php?strip_id=32 (really, anytime he writes script treatments are completely worthwhile), http://tallcomics.com/index.php?strip_id=25
7. Achewood
Author: Chris Onstad
Style: surrealist, storyline
WARNING: This strip is one of a couple wherein the humor can become entirely inappropriate, and if you are unwilling to sift, then this comic is definitely not for you (in fact, if you are not willing to sift, do not even go to the comic that is on the main page at the time of posting). However, if you are willing to sift, Achewood will certainly yield some gems.
Achewood is a comic about a large friend/acquaintance group of animals and other creatures/robots/etc (many of whom were originally stuffed animals, although it is unclear whether that is still canon or not) who embark on sundry adventures and absurd exploits. The backlog for this comic is immense, and it's probably best if you start reading from the beginning.
The highlight of this strip is its ability to evoke hilarity from complete and utter absurdity. Many times, I have finished laughing at a strip only to wonder how Onstad even thought to combine the strange pairings of dialogue, characters and setting. And it's not just a giant Python skit either. Most of the main characters are very well developed and even have motivation behind their actions (some of them even have in-character blogs loosely maintained by Onstad). If you don't mind a rotten apple every so often, this is definitely a strip to check out.
Recommended for: fans of the Douglas Adams style of developed absurdity
Favorites: It would take me far too long to search through the backlogs for my favorites, and I haven't even read the whole comic. I would recommend starting at (or at least toward) the beginning.
6. Pictures for Sad Children
Author: John Campell
Style: surrealist, situational
This is an odd comic that the author describes as being "about a bad feeling you get when you are feeling good, or a good feeling you get when you are feeling bad." It's (almost) all in greyscale, with no caps and sometimes no obvious punchline. That being said, it's sometimes hit and miss, but when it's good, it's pretty darn funny.
PFSC started out mainly as a comic about a ghost named Paul, although the character and his storyline have mostly been abandoned in favor of short, unrelated storylines or one-offs. When the comic is at its best, it points out weird ways of seeing everyday things or just revels in absurd situations. When it's not at its best, it can be boring or offensive, so be forewarned. However, the good here definitely outweighs the bad.
Recommended for: people who are too introspective
Favorites: http://picturesforsadchildren.com/index.php?comicID=28 (this is in the middle of a storyline, but I love it), http://picturesforsadchildren.com/index.php?comicID=237, http://picturesforsadchildren.com/index.php?comicID=257
5. Perry Bible Fellowship
Author: Nicholas Gurewitch
Style: surrealist
Once again, be forewarned: this is far and away the most offensive comic I have linked to. You absolutely should not browse this website if you are not OK with viewing some things that will offend you. That being said, it is also occasionally genius and frequently hilarious.
Gurewitch draws and writes (well, drew and wrote; the comic is essentially defunct now) the comic in a variety of different styles and about a variety of things, all intended to shock or surprise the reader into laughter. His range and ability to mesh different ideas is usually quite impressive, unless it is offensive (which, as I said, it can be, and even then it still can be pretty funny).
Recommended for: fans of The Onion (particularly the news videos) and Monty Python
Favorites: http://www.pbfcomics.com/?cid=PBF210-Wishing_Well.gif, http://www.pbfcomics.com/?cid=PBF149-Svens_Revenge.jpg, http://www.pbfcomics.com/?cid=PBF084-No_Survivors.gif (shock value on display here)
4. Daisy Owl
Author: Ben Driscoll
Style: storyline, situational
Daisy Owl is a year-old comic dealing with the daily lives of an owl named Mr. Owl, his two (human) kids Daisy and Cooper, and Mr. Owl's polar bear friend Steve. These four frequently interact with other members of their weird universe, including Steve's grizzly bear brother, a magician who does very little actual magic and the giant queen bee in the honey research lab in which Steve and Mr. Owl are sometimes employed.
The comic has a charm that rivals most of the best newspaper comics, and each of the main characters has a distinct personality that you could almost imagine inhabiting a close friend. Indeed, that is one of the main draws of the strip: the world of Daisy Owl, minus a few surreal elements like the honey lab and the fact that most of the cast is comprised of anthropomorphous animals, seems very much like our own, only slightly nicer and just a bit exaggerated for comical reasons. If you give this comic a chance (I would recommend reading from the beginning), I'd be willing to bet that you'll soon be taken in by the clever writing and humorously quaint characters.
Recommended for: fans of clever-but-charming newspaper strips
Favorites: http://daisyowl.com/comic/2008-09-29 (no one understands why I enjoy this so much, but I just do, ok?), http://daisyowl.com/comic/2009-06-29 (background: this is from an origin story of the characters. Cooper and Daisy have just crash landed in a rocket outside of Mr. Owl's tree), http://daisyowl.com/comic/2009-05-08
3. Wondermark
Author: David Malki ! (yes, he always includes an exclamation mark after his name)
Style: punchline, surrealist
This is an odd one. The panels are mostly cobbled together from illustrations found in Malki's extensive antique book collection. The humor is almost always derived from the anachronistic juxtaposition of modern-day language onto the old and oftentimes unexplainable illustrations.
This website is fascinating to me because, in addition to being hilarious, Malki is also very clearly intellectual. He occasionally publishes essays on his under-the-comic blog, and he used to publish brilliant and funny critiques of popular newspaper comics, the archives of which are still available on his site here. This is definitely one to check out.
Recommended for: anyone who is able to appreciate jokes both historical and flatulence-related. It's a very broad comic.
Favorites: http://wondermark.com/463/ (make sure to read the alternate panels below this one), http://wondermark.com/218/, http://wondermark.com/508/
2. xkcd
Author: Randall Munroe
Style: situational, punchline
This is the one that started it all for me. I was only vaguely aware of what webcomics were until I clicked on a link to this strip. If you aren't a fan of Orson Scott Card, don't worry: this comic is so great because of its relatability.
While Munroe is a skilled writer who can conjure a ridiculous punchline just as well as the next guy, this strip is at its best when he's making fun of things that we've all subtly or unconsciously observed (and, in some cases, feared) in the world. His best humor comes when he points out things that we've never truly thought about but immediately recognize.
There are also a fair amount of math and computer jokes in this strip, and since I'm not a math buff (nor a huge computer buff), I usually find strips with those themes to be incomprehensible. However, if that's what you're into, you may like this strip even more than my number one choice.
Recommended for: nerds and obsessives of all kinds
Favorites: http://xkcd.com/245/, http://xkcd.com/310/, http://xkcd.com/346/
1. Dinosaur Comics
Author: Ryan North
Style: surrealist, situational, punchline
Dinosaur Comics is a hilariously written comic about the musings and ambitions of a t-rex named T-Rex. He is overly enthusiastic, vain, lazy, lacking in common sense and far too obsessed with the English language, but he is still a pretty good guy. He is joined in every strip by his friends Utahraptor and Dromiceiomimus, who often comment on his outrageous behavior or ideas.
The instantly noticeable quality of Dinosaur Comics is that it is a constrained comic, or one that operates under certain arbitrary artistic parameters. In DC's case, the parameter is that virtually all of the comics use the exact same art in the exact same panel order and formation (minus a few clip art additions in a few strips, and some alternate universe storylines in which the same art is used, only backwards). However, if you think that this approach would limit the creativity or humor in DC, you couldn't be more wrong.
North has published, at the time of writing, 1,511 comics. Minus a few guest comics, every single one of these comics has followed the exact same artistic structure, and the comic still manages to be the most hilarious comic on the World Wide Web. The secret is found in both the vague art and the ingenious writing.
If you look at the panels, you'll notice that any number of things could be going on in them, provided the proper contextual dialogue. Yes, T-Rex appears to be conversing with Utahraptor in the fourth and fifth panels, and he appears to be pretty enthusiastic in all six panels, but if the writer recognizes those artistic boundaries, he can shape the art to fit the dialogue. North is a hilarious writer, and every word that is said by any of the three characters (or by DC's versions of God and the devil, who also speak in the strips from time to time) fits perfectly. The topics DC covers range from philosophical and scientific difficulties to video games to grammar to historical facts to anything in between, all with a hilarious twist. If this doesn't get you laughing, something might be broken.
Recommended for: intellectual fans of absurdity
Favorites: http://www.qwantz.com/index.php?comic=584, http://www.qwantz.com/index.php?comic=1481, http://www.qwantz.com/index.php?comic=1380
Saturday, May 30, 2009
Looking "Up"
I've been a Pixar fan for a long time. The animation studio's knack for creating a truly engaging story out of unlikely premises is essentially unparalleled in today's film industry. And (my apologies to all of you who like the two "Toy Story" movies the best) they've generally just continued to improve.
However, none of their movies have been able to match the perfect blend of good writing, visual impressiveness, humor and message that was concocted in 2004's "The Incredibles." That movie, a tale of a family of discontented superheroes forced to keep their powers under wraps, is sharply written, animated with lush colors, funny at all the right times and able to deliver important messages about the importance of family and the need to keep the world from downplaying uniqueness (it also goes out of its way to pay some fun homages to several comics, most notably "Watchmen" and The Fantastic Four). While Pixar has served up genius both before (the "Toy Story" films, "Monsters Inc.") and after ("Ratatouille," "Wall-E") "The Incredibles," Brad Bird's directorial debut remained my favorite entry in the studio's lineup.
