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.
Saturday, May 30, 2009
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.
Sunday, August 31, 2008
In Brief
I hope to see the Clone Wars later this week. A review should be forthcoming after that. Sorry about the non-writing; I have been working on the newspaper a heck of a lot.
I saw Hancock a few weeks ago. I don't feel like reviewing it, but a link that describes my thoughts (only funnier) almost to a "t" can be found here. BEWARE: Don't go there if you mind swearing, and if you don't want to find out what happens on season three of "Arrested Development," don't read what Jason Bateman says immediately after Will Smith asks him how he and Charlize Theron met.
Two other quick music notes. One is that I am getting more and more excited for the new Brave Saint Saturn album. The band has had two (very good) demos posted for a long time, but now, after several delays, IT'S ALMOST HERE.
Also, Ben Folds is releasing his latest album, "Way to Normal," at the end of September. Check out his Myspace to hear three new songs ("You Don't Know Me," "Hiroshima," Cologne") and two songs that he recorded to be silly and dumb on purpose just to mess with his fans ("Way to Normal" and the hilarious [but profanity laced] "B---- Went Nutz"). Again, BEWARE: Ben does swear on many of his songs. If you don't want to hear that, still go to the page and watch the video for Cologne. There is no profanity and the song is amazing.
Lastly, I am starting a new blog called Beauty/Conundrum. I don't know how often I'll be updating it, as I barely have time for this blog right now, but I wanted to start it because it portrays a more serious side of me, the side that talks about ideas and thoughts and feelings rather than movies, books and music. You can navigate to it on the sidebar of this blog. I won't be uploading it to Facebook (though it will be linked to under My Websites), so if you want to read it, you'll have to go to the actual blog. I posted something there today. I hope you like it.
I saw Hancock a few weeks ago. I don't feel like reviewing it, but a link that describes my thoughts (only funnier) almost to a "t" can be found here. BEWARE: Don't go there if you mind swearing, and if you don't want to find out what happens on season three of "Arrested Development," don't read what Jason Bateman says immediately after Will Smith asks him how he and Charlize Theron met.
Two other quick music notes. One is that I am getting more and more excited for the new Brave Saint Saturn album. The band has had two (very good) demos posted for a long time, but now, after several delays, IT'S ALMOST HERE.
Also, Ben Folds is releasing his latest album, "Way to Normal," at the end of September. Check out his Myspace to hear three new songs ("You Don't Know Me," "Hiroshima," Cologne") and two songs that he recorded to be silly and dumb on purpose just to mess with his fans ("Way to Normal" and the hilarious [but profanity laced] "B---- Went Nutz"). Again, BEWARE: Ben does swear on many of his songs. If you don't want to hear that, still go to the page and watch the video for Cologne. There is no profanity and the song is amazing.
Lastly, I am starting a new blog called Beauty/Conundrum. I don't know how often I'll be updating it, as I barely have time for this blog right now, but I wanted to start it because it portrays a more serious side of me, the side that talks about ideas and thoughts and feelings rather than movies, books and music. You can navigate to it on the sidebar of this blog. I won't be uploading it to Facebook (though it will be linked to under My Websites), so if you want to read it, you'll have to go to the actual blog. I posted something there today. I hope you like it.
Monday, August 4, 2008
Reflections on media choices
Finally, brothers, whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable—if anything is excellent or praiseworthy—think about such things. - Philippians 4:8
...and there must be no filthiness and silly talk, or coarse jesting, which are not fitting, but rather giving of thanks. - Ephesians 5:4
These two verses have stirred endless amounts of debate among Christians, and I hope I won't add another argument. I merely wish to give my own thoughts and ask for your own.
I have often struggled to apply these verses to my life. I do try to follow them--I really do--but I am often confused about what the reach and intent of the verses are. Intent: that is the important thing, or so it has been drilled into my skull since coming to Northwestern (also, my apologies for this horrendous sentence). In fact, this has altogether been an ill-conceived paragraph, so please move on to the next one.
With the first verse, I am faced with two questions:
Question 1: How am I to determine what is true, noble, right, pure, etc. in the context of media?
"The Dark Knight" is a perfect example here. In fact, it is the example that sparked my idea for this blog. The other day, I was chatting about entertainment with an older friend who I respect very much, particularly in regard to his spiritual insights. He was telling me that he had been reading my blog, and I asked him if he had checked out my TDK review because I feel that that is one of my better blogs, and I liked the movie a lot. He said he had, but he hadn't liked the film that much because it was too dark for him. I understood; I don't think the movie is for everyone, even though I do think it is extremely well put together.
However, the subject came up later in the day with someone else that we both know, and my friend reiterated his dislike, this time including the fact that he thought it was too dark from an objectively biblical standpoint, pointing to the Philippians verse as a guideline (sorry if I'm embarrassing you, my unnamed friend, but I'm writing this because I really do respect your spiritual insights). His statement got me thinking about the positive/negative aspects of the movie.
The only negative aspect I could think of (and it is certainly the one he was referring to) was the shown or (as was usually the case) implicit violence. While I do think that this is a legitimate concern--the movie is filled with it--I did not come to the same conclusions as my friend.
Most of the violence in the movie is perpetrated by the Joker. While the SPOILER SKIP THIS PART OF THE SENTENCE OK YOU'VE HAD YOUR WARNING pencil thing END OF SPOILER CONTINUE READING is pretty funny, it is funny on a level that the Joker has always had: one that makes him utterly terrible and terrifying. All of his violent, disturbing actions in the movie are designed to be unnerving, not to be glorifying. You grow to absolutely despise the Joker, to the point that you want him to be killed in order to stop the terror.
In short, the violence is the farthest thing from glorified. Its purpose is to paint a stark picture of evil and to show why such evil needs to vanquished, even if the cost is monumentally high.
That, I think, is the point that I would pick if I had to pick only one overarching theme for the entire movie: while it raises many hard questions, the movie ultimately champions those who do the right thing and fight against evil, even when it means extraordinary sacrifices must be made. That, to me, is a very noble and true thing to portray, and the movie makes its points while also being gripping, intelligent and entertaining. However, the challenge is still there: what makes a film or a song or a book noble, right, pure, lovely and admirable?
Question 2: Is it ok for us to to consume entertainment that does not fit this standard/that contains some material that does not fit this standard? If so, how much content is too much?
Example? "The Hitchhiker's Guide to the Galaxy," my absolute favorite novel by my absolute favorite novelist, avowed atheist Douglas Adams. I believe that all of his Hitchhiker books (with the unfortunate exception of "So Long, and Thanks for All the Fish") have some good things to say about the absurdity of existence and the pointlessness of many of our everyday activities, mirroring Ecclesiastes in many ways. However, he doesn't ever give the spiritual solution found in Ecclesiastes (although the physical one--work hard and enjoy the fruits of your labor--does show up in book five), and I would be lying if I didn't say that the main reason I enjoy the books is simply because they are gut-bustingly hilarious.
Besides the fact that there are, essentially, no spiritually uplifting elements in the book, there is also a mild amount of profanity, fair amounts of mildly-to-fairly crude humor (more on those two elements in section two of this blog), some instances of taking God's name in vain and some irreverent jokes. However, I love it. It is so funny.
Am I doing the wrong thing? Why or why not? Where is that line drawn? Obviously, we aren't only to think on such things. There's nothing wrong with listening to a knock-knock joke, and this link contains pretty good evidence of God using a pun--a pretty silly pun at that--in the book of Jeremiah.
What about objectionable content like the things I mentioned above? Almost every piece of media not explicitly "Christian"--and even some of that is--contains elements that some people might find wrong. Where's the line?
While I do think that there are things that are objectively objectionable and not good to consume, I think a good guideline is to wonder if the intake of such media is hampering you spiritually. However, sometimes one can turn a blind eye to such hampering. Prayer is a good idea when faced with something that you feel might not be a good idea.
Before some of you dismiss me for kids-stuff-Sunday-School pandering, allow me to be a bit boorish in saying that you probably need to hear this more than anyone. I know many Christians, and I unfortunately must sometimes include myself among them, who disregard these verses and will watch/read/listen to anything, all the while claiming that it doesn't affect them. Sometimes they don't even go that far; they merely like what they see, screw the consequences.
If you don't think that this verse applies to media consumption in some way, what do you think the verse is for?
I'm still trying to work this one out. I really don't think that we should only consume media that contains only positive/neutral elements. But I do think that this verse is important, and that it does apply, individually-conscience-wise and objectively, to certain pieces of media. What do you think?
The second verse also brings to mind two questions, and I think that my gut reactions may be contrary to a lot of yours.
Question 1: What is coarse jesting or profane speech?
I will say right away that taking God's name in vain is wrong. It's right there in the Bible, and if you do that, you are objectively sinning. However, what about some of the other things people say?
Take, for example, swearing. Swearing is almost completely subjective. If I say "piss," some of you would disapprove, some of you wouldn't even raise an eyebrow. If I said "crap" or "dang" around my grandma, she might think me rather uncouth. But most of you wouldn't care.
There are words that are even more borderline--words like "hell" or "bastard." However, people's opinions change even on the subject of more recognized profanities.
I would never say "the f-word" or "the s-word" or "the b-word" or usually even "the d-word" or "the a-word" around my parents. However, I have used all of them before, although I generally try to curb my usage substantially so as not to offend (and because excessive swearing makes you sound like an idiot who has never heard of synonyms).
Now, before you burn me at the stake, I should point out that most of you are probably fans of at least the first "Pirates of the Caribbean" movie. However, they spout off the word "bloody" in that movie quite often, which is deemed rather (or perhaps more) profane in many other countries. However, we laughingly indulge in this foreign profanity as we quote all of Johnny Depp's funny lines. There are other examples of this type of thing, when an odd word would constitute an egregious insult in another culture.
Remember when I said I didn't want to offend others by swearing? I think that the key lies there. While sometimes people just need to lighten up, I do believe that, since crudity can oftentimes be a culturally or even individually defined thing, we should watch what we say--and what we watch/read/hear--around others who might stumble or be offended at our speech. This can protect our witness with some, show how we are different to others and keep our good standing with many people. Again, while some people just need to learn that some things are ok, perhaps it is not always our job to teach them these things.
Question 2: Where is the line where the individually defined becomes objective? And, with that, are there some generally recognized crude topics that are ok to joke about?
The problem with my above statements is that some people will venture into the crude realm quite unabashedly, and some things are, I believe, objectively crass.