Until, possibly, now.
After the disappointing "Cars" (arguably even after the solid "Finding Nemo," with the exception of "Cars") Pixar has been less about making high-quality family entertainment and more about making high-quality, meaningful movies that will also entertain children. This shift saw the production of "Ratatouille," another Brad Bird movie about the proper treatment of greatness (also about a rat cooking things), and "Wall-E," an almost avant-garde work that belies the importance of human connection in an increasingly digital world. Both were well written and exquisitely animated ("Ratatouille" even received an Oscar nomination for Best Screenplay, and I have a quote from that film adorning the top of my blog), but Pixar's latest feature, "Up," manages to not only best the studio's last two outings, but perhaps even "The Incredibles."
I've never quite seen a movie like it. It attempts from start to finish to place one foot firmly in reality and the other just as solidly in fantasy, and it succeeds wholeheartedly. I'll attempt to give a brief synopsis without giving away any too much of the plot.
Carl Fredricksen was just a young, quiet, pudgy boy who dreamed of one day being an explorer in the vein of his childhood hero, a brilliant, fantastical (and apparently discredited) explorer named Charles Muntz. On the way back from a theatre newsreel detailing Muntz's latest exploits, Carl meets a girl who is, in many ways, his opposite: a tall, skinny, outgoing and loud girl named Ellie. Although the two couldn't be more different, they are united by Ellie's unabashed friendliness and a mutual love of Muntz and adventure stories in general. Following this childhood meeting, the film presents a touching montage of Carl and Ellie's life together, including their marriage, a tragedy and the bumps and pleasures of life. Carl is a balloon salesman, Ellie is a zookeeper, and the pair lives in the house in which they met. They are happy. Throughout it all, the couple attempts to save money to visit Paradise Falls, Peru, the site of the most legendary of Muntz's exploits.
Unfortunately, life repeatedly gets in the way of their dreams, and Ellie dies before such a trip can be taken. Carl becomes a grumpy recluse, content only while basking in the memory of his wife. Even this is bittersweet, as he feels just a bit guilty for not taking her to Paradise Falls like they'd always planned. Then, an uncomfortable accident occurs, and people begin to question whether the octogenarian can live on his own anymore, in his treasured house that is the last remaining symbol of his former happiness. It's very heady stuff for an animated film, but it's handled very skillfully here.
However, all of the above lays the groundwork for the actual events of the movie, which manage to simultaneously be one of the more outlandish yet simple stories Pixar has presented: Carl, faced with a nursing home, opts instead to rig a large amount of balloons to his house and fly to Paradise Falls as a tribute to Ellie. A young boy scout accidentally stows away, and the two embark on a series of jungle adventures, Carl most begrudgingly.
Even that brief description belies one of the most striking things about this film: its interplay between fantasy and reality. While Carl's tragedy and personality are presented as very serious and real, the vibrant colors and crazy characters surrounding him recall the Looney Tunes classics of old. He behaves like a man who has suffered real loss, but he attempts physical feats in the film that very few people, and certainly no one his age, would be able to do. So too, is the animation scaled back from the hyper-realism of the last two Pixar offerings. Here, the landscape is unbelievably lush, and the characters' appearances are clearly designed to accentuate personality traits.
However, rather than creating an awkward juxtaposition, the film benefits from the hodgepodge of styles. Carl's adventures serve as object lessons and metaphors for the way his life has turned out, but they also function as tributes to old adventure flicks and classic children's animation. At times, they become almost allegorical, because the film never loses sight of the fact that the real story to be told is the story of Carl's life: the beautiful love of a dedicated marriage, the sadness that comes when that union ends, and a reflection on what is really important. Ultimately, Carl's journey to Paradise Falls reveals to him that he didn't need to become an explorer to find fulfillment; rather, being thankful for what has passed and willing to embrace the future becomes an exciting exploration all its own.
"Up" is truly a well-made, touching film. I even cried during a couple of parts (you'll probably be able to guess where once you see it), and I rarely ever do that during a movie. Do I like it better than "The Incredibles"? I don't know; further viewings may tell.
Either way, it's simply great.
However, none of their movies have been able to match the perfect blend of good writing, visual impressiveness, humor and message that was concocted in 2004's "The Incredibles." That movie, a tale of a family of discontented superheroes forced to keep their powers under wraps, is sharply written, animated with lush colors, funny at all the right times and able to deliver important messages about the importance of family and the need to keep the world from downplaying uniqueness (it also goes out of its way to pay some fun homages to several comics, most notably "Watchmen" and The Fantastic Four). While Pixar has served up genius both before (the "Toy Story" films, "Monsters Inc.") and after ("Ratatouille," "Wall-E") "The Incredibles," Brad Bird's directorial debut remained my favorite entry in the studio's lineup.
Until, possibly, now.
After the disappointing "Cars" (arguably even after the solid "Finding Nemo," with the exception of "Cars") Pixar has been less about making high-quality family entertainment and more about making high-quality, meaningful movies that will also entertain children. This shift saw the production of "Ratatouille," another Brad Bird movie about the proper treatment of greatness (also about a rat cooking things), and "Wall-E," an almost avant-garde work that belies the importance of human connection in an increasingly digital world. Both were well written and exquisitely animated ("Ratatouille" even received an Oscar nomination for Best Screenplay, and I have a quote from that film adorning the top of my blog), but Pixar's latest feature, "Up," manages to not only best the studio's last two outings, but perhaps even "The Incredibles."
I've never quite seen a movie like it. It attempts from start to finish to place one foot firmly in reality and the other just as solidly in fantasy, and it succeeds wholeheartedly. I'll attempt to give a brief synopsis without giving away any too much of the plot.
Carl Fredricksen was just a young, quiet, pudgy boy who dreamed of one day being an explorer in the vein of his childhood hero, a brilliant, fantastical (and apparently discredited) explorer named Charles Muntz. On the way back from a theatre newsreel detailing Muntz's latest exploits, Carl meets a girl who is, in many ways, his opposite: a tall, skinny, outgoing and loud girl named Ellie. Although the two couldn't be more different, they are united by Ellie's unabashed friendliness and a mutual love of Muntz and adventure stories in general. Following this childhood meeting, the film presents a touching montage of Carl and Ellie's life together, including their marriage, a tragedy and the bumps and pleasures of life. Carl is a balloon salesman, Ellie is a zookeeper, and the pair lives in the house in which they met. They are happy. Throughout it all, the couple attempts to save money to visit Paradise Falls, Peru, the site of the most legendary of Muntz's exploits.
Unfortunately, life repeatedly gets in the way of their dreams, and Ellie dies before such a trip can be taken. Carl becomes a grumpy recluse, content only while basking in the memory of his wife. Even this is bittersweet, as he feels just a bit guilty for not taking her to Paradise Falls like they'd always planned. Then, an uncomfortable accident occurs, and people begin to question whether the octogenarian can live on his own anymore, in his treasured house that is the last remaining symbol of his former happiness. It's very heady stuff for an animated film, but it's handled very skillfully here.
However, all of the above lays the groundwork for the actual events of the movie, which manage to simultaneously be one of the more outlandish yet simple stories Pixar has presented: Carl, faced with a nursing home, opts instead to rig a large amount of balloons to his house and fly to Paradise Falls as a tribute to Ellie. A young boy scout accidentally stows away, and the two embark on a series of jungle adventures, Carl most begrudgingly.
Even that brief description belies one of the most striking things about this film: its interplay between fantasy and reality. While Carl's tragedy and personality are presented as very serious and real, the vibrant colors and crazy characters surrounding him recall the Looney Tunes classics of old. He behaves like a man who has suffered real loss, but he attempts physical feats in the film that very few people, and certainly no one his age, would be able to do. So too, is the animation scaled back from the hyper-realism of the last two Pixar offerings. Here, the landscape is unbelievably lush, and the characters' appearances are clearly designed to accentuate personality traits.
However, rather than creating an awkward juxtaposition, the film benefits from the hodgepodge of styles. Carl's adventures serve as object lessons and metaphors for the way his life has turned out, but they also function as tributes to old adventure flicks and classic children's animation. At times, they become almost allegorical, because the film never loses sight of the fact that the real story to be told is the story of Carl's life: the beautiful love of a dedicated marriage, the sadness that comes when that union ends, and a reflection on what is really important. Ultimately, Carl's journey to Paradise Falls reveals to him that he didn't need to become an explorer to find fulfillment; rather, being thankful for what has passed and willing to embrace the future becomes an exciting exploration all its own.
"Up" is truly a well-made, touching film. I even cried during a couple of parts (you'll probably be able to guess where once you see it), and I rarely ever do that during a movie. Do I like it better than "The Incredibles"? I don't know; further viewings may tell.
Either way, it's simply great.
Saturday, May 2, 2009
Excitement meets nostalgia in "State of Play"
This is reposted from the April 23 issue of The Column.
I wasn’t expecting a lot. I had seen the trailer for “State of Play” a few times, and it looked interesting enough. There was a passing (and, I assumed, token) reference to journalism, so I told our feature editor Ben that we should go see it. Shortly thereafter, we got two free passes to a prescreening (just one perk of our prestigious – OK, not really – Column jobs), and soon we were waiting expectantly for the movie to begin.
What followed was a lot more than I had expected.
In the first few minutes of the film, two people in Washington D.C. are shot dead by a mysterious man with a metal briefcase. Soon thereafter, an important aide to a congressman is found dead, ruled suicide. The congressman tears up during his announcement of her death, and it soon becomes clear that the two were having an affair. All things considered, it is a busy day for The Washington Globe, where the scruffy but clever Cal McAffrey (Russell Crowe) works as an old school investigative journalist.
McAffrey is originally in charge of reporting the double murder (thought to be a routine drug killing), but the congressman in question, Stephen Collins (Ben Affleck), is an old college friend of his, and, after Collins comes to him with a claim that the aide was murdered, McAffrey wants the story covered properly. By properly, he mostly means “not by a blogger,” namely Della Frye (Rachel McAdams). Frye is a young “online journalist,” who sometimes annoys McAffrey because she’s more interested in the quick scoop than in fact checking. However, he senses some genuine enthusiasm for the truth in Frye, so he allows her to partner with him on the story while he teaches her some good old-fashioned journalistic method. Meanwhile, Collins is attempting to reconcile with his wife, all the while trying to hold down his position on a committee investigating alleged atrocities committed by a military contracting company. Are these events connected in any way? If so, who’s behind it all, and what will the consequences be for those who dare to uncover the plot?
To tell you much more about the film’s story would be both unnecessary and unfortunate, as “State of Play” is a movie best experienced with little sense of what’s going to happen next. Its circuitous plot twists and turns right through to the conclusion, but it also never stops making sense if you’re paying attention.
It’s clearly an intelligent film, and it’s one that expects its viewers to be intelligent as well. Terms like “collusive” pop up, and the viewer is expected to know or figure out what they mean. Ethical questions appear from time to time as well. Is McAffrey’s involvement a conflict of interest? If so, where does he cross the line? We’re encouraged to think it through.
The ethical questions are only compounded by the fact that even McAffrey has been prone to misdeeds in the past. The movie creates very real characters as sure to develop viewer attachment as they are to make you think. Overall, “State of Play” is a fast-paced, cerebral thriller, sure to excite and surprise. However, there was another reason that I liked it even more.
The movie plays like a sort of love song to journalism and newspapers. McAffrey and his cranky editor (Helen Mirren) bemoan the fact that The Globe is losing money, and much is made of the conflict between print newspapers and online sources.
The film’s conclusion? Blogs might get you a story faster, but newspapers deliver the complete – and accurate – report. The newsroom is presented as that lovable, noisy place where hard-working but fun-loving journalists pound out their stories on deadline, not caring much about decorum or cleanliness.
It’s obvious that the film owes much of its inspiration to “All the President’s Men,” the classic Robert Redford and Dustin Hoffman flick chronicling the true story behind Woodward and Bernstein’s uncovering of the Watergate cover-up. They are obviously held in high regard by the filmmakers of State of Play, as are all journalists who strive for the truth.
However, “State of Play” is not ignorant of the fact that newspapers are not in the best of shape these days. The Globe’s ownership is trying all sorts of gimmicks to increase its readership, and it’s up to the down-to-earth journalists like McAffrey to keep the press from being a non-mobile version of TV.
I appreciate that in a film. In today’s world of hustle and bustle, instant news, constant channel flipping and tab switching, I think that the focused information and perspective found in newspapers is still a worthwhile pursuit. And, if you made it to the end of this review, thanks.
Who knows? Perhaps you think that newspapers are worth something too.
I wasn’t expecting a lot. I had seen the trailer for “State of Play” a few times, and it looked interesting enough. There was a passing (and, I assumed, token) reference to journalism, so I told our feature editor Ben that we should go see it. Shortly thereafter, we got two free passes to a prescreening (just one perk of our prestigious – OK, not really – Column jobs), and soon we were waiting expectantly for the movie to begin.
What followed was a lot more than I had expected.
In the first few minutes of the film, two people in Washington D.C. are shot dead by a mysterious man with a metal briefcase. Soon thereafter, an important aide to a congressman is found dead, ruled suicide. The congressman tears up during his announcement of her death, and it soon becomes clear that the two were having an affair. All things considered, it is a busy day for The Washington Globe, where the scruffy but clever Cal McAffrey (Russell Crowe) works as an old school investigative journalist.
McAffrey is originally in charge of reporting the double murder (thought to be a routine drug killing), but the congressman in question, Stephen Collins (Ben Affleck), is an old college friend of his, and, after Collins comes to him with a claim that the aide was murdered, McAffrey wants the story covered properly. By properly, he mostly means “not by a blogger,” namely Della Frye (Rachel McAdams). Frye is a young “online journalist,” who sometimes annoys McAffrey because she’s more interested in the quick scoop than in fact checking. However, he senses some genuine enthusiasm for the truth in Frye, so he allows her to partner with him on the story while he teaches her some good old-fashioned journalistic method. Meanwhile, Collins is attempting to reconcile with his wife, all the while trying to hold down his position on a committee investigating alleged atrocities committed by a military contracting company. Are these events connected in any way? If so, who’s behind it all, and what will the consequences be for those who dare to uncover the plot?
To tell you much more about the film’s story would be both unnecessary and unfortunate, as “State of Play” is a movie best experienced with little sense of what’s going to happen next. Its circuitous plot twists and turns right through to the conclusion, but it also never stops making sense if you’re paying attention.
It’s clearly an intelligent film, and it’s one that expects its viewers to be intelligent as well. Terms like “collusive” pop up, and the viewer is expected to know or figure out what they mean. Ethical questions appear from time to time as well. Is McAffrey’s involvement a conflict of interest? If so, where does he cross the line? We’re encouraged to think it through.
The ethical questions are only compounded by the fact that even McAffrey has been prone to misdeeds in the past. The movie creates very real characters as sure to develop viewer attachment as they are to make you think. Overall, “State of Play” is a fast-paced, cerebral thriller, sure to excite and surprise. However, there was another reason that I liked it even more.
The movie plays like a sort of love song to journalism and newspapers. McAffrey and his cranky editor (Helen Mirren) bemoan the fact that The Globe is losing money, and much is made of the conflict between print newspapers and online sources.
The film’s conclusion? Blogs might get you a story faster, but newspapers deliver the complete – and accurate – report. The newsroom is presented as that lovable, noisy place where hard-working but fun-loving journalists pound out their stories on deadline, not caring much about decorum or cleanliness.
It’s obvious that the film owes much of its inspiration to “All the President’s Men,” the classic Robert Redford and Dustin Hoffman flick chronicling the true story behind Woodward and Bernstein’s uncovering of the Watergate cover-up. They are obviously held in high regard by the filmmakers of State of Play, as are all journalists who strive for the truth.
However, “State of Play” is not ignorant of the fact that newspapers are not in the best of shape these days. The Globe’s ownership is trying all sorts of gimmicks to increase its readership, and it’s up to the down-to-earth journalists like McAffrey to keep the press from being a non-mobile version of TV.
I appreciate that in a film. In today’s world of hustle and bustle, instant news, constant channel flipping and tab switching, I think that the focused information and perspective found in newspapers is still a worthwhile pursuit. And, if you made it to the end of this review, thanks.
Who knows? Perhaps you think that newspapers are worth something too.
Sunday, April 26, 2009
Ten Best SPECIAL EDITION: Jars of Clay
OK. This was really hard.
Like I said in my last post proper, I am a big, BIG fan of Jars of Clay. I knew it would be hard to narrow down 10 of their songs that I like the most. I decided that a good strategy would be for me to write down all of the songs that could conceivably make it onto the list.
I wrote down 29 songs. On my first round of cutting, I narrowed it down to 18 songs.
The next round of cutting found 13 songs. And it pained me very much to cut those last three. I mean, it's Jars of Clay. They've made eight studio albums (not counting Furthermore or Christmas Songs), and they've released countless bits and pieces of musical brilliance (see some of the reworked tracks from Stringtown, The White Elephant Sessions, Live Monsters, the Roots and Wings EP, Seatbelt Tuba, etc.). I wanted the list to reflect that, but I most of all wanted it to more or less reflect the 1o Jars songs I like the best.
I'm not really even sure if I made it do that. So many of their songs are musically amazing, and their lyrics are consistently thought provoking and genius as well. So, what's a rabid Jars fan like me to do?
Simple. Cheat.
Yeah, yeah, that's why the "special edition" is tacked up there. I included the extra three songs. They are still ranked as 11-13, but now I can give them a little bit of justice with a small write-up.
OK, here goes. And please, bear in mind: coming up with this list took me a long time.
13. Shipwrecked - Roots and Wings EP
This poignant song about (presumably, anyway) a shipwrecked man with a broken past is one of the most beautifully simple recordings that Jars has produced. It's only Dan's voice, some strings, some guitar picking and some spare piano. But boy, does it tug at the emotions.
12. Light Gives Heat (live) - Live Monsters EP
The "Good Monsters" version of this song is good, but not nearly as good as its live counterpart. This seven-minute track seems to rush by as the band substitutes the children's choir with a melodica and some filled in vocal harmonies. The "think about Africa" ending is brilliant.