Take, for yet another example, bestiality. I believe that joking about bestiality is gross, coarse, crass and inappropriate, and I believe that no one should do it. But why do I think this? Because it's a sin? No, because people joke about theft and lying and even murder and premarital/homosexual sex all the time (although I do believe some of that to be objectionable as well, especially joking about homosexual sex. And yet we get a kick out of people pretending to be gay). Why is it objectionable then? To be honest, I'm not sure I know. But I do firmly believe that it's not something to be joked about. Again, maybe prayer is the best answer here as well.
The other part of that question is that I have definitely laughed at jokes that would be generally considered crass and even at jokes that I would consider to be crass. A prime example of this would be the TV show "Arrested Development." AD is the most cleverly-written TV show I have ever watched. It can also be very crude at times, and sometimes I laugh at this crudity. The most popular character on the show is GOB, a womanizing, sometimes foul-mouthed, immature dope. And with good reason: he's absolutely hilarious, even if many of his one-liners are crude.
Again, it's a cop-out to say that he's wrong because he jokes about sin, unless you shun jokes about greed, theft, murder, assault etc. (and what about heist movies? The Oceans flicks and others glorify theft, but man is the first one entertaining) But why is he wrong? Is it wrong that I laugh at things that are mildly crude? What is the answer?
I'm not sure I know. I'd love to hear your answers. For now, I'm going to keep trying to work out my faith with fear and trembling. Gotta get my Bible, gotta talk to God.
...and there must be no filthiness and silly talk, or coarse jesting, which are not fitting, but rather giving of thanks. - Ephesians 5:4
These two verses have stirred endless amounts of debate among Christians, and I hope I won't add another argument. I merely wish to give my own thoughts and ask for your own.
I have often struggled to apply these verses to my life. I do try to follow them--I really do--but I am often confused about what the reach and intent of the verses are. Intent: that is the important thing, or so it has been drilled into my skull since coming to Northwestern (also, my apologies for this horrendous sentence). In fact, this has altogether been an ill-conceived paragraph, so please move on to the next one.
With the first verse, I am faced with two questions:
Question 1: How am I to determine what is true, noble, right, pure, etc. in the context of media?
"The Dark Knight" is a perfect example here. In fact, it is the example that sparked my idea for this blog. The other day, I was chatting about entertainment with an older friend who I respect very much, particularly in regard to his spiritual insights. He was telling me that he had been reading my blog, and I asked him if he had checked out my TDK review because I feel that that is one of my better blogs, and I liked the movie a lot. He said he had, but he hadn't liked the film that much because it was too dark for him. I understood; I don't think the movie is for everyone, even though I do think it is extremely well put together.
However, the subject came up later in the day with someone else that we both know, and my friend reiterated his dislike, this time including the fact that he thought it was too dark from an objectively biblical standpoint, pointing to the Philippians verse as a guideline (sorry if I'm embarrassing you, my unnamed friend, but I'm writing this because I really do respect your spiritual insights). His statement got me thinking about the positive/negative aspects of the movie.
The only negative aspect I could think of (and it is certainly the one he was referring to) was the shown or (as was usually the case) implicit violence. While I do think that this is a legitimate concern--the movie is filled with it--I did not come to the same conclusions as my friend.
Most of the violence in the movie is perpetrated by the Joker. While the SPOILER SKIP THIS PART OF THE SENTENCE OK YOU'VE HAD YOUR WARNING pencil thing END OF SPOILER CONTINUE READING is pretty funny, it is funny on a level that the Joker has always had: one that makes him utterly terrible and terrifying. All of his violent, disturbing actions in the movie are designed to be unnerving, not to be glorifying. You grow to absolutely despise the Joker, to the point that you want him to be killed in order to stop the terror.
In short, the violence is the farthest thing from glorified. Its purpose is to paint a stark picture of evil and to show why such evil needs to vanquished, even if the cost is monumentally high.
That, I think, is the point that I would pick if I had to pick only one overarching theme for the entire movie: while it raises many hard questions, the movie ultimately champions those who do the right thing and fight against evil, even when it means extraordinary sacrifices must be made. That, to me, is a very noble and true thing to portray, and the movie makes its points while also being gripping, intelligent and entertaining. However, the challenge is still there: what makes a film or a song or a book noble, right, pure, lovely and admirable?
Question 2: Is it ok for us to to consume entertainment that does not fit this standard/that contains some material that does not fit this standard? If so, how much content is too much?
Example? "The Hitchhiker's Guide to the Galaxy," my absolute favorite novel by my absolute favorite novelist, avowed atheist Douglas Adams. I believe that all of his Hitchhiker books (with the unfortunate exception of "So Long, and Thanks for All the Fish") have some good things to say about the absurdity of existence and the pointlessness of many of our everyday activities, mirroring Ecclesiastes in many ways. However, he doesn't ever give the spiritual solution found in Ecclesiastes (although the physical one--work hard and enjoy the fruits of your labor--does show up in book five), and I would be lying if I didn't say that the main reason I enjoy the books is simply because they are gut-bustingly hilarious.
Besides the fact that there are, essentially, no spiritually uplifting elements in the book, there is also a mild amount of profanity, fair amounts of mildly-to-fairly crude humor (more on those two elements in section two of this blog), some instances of taking God's name in vain and some irreverent jokes. However, I love it. It is so funny.