11. Fade to Grey - Much Afraid
This is the first song the band ever wrote together, and it's still great. One of the great things about Jars is that they don't feel the need to make every song resolve in a happy, "it's-all-OK-because-of-Jesus" ending, and this song is perhaps the best example of their gift of crafting questioning songs. The insistent vocals and drums make this one.
OK, here's crunch time.
10. Work - Good Monsters
I feel like most "Good Monsters" fans like both "Work" and "Dead Man," but they have to pick a side over which one is better. While "Dead Man" is a good tune, "Work" takes the cake for me. The plaintive and honest lyrics coupled with a driving guitar definitely evoke the desperate feel that Jars was going for.
9. Tea & Sympathy - Much Afraid
Yes, this song is a bit melodramatic, but I still love it, lyrics and all. The expertly arranged strings and guitar perfectly capture the feel of a relationship in which it has become easier to ignore the other person rather than interact and reconcile. This song also thematically recalls Simon and Garfunkel's "The Dangling Conversation," a trait that I noted about their new song, "Scenic Route."
8. Collide - If I Left The Zoo
I consistently forget how good this song is. It's one of Jars' most chaotic and layered songs, particularly in the time before their latest albums. It addresses society's skewed view of true love, and it does so in rockin' fashion. I wished they still played this in concert.
7. Headphones - The Long Fall Back To Earth
Man oh man. This song is beautiful. Katie Herzig's vocals make Dan's normal and falsetto tones sound even better, and the lyrics (about society's easy ignorance of other people's problems) are convicting and well layered within the song's structure.
6. Jealous Kind - Who We Are Instead
This song has possibly the best lyrics Jars has ever written. Not many bands write about God's jealousy, but Jars does it very well, and they do it with the flair of a backing Gospel choir and rootsy guitar and piano.
5. Closer - Closer EP
This is the most electronic that Jars has ever gotten, but it's a great little love song that builds wonderfully. This song is also featured on "The Long Fall..." but I like the opening on "Closer EP" better. The lyrics to this one are very clever, and the production is ridiculously layered.
4. Good Monsters - Good Monsters
The lyrics to this song (dealing with the problem of when good men do nothing) are absolutely great, and the bassy guitars and loud and clear vocals make this song ridiculously catchy. There's some wonderfully clear piano during the bridge, too.
3. Trouble Is - Who We Are Instead
This song deals with problems of identity, but that's all secondary to the gruff, world-weary vocals, energetic bluesy guitar and very slight electronic twinge. Who says white guys don't have soul?
2. Mirrors and Smoke - Good Monsters
This duet with Leigh Nash might not deserve to be up so high, but there's just something about it that gets me every time. The guitars are thick, the vocal tradeoffs of the guttural and pristine are perfectly matched, and the song just makes you want to kick back with some good old southern rock.
1. Goodbye, Goodnight - If I Left The Zoo
I'll admit it. This song has personal significance to me, as it was the first song that I ever heard on a Jars of Clay album. I had heard some singles before, but the first time I put this in the player (I think I was 11 or 12), I was confronted with an accordion, a harpsichord (I think, anyway), weird lyrics about the Titanic, a barbershop quartet and simple but grounded vocals and guitars to hold it all together. This song helped show me what music could be, but the nostalgia doesn't take away from the fact that this song still kicks major butt. It's possibly Jars' most unique offering.
So, there you have it. I got it down to 13. However, these songs are all so good that I'm sure that they will trade positions with each other every now and then.
Fans of Jars of Clay will notice some albums that I left off this list. It doesn't mean that I don't like those albums; on the contrary, I like them all. This is just a pretty competitive list. However, I would like to hear your complaints. I feel like Jars invokes all sorts of different opinions.
Also, "fans" of Jars of Clay will notice that there are no songs from the self-titled on here. Get over it.
Runners up include but are in no way limited to: Sad Clown, Boys, Unforgetful You, Oh My God, Take Me Higher (these five are the five of the 18 that I cut), Disappear (live), Revolution (live), Fly Farther, New Math, Sing, Only Alive, The Valley Song, Crazy Times, Hymn, Five Candles, Famous Last Words, Safe to Land, The Eleventh Hour, Drive (cover), Dig (cover) and Liquid.
And not Flood. Sorry, I had to get that one in.
What are your favorite Jars of Clay songs?
6. Jealous Kind - Who We Are Instead
This song has possibly the best lyrics Jars has ever written. Not many bands write about God's jealousy, but Jars does it very well, and they do it with the flair of a backing Gospel choir and rootsy guitar and piano.
5. Closer - Closer EP
This is the most electronic that Jars has ever gotten, but it's a great little love song that builds wonderfully. This song is also featured on "The Long Fall..." but I like the opening on "Closer EP" better. The lyrics to this one are very clever, and the production is ridiculously layered.
4. Good Monsters - Good Monsters
The lyrics to this song (dealing with the problem of when good men do nothing) are absolutely great, and the bassy guitars and loud and clear vocals make this song ridiculously catchy. There's some wonderfully clear piano during the bridge, too.
3. Trouble Is - Who We Are Instead
This song deals with problems of identity, but that's all secondary to the gruff, world-weary vocals, energetic bluesy guitar and very slight electronic twinge. Who says white guys don't have soul?
2. Mirrors and Smoke - Good Monsters
This duet with Leigh Nash might not deserve to be up so high, but there's just something about it that gets me every time. The guitars are thick, the vocal tradeoffs of the guttural and pristine are perfectly matched, and the song just makes you want to kick back with some good old southern rock.
1. Goodbye, Goodnight - If I Left The Zoo
I'll admit it. This song has personal significance to me, as it was the first song that I ever heard on a Jars of Clay album. I had heard some singles before, but the first time I put this in the player (I think I was 11 or 12), I was confronted with an accordion, a harpsichord (I think, anyway), weird lyrics about the Titanic, a barbershop quartet and simple but grounded vocals and guitars to hold it all together. This song helped show me what music could be, but the nostalgia doesn't take away from the fact that this song still kicks major butt. It's possibly Jars' most unique offering.
So, there you have it. I got it down to 13. However, these songs are all so good that I'm sure that they will trade positions with each other every now and then.
Fans of Jars of Clay will notice some albums that I left off this list. It doesn't mean that I don't like those albums; on the contrary, I like them all. This is just a pretty competitive list. However, I would like to hear your complaints. I feel like Jars invokes all sorts of different opinions.
Also, "fans" of Jars of Clay will notice that there are no songs from the self-titled on here. Get over it.
Runners up include but are in no way limited to: Sad Clown, Boys, Unforgetful You, Oh My God, Take Me Higher (these five are the five of the 18 that I cut), Disappear (live), Revolution (live), Fly Farther, New Math, Sing, Only Alive, The Valley Song, Crazy Times, Hymn, Five Candles, Famous Last Words, Safe to Land, The Eleventh Hour, Drive (cover), Dig (cover) and Liquid.
And not Flood. Sorry, I had to get that one in.
What are your favorite Jars of Clay songs?
Friday, April 24, 2009
The short fall down from 2006
I am a real fan of Jars of Clay. By real fan I mean that I listen to all of their albums, not just their first one. Actually, their first album, while containing some good songs, is probably their second-worst effort. Don't freak out; it's their first album. It's not supposed to be the best.
However, I am also a fan of Jars of Clay in the sense that I think that they are one of the best bands in all of music today. Lead singer Dan Haseltine is an excellent lyricist, and the band's ability to reinvent their genre on every album while still remaining consistent to "sounding like Jars of Clay" is a feat that has only ever been paralleled by few in the industry. They released two early versions of album songs on "Closer EP" last year, and they were great, so you can imagine my excitement when I heard that Jars was finally releasing their new album, "The Long Fall Back To Earth," on April 21 (I learned of this several months ago, so the excitement was practically fever pitch by last week. Like I said, I'm a real fan).
Before I begin, let me explain my Jars of Clay hierarchy. While I admire the musicianship on all of their albums, I have something of an "elite four" list of Jars albums which I think are a cut above their other work and several cuts above most music in general. My favorite album is their third effort, "If I Left the Zoo," followed closely by the evenly matched seventh and fifth albums, "Good Monsters" and "Who We Are Instead." Their second album, "Much Afraid," rounds out my elite list. I still enjoy all or parts of all of their other albums (although I have not listened to "Christmas Songs" very much), but they aren't quite in the same league.
Anyway, that long explanation is merely there so that I can say that "The Long Fall..." falls a little short of the elite list.
The album starts out with the instrumental "The Long Fall," which is a pleasant enough tune that leads directly into "Weapons," a track questioning why people rush to fight all the time. The first thing that is evident on this album is the increased production values. There are many more layers on all of these songs than there were in any other Jars album so far. The change is probably due to Jars' self-production and going independent with their own record label, Gray Matters. However, while the production values are immediately evident, there is another, unfortunate aspect of the album that also begins to manifest itself on "Weapons."
Repetitive lyrics can work if there's something else interesting going on (or if the recording somehow sounds iconic-"Hey Jude" made itself an instant classic with three minutes of "Na, na, na, na-na-na-naaaa"), but otherwise they fall rather flat. While Jars usually produces stellar lyrics, many songs on "The Long Fall..." are either repetitive or cliche or both, and "Weapons" is one of those songs.
"Lay your weapons down / Lay your weapons down / There are no enemies in front of you." That's the chorus, and they sing it a fair amount. It makes the song a little ho-hum in parts, particularly because the song sometimes doesn't have a lot of different musical elements working together to complement the lyrics.
"Weapons" is followed by "Two Hands," the first single for the album. It is also rather cliched and repetitive, but those two qualities will probably assure good radio play on CCM stations ("If I had two hands / Doing the same thing / Lifted high"). "Heaven" is up next, and, while the music is good (driving guitars and synths), the lyrics swing back and forth between weird and commonplace (it gets really good at the end, however). While none of these songs are "bad," per se, they may prove a little disappointing to fans who know the caliber of songwriting in which Jars usually operates.
Fortunately, "Closer," one of the two best songs on the album, comes in just in time to keep the album interesting. "Closer" is much more electronic than essentially anything else that Jars has ever done, and it served as a kind of introduction to their new sound when the original (slightly better) version was released on last year's "Closer EP." The quirky lyrics speak of how relationships can only work when quality time and attention are put into them, and they are also much more interesting than those of the preceding songs. There's even a Charlie Brown reference!
"Closer" is followed by the also excellent "Safe to Land," a song that finds the singer wondering if he is forgiven. The metaphor of a plane almost out of fuel is used to show the need for other people. The layered production is also put to great use here as it creates an expansive feel.
Coming in at track seven is "Headphones." I cannot say enough positive things about this song. The lyrics condemn the American habit of lapsing into easy apathy by retreating into media. Here, the lyrics of the chorus are repetitive, but they work with other vocal and musical layers to create a hauntingly beautiful sound. The verses are great, Katie Herzig's vocal accompaniment is great, Haseltine's falsetto vocals are great, everything about this song is great. Seriously.
After these three pop masterpieces comes the pedestrian but relatively fun "Don't Stop," followed by "Boys (Lesson One)" a simple but poignant letter to the band members' sons (it's mostly electronic, with a little bit of guitar and what sounds like canned strings [although they probably are real]). Next in line is "Hero," a rather out of place near-rocker that is quite good - except, that is, for the chorus. "We need a hero / To save us from ourselves"? Really? Come on guys, you can do better than that. That complaint aside, I'm unsure as to why this song wasn't the single, as it is upbeat and was featured on a trailer for NBC's "Kings."
Following "Hero" is "Scenic Route," a good folksy song with lyrical themes similar to Simon and Garfunkel's "The Dangling Conversation." My favorite line is when Haseltine sings, "We sit here like novels we picked up but never read through / You think you know my ending / I think I know yours too." The lyrics are complemented by some jangly guitar to create a relaxing but meaningful tune.
Unfortunately, "Scenic Route" is followed by "There Might Be A Light" and "Forgive Me," two instantly forgettable songs that also suffer at times from repetitive or cliched lyrics. The album is closed by the electronic and simple "Heart," a good song and one that is unlike most of Jars' other closers.
Jars' last non-Christmas studio album, "Good Monsters," came out in September of 2006. It was generally regarded as one of their best albums (and rightfully so). Two-and-half years later, they have managed to switch genres once again, going from straight-up rock to electronic 80's sounds. There are quite a few legitimately good songs on this release, and a few great ones, but I can't help but wish that they had done just a bit better.
It probably isn't fair. I hold Jars of Clay to a higher standard than most acts in the music world because I know that they're capable of so much, and it isn't as if anything on this album approaches any level of banality. Even the songs I'm not huge on, I don't hate. However, I've heard better from these gentlemen.
That being said, it's still a pretty good album, probably ranking as my favorite or second favorite Jars album not in "the elite four." It's definitely worth buying, and Jars fans will love hearing "Closer," "Safe to Land," "Headphones," "Boys" and the like. I just wish that there was a bit less filler.
However, I am also a fan of Jars of Clay in the sense that I think that they are one of the best bands in all of music today. Lead singer Dan Haseltine is an excellent lyricist, and the band's ability to reinvent their genre on every album while still remaining consistent to "sounding like Jars of Clay" is a feat that has only ever been paralleled by few in the industry. They released two early versions of album songs on "Closer EP" last year, and they were great, so you can imagine my excitement when I heard that Jars was finally releasing their new album, "The Long Fall Back To Earth," on April 21 (I learned of this several months ago, so the excitement was practically fever pitch by last week. Like I said, I'm a real fan).
Before I begin, let me explain my Jars of Clay hierarchy. While I admire the musicianship on all of their albums, I have something of an "elite four" list of Jars albums which I think are a cut above their other work and several cuts above most music in general. My favorite album is their third effort, "If I Left the Zoo," followed closely by the evenly matched seventh and fifth albums, "Good Monsters" and "Who We Are Instead." Their second album, "Much Afraid," rounds out my elite list. I still enjoy all or parts of all of their other albums (although I have not listened to "Christmas Songs" very much), but they aren't quite in the same league.
Anyway, that long explanation is merely there so that I can say that "The Long Fall..." falls a little short of the elite list.
The album starts out with the instrumental "The Long Fall," which is a pleasant enough tune that leads directly into "Weapons," a track questioning why people rush to fight all the time. The first thing that is evident on this album is the increased production values. There are many more layers on all of these songs than there were in any other Jars album so far. The change is probably due to Jars' self-production and going independent with their own record label, Gray Matters. However, while the production values are immediately evident, there is another, unfortunate aspect of the album that also begins to manifest itself on "Weapons."
Repetitive lyrics can work if there's something else interesting going on (or if the recording somehow sounds iconic-"Hey Jude" made itself an instant classic with three minutes of "Na, na, na, na-na-na-naaaa"), but otherwise they fall rather flat. While Jars usually produces stellar lyrics, many songs on "The Long Fall..." are either repetitive or cliche or both, and "Weapons" is one of those songs.
"Lay your weapons down / Lay your weapons down / There are no enemies in front of you." That's the chorus, and they sing it a fair amount. It makes the song a little ho-hum in parts, particularly because the song sometimes doesn't have a lot of different musical elements working together to complement the lyrics.
"Weapons" is followed by "Two Hands," the first single for the album. It is also rather cliched and repetitive, but those two qualities will probably assure good radio play on CCM stations ("If I had two hands / Doing the same thing / Lifted high"). "Heaven" is up next, and, while the music is good (driving guitars and synths), the lyrics swing back and forth between weird and commonplace (it gets really good at the end, however). While none of these songs are "bad," per se, they may prove a little disappointing to fans who know the caliber of songwriting in which Jars usually operates.
Fortunately, "Closer," one of the two best songs on the album, comes in just in time to keep the album interesting. "Closer" is much more electronic than essentially anything else that Jars has ever done, and it served as a kind of introduction to their new sound when the original (slightly better) version was released on last year's "Closer EP." The quirky lyrics speak of how relationships can only work when quality time and attention are put into them, and they are also much more interesting than those of the preceding songs. There's even a Charlie Brown reference!
"Closer" is followed by the also excellent "Safe to Land," a song that finds the singer wondering if he is forgiven. The metaphor of a plane almost out of fuel is used to show the need for other people. The layered production is also put to great use here as it creates an expansive feel.
Coming in at track seven is "Headphones." I cannot say enough positive things about this song. The lyrics condemn the American habit of lapsing into easy apathy by retreating into media. Here, the lyrics of the chorus are repetitive, but they work with other vocal and musical layers to create a hauntingly beautiful sound. The verses are great, Katie Herzig's vocal accompaniment is great, Haseltine's falsetto vocals are great, everything about this song is great. Seriously.
After these three pop masterpieces comes the pedestrian but relatively fun "Don't Stop," followed by "Boys (Lesson One)" a simple but poignant letter to the band members' sons (it's mostly electronic, with a little bit of guitar and what sounds like canned strings [although they probably are real]). Next in line is "Hero," a rather out of place near-rocker that is quite good - except, that is, for the chorus. "We need a hero / To save us from ourselves"? Really? Come on guys, you can do better than that. That complaint aside, I'm unsure as to why this song wasn't the single, as it is upbeat and was featured on a trailer for NBC's "Kings."
Following "Hero" is "Scenic Route," a good folksy song with lyrical themes similar to Simon and Garfunkel's "The Dangling Conversation." My favorite line is when Haseltine sings, "We sit here like novels we picked up but never read through / You think you know my ending / I think I know yours too." The lyrics are complemented by some jangly guitar to create a relaxing but meaningful tune.
Unfortunately, "Scenic Route" is followed by "There Might Be A Light" and "Forgive Me," two instantly forgettable songs that also suffer at times from repetitive or cliched lyrics. The album is closed by the electronic and simple "Heart," a good song and one that is unlike most of Jars' other closers.
Jars' last non-Christmas studio album, "Good Monsters," came out in September of 2006. It was generally regarded as one of their best albums (and rightfully so). Two-and-half years later, they have managed to switch genres once again, going from straight-up rock to electronic 80's sounds. There are quite a few legitimately good songs on this release, and a few great ones, but I can't help but wish that they had done just a bit better.