Am I doing the wrong thing? Why or why not? Where is that line drawn? Obviously, we aren't only to think on such things. There's nothing wrong with listening to a knock-knock joke, and this link contains pretty good evidence of God using a pun--a pretty silly pun at that--in the book of Jeremiah.
What about objectionable content like the things I mentioned above? Almost every piece of media not explicitly "Christian"--and even some of that is--contains elements that some people might find wrong. Where's the line?
While I do think that there are things that are objectively objectionable and not good to consume, I think a good guideline is to wonder if the intake of such media is hampering you spiritually. However, sometimes one can turn a blind eye to such hampering. Prayer is a good idea when faced with something that you feel might not be a good idea.
Before some of you dismiss me for kids-stuff-Sunday-School pandering, allow me to be a bit boorish in saying that you probably need to hear this more than anyone. I know many Christians, and I unfortunately must sometimes include myself among them, who disregard these verses and will watch/read/listen to anything, all the while claiming that it doesn't affect them. Sometimes they don't even go that far; they merely like what they see, screw the consequences.
If you don't think that this verse applies to media consumption in some way, what do you think the verse is for?
I'm still trying to work this one out. I really don't think that we should only consume media that contains only positive/neutral elements. But I do think that this verse is important, and that it does apply, individually-conscience-wise and objectively, to certain pieces of media. What do you think?
The second verse also brings to mind two questions, and I think that my gut reactions may be contrary to a lot of yours.
Question 1: What is coarse jesting or profane speech?
I will say right away that taking God's name in vain is wrong. It's right there in the Bible, and if you do that, you are objectively sinning. However, what about some of the other things people say?
Take, for example, swearing. Swearing is almost completely subjective. If I say "piss," some of you would disapprove, some of you wouldn't even raise an eyebrow. If I said "crap" or "dang" around my grandma, she might think me rather uncouth. But most of you wouldn't care.
There are words that are even more borderline--words like "hell" or "bastard." However, people's opinions change even on the subject of more recognized profanities.
I would never say "the f-word" or "the s-word" or "the b-word" or usually even "the d-word" or "the a-word" around my parents. However, I have used all of them before, although I generally try to curb my usage substantially so as not to offend (and because excessive swearing makes you sound like an idiot who has never heard of synonyms).
Now, before you burn me at the stake, I should point out that most of you are probably fans of at least the first "Pirates of the Caribbean" movie. However, they spout off the word "bloody" in that movie quite often, which is deemed rather (or perhaps more) profane in many other countries. However, we laughingly indulge in this foreign profanity as we quote all of Johnny Depp's funny lines. There are other examples of this type of thing, when an odd word would constitute an egregious insult in another culture.
Remember when I said I didn't want to offend others by swearing? I think that the key lies there. While sometimes people just need to lighten up, I do believe that, since crudity can oftentimes be a culturally or even individually defined thing, we should watch what we say--and what we watch/read/hear--around others who might stumble or be offended at our speech. This can protect our witness with some, show how we are different to others and keep our good standing with many people. Again, while some people just need to learn that some things are ok, perhaps it is not always our job to teach them these things.
Question 2: Where is the line where the individually defined becomes objective? And, with that, are there some generally recognized crude topics that are ok to joke about?
The problem with my above statements is that some people will venture into the crude realm quite unabashedly, and some things are, I believe, objectively crass.
Take, for yet another example, bestiality. I believe that joking about bestiality is gross, coarse, crass and inappropriate, and I believe that no one should do it. But why do I think this? Because it's a sin? No, because people joke about theft and lying and even murder and premarital/homosexual sex all the time (although I do believe some of that to be objectionable as well, especially joking about homosexual sex. And yet we get a kick out of people pretending to be gay). Why is it objectionable then? To be honest, I'm not sure I know. But I do firmly believe that it's not something to be joked about. Again, maybe prayer is the best answer here as well.
The other part of that question is that I have definitely laughed at jokes that would be generally considered crass and even at jokes that I would consider to be crass. A prime example of this would be the TV show "Arrested Development." AD is the most cleverly-written TV show I have ever watched. It can also be very crude at times, and sometimes I laugh at this crudity. The most popular character on the show is GOB, a womanizing, sometimes foul-mouthed, immature dope. And with good reason: he's absolutely hilarious, even if many of his one-liners are crude.
Again, it's a cop-out to say that he's wrong because he jokes about sin, unless you shun jokes about greed, theft, murder, assault etc. (and what about heist movies? The Oceans flicks and others glorify theft, but man is the first one entertaining) But why is he wrong? Is it wrong that I laugh at things that are mildly crude? What is the answer?
I'm not sure I know. I'd love to hear your answers. For now, I'm going to keep trying to work out my faith with fear and trembling. Gotta get my Bible, gotta talk to God.
Monday, July 28, 2008
10 Christian music albums to check out
By the way, if you are reading these blogs on Facebook, you should really go to the original post at ryanreviewslife.blogspot.com. The format is better, you can read the blogs the way they were written (with italics, bolds, etc.), and you can check out other cool things.