It probably isn't fair. I hold Jars of Clay to a higher standard than most acts in the music world because I know that they're capable of so much, and it isn't as if anything on this album approaches any level of banality. Even the songs I'm not huge on, I don't hate. However, I've heard better from these gentlemen.
That being said, it's still a pretty good album, probably ranking as my favorite or second favorite Jars album not in "the elite four." It's definitely worth buying, and Jars fans will love hearing "Closer," "Safe to Land," "Headphones," "Boys" and the like. I just wish that there was a bit less filler.
Wednesday, April 15, 2009
Go. See. This.
Hey everybody. Yesterday, I saw a prescreening of "State of Play." It was amazing. It's one of the best movies I have seen in a long time. My review will be up here late next week or early the next (The Column gets this one first), but seriously. Watch it.
Thursday, April 9, 2009
Ten Best: Ben Folds
Since the whole "Blogging the Beatles" thing didn't work out so well, I've decided to introduce another - hopefully easier - semi-regular feature on this blog: Ten Best. In these segments, I will pick an entertainment thing - could be a band, a genre of movie, an actor, whatever - and make a briefish list of the ten best "x's" by that thing. As with all things that are my favorites, you should consider them capricious and perhaps inaccurate. If you read this in a year, take that warning doubly seriously. Today, I present the Ten Best Ben Folds Songs.
Ben Folds is a great musical talent. He (generally) is a good songwriter, his voice fits his music, he's snarky, and, best of all, he plays the piano like nobody's business (he also played all of the instruments on his first solo album, "Rockin' the Suburbs"). This list covers most of his career, from Ben Folds Five to his solo stuff (I have listened to The Bens as well, but I don't like any of the songs enough for them to break into the top ten. However, "Bruised" and "X-Fire" are both really good). I would recommend those who don't like swearing to listen to Folds with extreme caution, as he can break it out like a sailor if he is so inclined. I have included a swearing/no swearing rank by each song so you can listen to only the clean ones if you like.
10. Underground - Ben Folds Five, "Ben Folds Five." Swearing: none
As this list progresses, you'll see that I generally prefer Folds' solo stuff (although "Whatever and Ever Amen" is a fantastic album), but this song from the Five's debut is good tune. With a fuzzy bass fiddling around underneath a combination of piano pounding and softer melodies, this song mocks the underground music scene ("Hand me my nose ring!") while still proclaiming its love for the indie nerds. Folds' voice can be pretty nasal at times, but it's still a fun little tune.
9. The Ascent of Stan - Ben Folds, "Rockin' The Suburbs." Swearing: none
"Suburbs" is my favorite album of Folds', and this song is one of the reasons. I've been told that the piano part for this song about an ex-hippie that rises through the corporate ranks is not very complicated, but it sounds amazing.
8. Kylie From Connecticut - Ben Folds, "Way To Normal." Swearing: none
"Way To Normal" is my second-to-least favorite Folds album (the Five's "The Unauthorized Biography of Reinhold Messner" takes the bottom spot), but this song, with a simple yet beautiful arrangement and heart-wrenching story-song lyrics gets me every time.
7. Landed - Ben Folds, "Songs For Silverman." Swearing: none
Gah. The piano gets me every darn time. I assume this song is about a relationship. Whatever it's about, it's just great.
6. B---h Went Nutz - Ben Folds, "Way to Normal (fake)." Swearing: lots and lots
Before "Way to Normal" came out, Folds decided to play a prank on the fans who always leaked his album to the Internet before its release date. His prank was pulled in the form of a fake album leak that included two songs from the real album, an alternate arrangement of another of the "real songs" (which is included further down on the list) and six songs that he recorded off the top of his head - just to mess with his fans. Isn't that cool?
Anyway, the fake album ended up being more enjoyable than the real one, and this song (which should absolutely should not be confused with the bad and even more profane "B---h Went Nuts" on the real album) is a hilarious satire of the traditional bra-burning liberal chick vs. the young Republican lawyer. It also has a killer bassline and a rip-roaring piano track.
5. Fired - Ben Folds, "Rockin' The Suburbs." Swearing: one f-word and one d-word
This jazzy song about people getting fired or something or other is all about the killer piano (and the drums on the chorus). It's pretty hard not to tap your toes for this one.
4. Cologne (DVD Version) - Ben Folds, "Way to Normal (Fake)" Swearing: none
This is an oddly-written song about Folds' latest divorce. The arrangement on the real "Way To Normal" is relatively pedestrian, but this version spices things up with lots of strings, a choir and 10 pianos.
3. One Angry Dwarf and 200 Solemn Faces - Ben Folds, "Whatever and Ever Amen." Swearing: assorted a-words and s-words
This rock-and-rolling tune has one of the most infectious piano tunes that Folds has ever created. There are a lot of songs from "Whatever..." that could have made it on this list ("Song for the Dumped," "Steven's Last Night in Town," "Kate," "Fair," etc.), but "One Angry Dwarf..." is simply the best.
2. Bastard - Ben Folds, "Songs for Silverman" Swearing: a generous sprinkling
This song about the arrogance of the young begins with some simple piano chords, but by the end of the over-five-minute song, Folds has played all over the board. It also has some of his best lyrics, summed up in his chorus/central question: "Why ya gotta act like you know when you don't know/ It's ok if you don't know everything."
1. Fred Jones pt. 2 - Ben Folds, "Rockin' the Suburbs." Swearing: only if you count "bastard"
It's one of the more sparse and simple entries on this list, but come on guys, I'm a journalist: how can I not appreciate a sad song about an old newspaper man who's forced into retirement? The lyrics are nothing super eloquent, and the piano does its job well. However, the combination of the two is just brilliant.
---
Well, that's the list. Other notable songs include (but are no way limited to) "Jackson Cannery," "Steven's Last Night in Town," "Army," "Annie Waits," "Bruised," "Still Fighting It," "Smoke (orchestral version)" and "Gracie."
What are your favorite Ben Folds songs?
Ben Folds is a great musical talent. He (generally) is a good songwriter, his voice fits his music, he's snarky, and, best of all, he plays the piano like nobody's business (he also played all of the instruments on his first solo album, "Rockin' the Suburbs"). This list covers most of his career, from Ben Folds Five to his solo stuff (I have listened to The Bens as well, but I don't like any of the songs enough for them to break into the top ten. However, "Bruised" and "X-Fire" are both really good). I would recommend those who don't like swearing to listen to Folds with extreme caution, as he can break it out like a sailor if he is so inclined. I have included a swearing/no swearing rank by each song so you can listen to only the clean ones if you like.
10. Underground - Ben Folds Five, "Ben Folds Five." Swearing: none
As this list progresses, you'll see that I generally prefer Folds' solo stuff (although "Whatever and Ever Amen" is a fantastic album), but this song from the Five's debut is good tune. With a fuzzy bass fiddling around underneath a combination of piano pounding and softer melodies, this song mocks the underground music scene ("Hand me my nose ring!") while still proclaiming its love for the indie nerds. Folds' voice can be pretty nasal at times, but it's still a fun little tune.
9. The Ascent of Stan - Ben Folds, "Rockin' The Suburbs." Swearing: none
"Suburbs" is my favorite album of Folds', and this song is one of the reasons. I've been told that the piano part for this song about an ex-hippie that rises through the corporate ranks is not very complicated, but it sounds amazing.
8. Kylie From Connecticut - Ben Folds, "Way To Normal." Swearing: none
"Way To Normal" is my second-to-least favorite Folds album (the Five's "The Unauthorized Biography of Reinhold Messner" takes the bottom spot), but this song, with a simple yet beautiful arrangement and heart-wrenching story-song lyrics gets me every time.
7. Landed - Ben Folds, "Songs For Silverman." Swearing: none
Gah. The piano gets me every darn time. I assume this song is about a relationship. Whatever it's about, it's just great.
6. B---h Went Nutz - Ben Folds, "Way to Normal (fake)." Swearing: lots and lots
Before "Way to Normal" came out, Folds decided to play a prank on the fans who always leaked his album to the Internet before its release date. His prank was pulled in the form of a fake album leak that included two songs from the real album, an alternate arrangement of another of the "real songs" (which is included further down on the list) and six songs that he recorded off the top of his head - just to mess with his fans. Isn't that cool?
Anyway, the fake album ended up being more enjoyable than the real one, and this song (which should absolutely should not be confused with the bad and even more profane "B---h Went Nuts" on the real album) is a hilarious satire of the traditional bra-burning liberal chick vs. the young Republican lawyer. It also has a killer bassline and a rip-roaring piano track.
5. Fired - Ben Folds, "Rockin' The Suburbs." Swearing: one f-word and one d-word
This jazzy song about people getting fired or something or other is all about the killer piano (and the drums on the chorus). It's pretty hard not to tap your toes for this one.
4. Cologne (DVD Version) - Ben Folds, "Way to Normal (Fake)" Swearing: none
This is an oddly-written song about Folds' latest divorce. The arrangement on the real "Way To Normal" is relatively pedestrian, but this version spices things up with lots of strings, a choir and 10 pianos.
3. One Angry Dwarf and 200 Solemn Faces - Ben Folds, "Whatever and Ever Amen." Swearing: assorted a-words and s-words
This rock-and-rolling tune has one of the most infectious piano tunes that Folds has ever created. There are a lot of songs from "Whatever..." that could have made it on this list ("Song for the Dumped," "Steven's Last Night in Town," "Kate," "Fair," etc.), but "One Angry Dwarf..." is simply the best.
2. Bastard - Ben Folds, "Songs for Silverman" Swearing: a generous sprinkling
This song about the arrogance of the young begins with some simple piano chords, but by the end of the over-five-minute song, Folds has played all over the board. It also has some of his best lyrics, summed up in his chorus/central question: "Why ya gotta act like you know when you don't know/ It's ok if you don't know everything."
1. Fred Jones pt. 2 - Ben Folds, "Rockin' the Suburbs." Swearing: only if you count "bastard"
It's one of the more sparse and simple entries on this list, but come on guys, I'm a journalist: how can I not appreciate a sad song about an old newspaper man who's forced into retirement? The lyrics are nothing super eloquent, and the piano does its job well. However, the combination of the two is just brilliant.
---
Well, that's the list. Other notable songs include (but are no way limited to) "Jackson Cannery," "Steven's Last Night in Town," "Army," "Annie Waits," "Bruised," "Still Fighting It," "Smoke (orchestral version)" and "Gracie."
What are your favorite Ben Folds songs?
Friday, January 9, 2009
Ryan's best of 2008 (or Jacob mostly stole this from me)
Well, here it is. After a semester of being way too busy to write here (and too busy to write in my other blog very much), I present to you my best of 2008 list.
Top five albums/EPs:
5. Electric Arguments by The Fireman
The Fireman is a "band" comprised of Paul McCartney and the producer Youth. Ten years ago, the made the second of two trance/dance albums (I've listened to parts of the first one, and I thought it was pretty awful). However, this album actually features the (highly edited) voice of Paul, and it runs a wide gamut of genres, starting with blues, going into folk/pop styles and ending on a muted bit of psychedelia. Yes, it's uneven, but it's still good and a nice surprise from the end of 2008.
Standout tracks: Nothing Too Much Just Out of Sight; Universal Here, Everlasting Now; Don't Stop Running
4. The Bird and the Bee Sides by Relient k
While much of this EP/double album/whatever it is falls into the "forgettable" category, parts of it also showcase the unique talents of a band that is simultaneously over and underrated. The release indicates the continuing progression of the band from pop/punk towards straight powerpop, but it's still an enjoyable listen. The second half also includes a large helping of B-sides sure to delight fans of RK's older work.
Standout tracks: The Last, The Lost, The Least; The Scene and Herd; Curl Up and Die; The Stenographer
3. Narrow Stairs by Death Cab for Cutie
It's a bit uneven and it's not as good as Plans (but-it's-better-than-Transatlantism-suck-on-that-haters!), but Death Cab managed to make a profoundly different album. The theme on this album is one of indie rockers who finally hit the big time and realized that their nuanced melancholy still hasn't gone away. This is a band searching for meaning in life, places and relationships. While I hope they find meaning in what really counts (John 3:16), they have made a haunting album.
Standout tracks: Bixby Canyon Bridge, Cath, Twin Sized Bed, The Ice is Getting Thinner
2. Keep Color by The Republic Tigers
I didn't like this album that much when I first heard it. While the hooks were pleasant and mellow, the songs kind of flowed together. Repeat listens showed me that this was the point. The Republic Tigers crafted a very cohesive album that sets a relaxed but appreciative mood. Their rock sound is comfortable but in a way that makes you appreciate its artistry, and the production is great. Immerse yourself in this one.
Standout tracks: Buildings and Mountains, Feelin' The Future, The Nerve, The Fight Song
1. Anti-Meridian by Brave Saint Saturn
Five years is a long time to wait, but it was worth it for a new release by Reese Roper's good band. Anti-Meridian is a lot more sci-fi and a lot less "astro rock" than 2003's The Light of Things Hoped For, but it's still a winner. Heavy on the synth and raw guitars, Anti-Meridian is the angriest and most disillusioned that BS2 has ever gotten, with songs lashing out at betrayal, insufferable fans and blind nationalism within the Church. While it's slightly less cohesive than TLOTHF, its production is better and the songwriting is more mature. It ends on a note of love and brokenness, with the possibility that another trilogy could happen. Here's hoping.
Standout tracks: Here Is the News, Mercenary, Starling, When You Burn Too Fast, Fortress of Solitude, Blessed Are the Land Mines
Top five movies (While I can't, in good conscience, put The Spirit here, it is a movie that accomplishes exactly what it sets out to do, and it is simultaneously cornily and cleverly funny while doing so. The critics didn't get the joke, and you should see it):
5. Eagle Eye
While the movie is a bit derivative (think I, Robot meets The Fugitive), the movie does have an engaging if implausible story that makes you care about the characters. Also, this movie convinced me that Shia LeBeouf can, in fact, act.
4. Iron Man
The movie is very clever, and it is carried mostly on the strength of Robert Downey Jr (Gwyneth Paltrow also does a good job). It is kind of an empty word fest at times, but it's a pretty entertaining one.
3. Wall-E
This was good one. This is a beautifully animated movie, and it beautifully portrays how humans have become more isolated even though they live in a "communication" saturated world. It mixes genres, too. The first half is almost a silent film. Funny, different, meaningful. This movie has it all.
2. Indiana Jones and the Kingdom of the Crystal Skull
I'm going to get critically snobby right now: if you didn't like the implausibility and weirdness of this movie, then you have no reason to like the other ones. (SPOILER) The aliens are actually a better MacGuffin than the Sankara stones, and the fridge nuking is actually pretty entertaining. (END SPOILER) Shia does ok (minus the 30-second monkey scene, which is even worse than everyone says), Harrison Ford, as always, is freaking Harrison Ford, but the most important thing the movie gets is that it feels just like an old Indy flick.
1. The Dark Knight
What can I say? This movie lived up to the hype. Christopher Nolan did a masterful job, and the comic's themes are alive and well. This movie is engaging, thought-provoking, intense and extremely well-directed and shot. It's an instant classic, and if DC Comics doesn't get increased readership because of it, there is no justice in the world.
Top 10 songs (only one song per artist, and these are not in any particular order)
Kylie From Connecticut - Ben Folds: One of his most moving songs. (Runners up: the DVD version of Cologne and the fake version of B---h Went Nutz [don't listen to the real version, it's dumb and profane for profanity's sake])
Nothing Too Much Just Out of Sight - The Fireman: Paul McCartney succeeds where he failed on Helter Skelter and (miserably) Nod Your Head. Way to finally make a good, grungy, blues song. (Runners up: Don't Stop Running)
The End of the Road - Tyler Burkum: Burkum's laid back album produced several mellow numbers, but this guitar-picker is the best. Good lyrics and ethereal vocals. (Runners up: Everything You Said, Gales of November)
As From Above - Brilliant Geographers: This experimental indie folk band has got a great sound. Check them out at their myspace. (Runner up: Sucker for Your Love)
When You Burn Too Fast - Brave Saint Saturn: The dissonant horns on this song always get me, and Reese's vocals and lyrics are spot-on. (Runners up: Blessed Are the Land Mines, Starling, Here is the News)
Spiralling - Keane: Possibly the most energetic song of the year. The "Woo!" always gets me.
Safe To Land - Jars of Clay: If this song is a taste of this year's album, it can't come soon enough. GAAAHJARSOFCLAYSOGOOD. (Runner up: Closer)
Buildings and Mountains - The Republic Tigers: The harmonies are excellent, and the guitar is perfect. Really, this song has everything in its proper place. (Runners up: The Nerve, The Fight Song)
Twin Sized Bed - Death Cab for Cutie: This jangly number best accomplishes Death Cab's goal of juxtaposing depressing words on vaguely optimistic melodies. This really is a good song. (Runner up: Bixby Canyon Bridge)
The Stenographer - Relient k: I'm relatively certain that Matt Thiessen recorded this song entirely on his own, but there is no official confirmation of this yet. However, it's still a great song, complete with timing changes and Garage Band loopiness. (Runner up: Curl Up and Die)
Top five books I read for the first time this year (these books did not come out this year)
5. Dracula - Bram Stoker: The main draw of this novel is the point of view of the author. The story is told in first person through the letters and journal entries of several different characters. It's classic story remains a winner.
4. Watchmen - Alan Moore: First of all, this book is absolutely not for the faint of heart. It is very R-rated. However, it is also absolutely amazing. It is the best graphic novel that I have read, and I also count it (as well as the next three books on this list) among one of the best books I have read, period. A serious send-up of the superhero mythos and a frightening look at what makes humans tick.
3. Brave New World - Alduous Huxley: So good. This book asks the question, "is it better to be happy or smart?" better than any other book I have read. The words of the Savage are beautiful and thought-provoking.
2. That Hideous Strength - C.S. Lewis: This is probably tied with The Screwtape Letters for my favorite Lewis book. It successfully juxtaposes dystopian literature with that of both the fantasy and sci-fi genres, and the themes of idolatry are impeccable. In fact, read all of Lewis' space trilogy.
1. Fahrenheit 451 - Ray Bradbury: If you have ever looked for a book that is a love story about books, look no further. This book contains the most beautiful monologues that I have ever read, and the story is taut and sympathetic. Unquestionably my favorite of the year.