I knew the last post was going to come off as harsh, and it was meant to in some ways. However, I don't mean to bash all Christian music, and I dislike the attitude that all Christian music is bad almost as much as the circle-the-wagons mentality that only Christian music is good. In fact, a couple of the bands/artists that I mentioned in the last post (namely Switchfoot, Jeremy Camp and Sanctus Real) have done some good work, albeit tempered with self-copying and self-importance (Switchfoot), some repetitiveness (Camp) and many songs with preachiness, repetitiveness or simplicity (Sanctus Real).
So, in the spirit of fairness and of not wanting you to miss out on some good tunes, I have compiled a list of 10 good albums by bands generally thought of as Christian. I have picked albums from 10 different bands, and I have included short lists of their other stuff that's worth checking out. This list is roughly based on my quite subjective view of which album is best, with the best album being number one.
10. Polarity - The Wedding
Genre: Rock, with twinges of southern rock
I wasn't sold on this album when it first came out, mostly because I was not (and still am not) a fan of The Wedding's first release. However, this one far exceeded my expectations. The reason why is a huge uptake in energy.
The guitars are out in full force, along with some brass to make the album stand out from other rock acts. However, the biggest improvement over the first album is the vocalist, Kevin Kiehn. If you didn't listen closely to both albums, it would be easy to think that the band had switched vocalists, as Kiehn's voice goes from light and unfulfilled on the first release to full and bursting with emotion and distinction on their second.
Add that to the fact that many songs on the album have pretty deep lyrics for the genre they're playing in, and you have a solid sophomore release from The Wedding.
Other stuff to check out: You remember how I said that it sounded like they switched vocalists from the first album to the second? Well, after the second album, they actually did switch vocalist, and the new one isn't nearly as good, so Polarity stands alone as the only album by the band that I can recommend.
9. Word of Mouth - John Reuben
Genre: Rap/Hiphop
While I normally dislike the above genres, I can get into Reuben because, unlike much hiphop that I hear, he isn't repetitive and he tries to be unique in his musical arrangements. While he can a little repetitive at times, his lyrics are clever and provide some good and needed jabs at popular culture. Also, his song "Make Money Money" is the only rap song I've ever heard that employs a banjo.
Other stuff to check out: "The Boy vs. the Cynic" may actually be better than "Word of Mouth." No sweet banjo song though.
8. Brother, Sister - mewithoutyou
Genre: progressive/indie rock
I'm still trying to figure this band out. They are definitely very talented (although sometimes a bit too dissonant for my tastes), but I still am not sure how much I like them. The reason for that is that their vocalist, Aaron Weiss, rather than singing his poetic lyrics, sort of shout/speak/sings everything. While this would normally annoy me to no end, he isn't trying to sound good in these songs. When an artist thinks he's a good singer but isn't, the musical effect is usually pretty awful. Weiss' stylings are created to complement the music, which includes raging guitars, interesting drum parts and some oddball instruments like the accordion, but it still takes some getting used to.
This album is worth checking out for its poetic lyrics, particularly on "C Minor" and "In a Sweater Poorly Knit." Keep listening if you can get used to Weiss.
Other stuff to check out: I'm not too familiar with the band, but I've heard that "Catch for Us the Foxes" is a good release too.
7. Love Liberty Disco - The Newsboys
Genre: Usually pop or pop/rock, but this album, obviously, is disco
While The Newsboys have certainly declined from their pre-worship album days, many people have forgotten that they did release some solid pop tunes before the turn of the century (and, with this album, just after). This is probably the most underappreciated Newsboys album, but it is actually very well layered and a great tribute to what happens to be a similarly underappreciated genre.
It's fairly short, but in a way that's good, as the album doesn't overstay its welcome. The strings and the electric guitars mesh well, and the more atmospheric songs are good too.
Other stuff to check out: "Going Public," "Step Up to the Microphone"
6. Lift - Audio Adrenaline
Genre: Rock
Lift represents the best of Audio Adrenaline for two reasons. The first reason is that, on this album, they finally transcended what was already a very catchy straight up rock sound and turned it into something more introspective. This album more than any of their others sounds like a complete album, rollicking when it should and slowing when it should while still sounding cohesive.
The second reason is that this is the first album in which their second vocalist, Tyler Burkum, assumed significant singing duties, and it is the last album in which their first vocalist, Mark Stuart, was not dominated by Burkum in any of the songs. Their smooth/rough, evenly distributed vocal stylings makes for a balanced yet interesting listen.
Other stuff to listen to: While I am a sucker for at least something on nearly all of the band's releases, "Underdog" is the pinnacle of Audio A's rock and roll sound, and "Bloom" is a catchy, more raw version of the same style (although some of the lyrics leave something to be desired).
5. A Collision - David Crowder Band
Genre: Worship, experimental/alternative
Every time I listen to this album, I hear something new. Crowder has laced his songs with old-style recordings, bluegrass, echo laden piano parts, electronic elements and much more. In what might be an even more significant achievement, he has made many of his songs' music add to the meaning of his lyrics. You can feel the climax that he speaks of on tracks like "A Beautiful Collision," and "We Win!," and the eternal exultation of God is felt more thoroughly after hearing "Foreverandever Etc.," which ends on a repeating constant note, intimating that worship will transcend time.
What I love about this album is Crowder's ability to simultaneously make a great experimental album while making a great worship album. The man cares about the quality of his music, and it manifests itself in the quality of his lyrics.
Other stuff to check out: "Remedy" offers more great music, although the lyrics aren't as insightful as this release.