The 10 albums I listened to most in 2008
1. Trampoline - Steel Train (seriously, if you haven't listened to this, drop what you're doing and listen [after you've finished this list, anyway])
2. Stupid Dream - Porcupine Tree
3. Anti-Meridian - Brave Saint Saturn
4. Revolver - The Beatles
5. Give Up - The Postal Service
6. Deadwing - Porcupine Tree
7. Abbey Road - The Beatles
8. Polarity - The Wedding
9. Whatever and Ever Amen - Ben Folds Five
10. Rockin' the Suburbs - Ben Folds
I might steal from Jacob later and come up with a more general "best things" blog, but it's 3:30 a.m. This is what I've got.
Top five albums/EPs:
5. Electric Arguments by The Fireman
The Fireman is a "band" comprised of Paul McCartney and the producer Youth. Ten years ago, the made the second of two trance/dance albums (I've listened to parts of the first one, and I thought it was pretty awful). However, this album actually features the (highly edited) voice of Paul, and it runs a wide gamut of genres, starting with blues, going into folk/pop styles and ending on a muted bit of psychedelia. Yes, it's uneven, but it's still good and a nice surprise from the end of 2008.
Standout tracks: Nothing Too Much Just Out of Sight; Universal Here, Everlasting Now; Don't Stop Running
4. The Bird and the Bee Sides by Relient k
While much of this EP/double album/whatever it is falls into the "forgettable" category, parts of it also showcase the unique talents of a band that is simultaneously over and underrated. The release indicates the continuing progression of the band from pop/punk towards straight powerpop, but it's still an enjoyable listen. The second half also includes a large helping of B-sides sure to delight fans of RK's older work.
Standout tracks: The Last, The Lost, The Least; The Scene and Herd; Curl Up and Die; The Stenographer
3. Narrow Stairs by Death Cab for Cutie
It's a bit uneven and it's not as good as Plans (but-it's-better-than-Transatlantism-suck-on-that-haters!), but Death Cab managed to make a profoundly different album. The theme on this album is one of indie rockers who finally hit the big time and realized that their nuanced melancholy still hasn't gone away. This is a band searching for meaning in life, places and relationships. While I hope they find meaning in what really counts (John 3:16), they have made a haunting album.
Standout tracks: Bixby Canyon Bridge, Cath, Twin Sized Bed, The Ice is Getting Thinner
2. Keep Color by The Republic Tigers
I didn't like this album that much when I first heard it. While the hooks were pleasant and mellow, the songs kind of flowed together. Repeat listens showed me that this was the point. The Republic Tigers crafted a very cohesive album that sets a relaxed but appreciative mood. Their rock sound is comfortable but in a way that makes you appreciate its artistry, and the production is great. Immerse yourself in this one.
Standout tracks: Buildings and Mountains, Feelin' The Future, The Nerve, The Fight Song
1. Anti-Meridian by Brave Saint Saturn
Five years is a long time to wait, but it was worth it for a new release by Reese Roper's good band. Anti-Meridian is a lot more sci-fi and a lot less "astro rock" than 2003's The Light of Things Hoped For, but it's still a winner. Heavy on the synth and raw guitars, Anti-Meridian is the angriest and most disillusioned that BS2 has ever gotten, with songs lashing out at betrayal, insufferable fans and blind nationalism within the Church. While it's slightly less cohesive than TLOTHF, its production is better and the songwriting is more mature. It ends on a note of love and brokenness, with the possibility that another trilogy could happen. Here's hoping.
Standout tracks: Here Is the News, Mercenary, Starling, When You Burn Too Fast, Fortress of Solitude, Blessed Are the Land Mines
Top five movies (While I can't, in good conscience, put The Spirit here, it is a movie that accomplishes exactly what it sets out to do, and it is simultaneously cornily and cleverly funny while doing so. The critics didn't get the joke, and you should see it):
5. Eagle Eye
While the movie is a bit derivative (think I, Robot meets The Fugitive), the movie does have an engaging if implausible story that makes you care about the characters. Also, this movie convinced me that Shia LeBeouf can, in fact, act.
4. Iron Man
The movie is very clever, and it is carried mostly on the strength of Robert Downey Jr (Gwyneth Paltrow also does a good job). It is kind of an empty word fest at times, but it's a pretty entertaining one.
3. Wall-E
This was good one. This is a beautifully animated movie, and it beautifully portrays how humans have become more isolated even though they live in a "communication" saturated world. It mixes genres, too. The first half is almost a silent film. Funny, different, meaningful. This movie has it all.
2. Indiana Jones and the Kingdom of the Crystal Skull
I'm going to get critically snobby right now: if you didn't like the implausibility and weirdness of this movie, then you have no reason to like the other ones. (SPOILER) The aliens are actually a better MacGuffin than the Sankara stones, and the fridge nuking is actually pretty entertaining. (END SPOILER) Shia does ok (minus the 30-second monkey scene, which is even worse than everyone says), Harrison Ford, as always, is freaking Harrison Ford, but the most important thing the movie gets is that it feels just like an old Indy flick.
1. The Dark Knight
What can I say? This movie lived up to the hype. Christopher Nolan did a masterful job, and the comic's themes are alive and well. This movie is engaging, thought-provoking, intense and extremely well-directed and shot. It's an instant classic, and if DC Comics doesn't get increased readership because of it, there is no justice in the world.
Top 10 songs (only one song per artist, and these are not in any particular order)
Kylie From Connecticut - Ben Folds: One of his most moving songs. (Runners up: the DVD version of Cologne and the fake version of B---h Went Nutz [don't listen to the real version, it's dumb and profane for profanity's sake])
Nothing Too Much Just Out of Sight - The Fireman: Paul McCartney succeeds where he failed on Helter Skelter and (miserably) Nod Your Head. Way to finally make a good, grungy, blues song. (Runners up: Don't Stop Running)
The End of the Road - Tyler Burkum: Burkum's laid back album produced several mellow numbers, but this guitar-picker is the best. Good lyrics and ethereal vocals. (Runners up: Everything You Said, Gales of November)
As From Above - Brilliant Geographers: This experimental indie folk band has got a great sound. Check them out at their myspace. (Runner up: Sucker for Your Love)
When You Burn Too Fast - Brave Saint Saturn: The dissonant horns on this song always get me, and Reese's vocals and lyrics are spot-on. (Runners up: Blessed Are the Land Mines, Starling, Here is the News)
Spiralling - Keane: Possibly the most energetic song of the year. The "Woo!" always gets me.
Safe To Land - Jars of Clay: If this song is a taste of this year's album, it can't come soon enough. GAAAHJARSOFCLAYSOGOOD. (Runner up: Closer)
Buildings and Mountains - The Republic Tigers: The harmonies are excellent, and the guitar is perfect. Really, this song has everything in its proper place. (Runners up: The Nerve, The Fight Song)
Twin Sized Bed - Death Cab for Cutie: This jangly number best accomplishes Death Cab's goal of juxtaposing depressing words on vaguely optimistic melodies. This really is a good song. (Runner up: Bixby Canyon Bridge)
The Stenographer - Relient k: I'm relatively certain that Matt Thiessen recorded this song entirely on his own, but there is no official confirmation of this yet. However, it's still a great song, complete with timing changes and Garage Band loopiness. (Runner up: Curl Up and Die)
Top five books I read for the first time this year (these books did not come out this year)
5. Dracula - Bram Stoker: The main draw of this novel is the point of view of the author. The story is told in first person through the letters and journal entries of several different characters. It's classic story remains a winner.
4. Watchmen - Alan Moore: First of all, this book is absolutely not for the faint of heart. It is very R-rated. However, it is also absolutely amazing. It is the best graphic novel that I have read, and I also count it (as well as the next three books on this list) among one of the best books I have read, period. A serious send-up of the superhero mythos and a frightening look at what makes humans tick.
3. Brave New World - Alduous Huxley: So good. This book asks the question, "is it better to be happy or smart?" better than any other book I have read. The words of the Savage are beautiful and thought-provoking.
2. That Hideous Strength - C.S. Lewis: This is probably tied with The Screwtape Letters for my favorite Lewis book. It successfully juxtaposes dystopian literature with that of both the fantasy and sci-fi genres, and the themes of idolatry are impeccable. In fact, read all of Lewis' space trilogy.
1. Fahrenheit 451 - Ray Bradbury: If you have ever looked for a book that is a love story about books, look no further. This book contains the most beautiful monologues that I have ever read, and the story is taut and sympathetic. Unquestionably my favorite of the year.
The 10 albums I listened to most in 2008
1. Trampoline - Steel Train (seriously, if you haven't listened to this, drop what you're doing and listen [after you've finished this list, anyway])
2. Stupid Dream - Porcupine Tree
3. Anti-Meridian - Brave Saint Saturn
4. Revolver - The Beatles
5. Give Up - The Postal Service
6. Deadwing - Porcupine Tree
7. Abbey Road - The Beatles
8. Polarity - The Wedding
9. Whatever and Ever Amen - Ben Folds Five
10. Rockin' the Suburbs - Ben Folds
I might steal from Jacob later and come up with a more general "best things" blog, but it's 3:30 a.m. This is what I've got.
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