4. The Light of Things Hoped For - Brave Saint Saturn
Genre: Astro rock
While I am not a fan of Five Iron Frenzy or the short-lived Roper, Reese Roper's Brave Saint Saturn project is definitely one to check out. While their debut album "So Far From Home," is plagued by hasty production, The Light of Things Hoped For sounds much more full. The band's songwriting improved as well, and the result is a rock album supplemented by synthesizers, ethereal pianos and clips from NASA to build an poignant sense of loneliness. Many of the songs don't sound amazing by themselves, but the music in its proper place forms an album that tells a story, building to climax of the final song, "Daylight." This is one theme album you should definitely check out.
Other stuff to check out: So Far From Home is decent, but there is some poor songwriting on a few tracks, and the production is subpar. The two tracks I've heard from the upcoming album "Anti-Meridian" give me hope, however, that the band's final album will be its best.
3. Supernatural - dc Talk
Genre: Rock/hiphop, although by this time they had gone almost completely over to a rock style.
While "Jesus Freak" marked the transition from dc Talk being a corny, 80s rap tribute band into a talented Christian rock powerhouse, Supernatural takes over where Freak left off and develops the harmonies, riffs and complexity to a much more mature sound. While Supernatural does contain the rockin' guitars found on Freak (see "It's Killing Me" for one of the best examples), it branches out into wider fields to include more unique elements, like the organ on "Since I Met You," the Stevie Wonder-esque vocals on "We All Want to Be Loved" and the sound of a submarine sonar keeping time on "Dive."
It's too bad that dc Talk's career had to end on this note. While it's a worthy end, one has to wonder where they would have gone from this point, as this was only their second album since the realization of their new style.
Other stuff to check out: Well, there's Jesus Freak, but "Welcome to the Freak Show" infuses even more energy into those songs, while taking some of their older songs and actually making them sound good.
2. Mmhmm - Relient k
Genre: It went from garage punk to punk/pop to pop/rock. At this point, it was punk/pop at its most capable.
In retrospect, this seems to be a landmark album for the band. It was the last album with RK's "classic lineup" of Thiessen, Hoopes, Pittman and Douglas, it was the first album that garnered them mainstream attention, it has been (so far) the last album that saw a significant amount of punk influence, and it was the album that seemed to shake off the people who only liked the band for their funny songs. With the exceptions of "High of 75," "The Only Thing Worse Than Beating a Dead Horse is Betting on One" and "My Girl's Ex-Boyfriend," this album is laugh-free, and even those three songs don't get a lot of guffaws.
What this album does get is a dose and a half of what is hands-down vocalist Matt Thiessen's best lyrics to date. He's never been this consistently clever, poetic and insightful before or since. The guitars and drums work together to create a mostly break-neck pace for the album, but it never sounds rushed. Piano fills and backgrounds supplement the louder portions to make the album stand out and sound better and more meaningful.
As I said, Thiessen's best lyrics are contained here, whether it's a cry for God's help ("Be My Escape"), criticisms of society's jumping to the next big thing ("This Week the Trend," "Maintain Consciousness") or, most frequently, a reflection on the overwhelming grace of the Savior ("I So Hate Consequences," "Life After Death and Taxes," "When I Go Down"). This is the album for those that thought that punk couldn't get out a message besides "we hate the establishment."
Other stuff to check out: While all of their albums have some fun/quality songs, "Two Lefts Don't Make a Right (But Three Do)" is their second-best album, followed by the uneven-yet-musically-diverse "Five Score and Seven Years Ago." Their 26-song EP "The Bird and the Bee Sides" is also very solid.
1. If I Left the Zoo - Jars of Clay
Genre: Various albums have been classified as folk, powerpop, alternative, rock, Gospel/bluegrass/roots and contemporary. Here they could best be described as experimental/folk/alternative.
This is nearly unquestionably the most underrated album of an underrated band. While Jars has always remained relatively popular, they have nowhere near the same amount of fame (even in the Christian community) as they did when they release their first album. However, while that album has some good tracks and while "Flood" proved it could eat up the charts, the band's first release has been musically overshadowed by almost every album the band has put out since (which isn't to say that it's not good. Jars just keeps getting better).
The band's pinnacle album (for me, anyway) is If I Left the Zoo, Jars' highly successful attempt at playing music that is thoroughly different while still being characteristic of the band.
From the goofy accordion opening to the introspective, guitar-picking close, the album skirts all over the place while still remaining cohesive. There's the catchy, hook-laden "Unforgetful You," the high energy commentary on love rocker "Collide," the gospel-choir-backed "I'm Alright" and so much more. One of the best tracks might be the allegorical "Sad Clown," which talks about how only God can crack through the happy facade that we put up. A meandering toy piano on the bridge makes this song a highlight.
This album takes the band's obvious love for all sorts of music and meshes with some of their most thought-provoking lyrical imagery. Go listen to it. Please.
Other stuff to check out: While they have great tracks on all of their albums, "Much Afraid," "Who We Are Instead" and "Good Monsters" round out their best work. I'm looking forward to their 2009 release, which already sounds like yet another new direction for this talented band.
There's my list. It's not comprehensive and very subjective, but so are all reviews. Enjoy.
I knew the last post was going to come off as harsh, and it was meant to in some ways. However, I don't mean to bash all Christian music, and I dislike the attitude that all Christian music is bad almost as much as the circle-the-wagons mentality that only Christian music is good. In fact, a couple of the bands/artists that I mentioned in the last post (namely Switchfoot, Jeremy Camp and Sanctus Real) have done some good work, albeit tempered with self-copying and self-importance (Switchfoot), some repetitiveness (Camp) and many songs with preachiness, repetitiveness or simplicity (Sanctus Real).
So, in the spirit of fairness and of not wanting you to miss out on some good tunes, I have compiled a list of 10 good albums by bands generally thought of as Christian. I have picked albums from 10 different bands, and I have included short lists of their other stuff that's worth checking out. This list is roughly based on my quite subjective view of which album is best, with the best album being number one.
10. Polarity - The Wedding
Genre: Rock, with twinges of southern rock
I wasn't sold on this album when it first came out, mostly because I was not (and still am not) a fan of The Wedding's first release. However, this one far exceeded my expectations. The reason why is a huge uptake in energy.
The guitars are out in full force, along with some brass to make the album stand out from other rock acts. However, the biggest improvement over the first album is the vocalist, Kevin Kiehn. If you didn't listen closely to both albums, it would be easy to think that the band had switched vocalists, as Kiehn's voice goes from light and unfulfilled on the first release to full and bursting with emotion and distinction on their second.
Add that to the fact that many songs on the album have pretty deep lyrics for the genre they're playing in, and you have a solid sophomore release from The Wedding.
Other stuff to check out: You remember how I said that it sounded like they switched vocalists from the first album to the second? Well, after the second album, they actually did switch vocalist, and the new one isn't nearly as good, so Polarity stands alone as the only album by the band that I can recommend.
9. Word of Mouth - John Reuben
Genre: Rap/Hiphop
While I normally dislike the above genres, I can get into Reuben because, unlike much hiphop that I hear, he isn't repetitive and he tries to be unique in his musical arrangements. While he can a little repetitive at times, his lyrics are clever and provide some good and needed jabs at popular culture. Also, his song "Make Money Money" is the only rap song I've ever heard that employs a banjo.
Other stuff to check out: "The Boy vs. the Cynic" may actually be better than "Word of Mouth." No sweet banjo song though.
8. Brother, Sister - mewithoutyou
Genre: progressive/indie rock
I'm still trying to figure this band out. They are definitely very talented (although sometimes a bit too dissonant for my tastes), but I still am not sure how much I like them. The reason for that is that their vocalist, Aaron Weiss, rather than singing his poetic lyrics, sort of shout/speak/sings everything. While this would normally annoy me to no end, he isn't trying to sound good in these songs. When an artist thinks he's a good singer but isn't, the musical effect is usually pretty awful. Weiss' stylings are created to complement the music, which includes raging guitars, interesting drum parts and some oddball instruments like the accordion, but it still takes some getting used to.
This album is worth checking out for its poetic lyrics, particularly on "C Minor" and "In a Sweater Poorly Knit." Keep listening if you can get used to Weiss.
Other stuff to check out: I'm not too familiar with the band, but I've heard that "Catch for Us the Foxes" is a good release too.
7. Love Liberty Disco - The Newsboys
Genre: Usually pop or pop/rock, but this album, obviously, is disco
While The Newsboys have certainly declined from their pre-worship album days, many people have forgotten that they did release some solid pop tunes before the turn of the century (and, with this album, just after). This is probably the most underappreciated Newsboys album, but it is actually very well layered and a great tribute to what happens to be a similarly underappreciated genre.
It's fairly short, but in a way that's good, as the album doesn't overstay its welcome. The strings and the electric guitars mesh well, and the more atmospheric songs are good too.
Other stuff to check out: "Going Public," "Step Up to the Microphone"
6. Lift - Audio Adrenaline
Genre: Rock
Lift represents the best of Audio Adrenaline for two reasons. The first reason is that, on this album, they finally transcended what was already a very catchy straight up rock sound and turned it into something more introspective. This album more than any of their others sounds like a complete album, rollicking when it should and slowing when it should while still sounding cohesive.
The second reason is that this is the first album in which their second vocalist, Tyler Burkum, assumed significant singing duties, and it is the last album in which their first vocalist, Mark Stuart, was not dominated by Burkum in any of the songs. Their smooth/rough, evenly distributed vocal stylings makes for a balanced yet interesting listen.
Other stuff to listen to: While I am a sucker for at least something on nearly all of the band's releases, "Underdog" is the pinnacle of Audio A's rock and roll sound, and "Bloom" is a catchy, more raw version of the same style (although some of the lyrics leave something to be desired).
5. A Collision - David Crowder Band
Genre: Worship, experimental/alternative
Every time I listen to this album, I hear something new. Crowder has laced his songs with old-style recordings, bluegrass, echo laden piano parts, electronic elements and much more. In what might be an even more significant achievement, he has made many of his songs' music add to the meaning of his lyrics. You can feel the climax that he speaks of on tracks like "A Beautiful Collision," and "We Win!," and the eternal exultation of God is felt more thoroughly after hearing "Foreverandever Etc.," which ends on a repeating constant note, intimating that worship will transcend time.
What I love about this album is Crowder's ability to simultaneously make a great experimental album while making a great worship album. The man cares about the quality of his music, and it manifests itself in the quality of his lyrics.
Other stuff to check out: "Remedy" offers more great music, although the lyrics aren't as insightful as this release.
4. The Light of Things Hoped For - Brave Saint Saturn
Genre: Astro rock
While I am not a fan of Five Iron Frenzy or the short-lived Roper, Reese Roper's Brave Saint Saturn project is definitely one to check out. While their debut album "So Far From Home," is plagued by hasty production, The Light of Things Hoped For sounds much more full. The band's songwriting improved as well, and the result is a rock album supplemented by synthesizers, ethereal pianos and clips from NASA to build an poignant sense of loneliness. Many of the songs don't sound amazing by themselves, but the music in its proper place forms an album that tells a story, building to climax of the final song, "Daylight." This is one theme album you should definitely check out.
Other stuff to check out: So Far From Home is decent, but there is some poor songwriting on a few tracks, and the production is subpar. The two tracks I've heard from the upcoming album "Anti-Meridian" give me hope, however, that the band's final album will be its best.
3. Supernatural - dc Talk
Genre: Rock/hiphop, although by this time they had gone almost completely over to a rock style.
While "Jesus Freak" marked the transition from dc Talk being a corny, 80s rap tribute band into a talented Christian rock powerhouse, Supernatural takes over where Freak left off and develops the harmonies, riffs and complexity to a much more mature sound. While Supernatural does contain the rockin' guitars found on Freak (see "It's Killing Me" for one of the best examples), it branches out into wider fields to include more unique elements, like the organ on "Since I Met You," the Stevie Wonder-esque vocals on "We All Want to Be Loved" and the sound of a submarine sonar keeping time on "Dive."
It's too bad that dc Talk's career had to end on this note. While it's a worthy end, one has to wonder where they would have gone from this point, as this was only their second album since the realization of their new style.
Other stuff to check out: Well, there's Jesus Freak, but "Welcome to the Freak Show" infuses even more energy into those songs, while taking some of their older songs and actually making them sound good.
2. Mmhmm - Relient k
Genre: It went from garage punk to punk/pop to pop/rock. At this point, it was punk/pop at its most capable.
In retrospect, this seems to be a landmark album for the band. It was the last album with RK's "classic lineup" of Thiessen, Hoopes, Pittman and Douglas, it was the first album that garnered them mainstream attention, it has been (so far) the last album that saw a significant amount of punk influence, and it was the album that seemed to shake off the people who only liked the band for their funny songs. With the exceptions of "High of 75," "The Only Thing Worse Than Beating a Dead Horse is Betting on One" and "My Girl's Ex-Boyfriend," this album is laugh-free, and even those three songs don't get a lot of guffaws.
What this album does get is a dose and a half of what is hands-down vocalist Matt Thiessen's best lyrics to date. He's never been this consistently clever, poetic and insightful before or since. The guitars and drums work together to create a mostly break-neck pace for the album, but it never sounds rushed. Piano fills and backgrounds supplement the louder portions to make the album stand out and sound better and more meaningful.
As I said, Thiessen's best lyrics are contained here, whether it's a cry for God's help ("Be My Escape"), criticisms of society's jumping to the next big thing ("This Week the Trend," "Maintain Consciousness") or, most frequently, a reflection on the overwhelming grace of the Savior ("I So Hate Consequences," "Life After Death and Taxes," "When I Go Down"). This is the album for those that thought that punk couldn't get out a message besides "we hate the establishment."
Other stuff to check out: While all of their albums have some fun/quality songs, "Two Lefts Don't Make a Right (But Three Do)" is their second-best album, followed by the uneven-yet-musically-diverse "Five Score and Seven Years Ago." Their 26-song EP "The Bird and the Bee Sides" is also very solid.
1. If I Left the Zoo - Jars of Clay
Genre: Various albums have been classified as folk, powerpop, alternative, rock, Gospel/bluegrass/roots and contemporary. Here they could best be described as experimental/folk/alternative.
This is nearly unquestionably the most underrated album of an underrated band. While Jars has always remained relatively popular, they have nowhere near the same amount of fame (even in the Christian community) as they did when they release their first album. However, while that album has some good tracks and while "Flood" proved it could eat up the charts, the band's first release has been musically overshadowed by almost every album the band has put out since (which isn't to say that it's not good. Jars just keeps getting better).
The band's pinnacle album (for me, anyway) is If I Left the Zoo, Jars' highly successful attempt at playing music that is thoroughly different while still being characteristic of the band.
From the goofy accordion opening to the introspective, guitar-picking close, the album skirts all over the place while still remaining cohesive. There's the catchy, hook-laden "Unforgetful You," the high energy commentary on love rocker "Collide," the gospel-choir-backed "I'm Alright" and so much more. One of the best tracks might be the allegorical "Sad Clown," which talks about how only God can crack through the happy facade that we put up. A meandering toy piano on the bridge makes this song a highlight.
This album takes the band's obvious love for all sorts of music and meshes with some of their most thought-provoking lyrical imagery. Go listen to it. Please.
Other stuff to check out: While they have great tracks on all of their albums, "Much Afraid," "Who We Are Instead" and "Good Monsters" round out their best work. I'm looking forward to their 2009 release, which already sounds like yet another new direction for this talented band.
There's my list. It's not comprehensive and very subjective, but so are all reviews. Enjoy.
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