BLUE RUIN - Review

Written and Directed By: Jeremy Saulnier

Rated R for strong bloody violence, and language

Release Date: April 25^th, 2014 (Limited & VOD)

Review By: Sean Kayden

           

Official 2013 Cannes Film Festival entry “Blue Ruin” is a taut, grim and satisfying revenge thriller that doesn’t rely on any cinematic tropes seen in countless other tales. While the story of an every man turned vigilante isn’t anything new, “Blue Ruin” positions itself as anything but ordinary. The first twenty minutes is tense and almost entirely wordless. We follow a heavily bearded man known as Dwight, who sleeps in a broken blue Pontiac and eats out of dumpsters. It seems he’s been aimlessly wandering around for quite some time. It’s not until a sympathetic officer knocks on the window to take up Dwight and takes him to jail where we find out what his story is. While he isn’t in any trouble, she told him about this man (Wade Cleland, Jr.) who would be let out of prison in a few days. We come to learn this man was responsible for a double murder in 1993. As the tale unravels, small things are revealed such as the mysterious Dwight who returns to his childhood home in Virginia to carry out an act of vengeance to the man who murdered his parents. Writer, director, and cinematographer Jeremy Saulnier isn’t afraid of silence here. Some of the most intense scenes have no words but actions. “Blue Ruin” is all about the characters, mostly carried by the compelling Dwight (played by Macon Blair) and the skillful way the film was constructed.  

The peaceful demeanor of Dwight soon erupts once he follows Wade Cleland to a restaurant with his family to celebrate his release from prison. In a bathroom stall, Dwight busts out and stabs Wade. He doesn’t go down and goes for Dwight’s throat. As panic floods Dwight’s face, he is able to stab Wade right in the temple that quickly turns into a bloody and gruesome scene. Dwight sneaks out toward the back of the restaurant only to realize his neck chain, which has his car key attached to it is not on his neck. With time not on his side, he runs over to the limo that picked up Wade to discover those keys lying there. He explosively drives away as the family of Wade starts shooting at the limo. After clearing the scene, Dwight discovers someone else in the limo. He pulls off to the side of the highway where this young boy tells him that you killed the wrong guy. Dwight, fearful that Wade’s family will be hunting him down (after all he left his car at the restaurant which is registered to him) returns to his estranged sister’s house to inform her what he has done. Dwight knows what to expect now, but it doesn’t make anything easier. Blue Ruin isn’t about a man who miraculously becomes an unstoppable killing machine like most Hollywood revenge thrillers. It features a reluctant man trying to save his family from very bad people. “Blue Ruin” is this small, Kickstarter funded film that accomplishes what some of the biggest Hollywood thrillers with big time stars could only wish to achieve.

The indie picture is a classic tale of an eye for an eye. It uses violence and most of all guns as a way of handling a problem. It’s extremely violent at times, but there’s no way around that. This low budget film is engrossing and rarely displays a dull moment. It’s not as entirely slow paced as I’d imagined going into it. Saulnier’s cinematography screams with beauty and vitality. His award winning film is nerve-racking, gnawing, and meticulously crafted. It’s one of the strongest American films of the year and even if this riveting film never garners the attention it much deserves, it certainly won’t be the last time we hear from Saulnier.

Grade: 4 out of 5

FUTURE ISLANDS - "SINGLES"

Artist: Future Islands

Album: Singles

Label: 4AD

Release Date: March 25^th, 2014

Review By: Sean Kayden

Synth-pop romantics, Future Islands, return on a new label (4AD) for their fourth record, “Singles.” While previous albums had a more solemn outlook, such as savagely underrated 2011 LP “On The Water,” this new one has the three-piece Baltimore band pushing forward with much defiance. Perhaps switching labels brought new enthusiasm to this unconventional band, but at any rate, this new aspect layered onto of their signature sound is absolutely invigorating. Other albums encompassed a theme about looking back and reflecting on those times in life. On “Singles” singer/songwriter Samuel Herring affectedly sings about the future that lies ahead. Such with earlier albums, questions are raised, but answers are seldom found, for both past and future situations.

“Singles” is synth heavy yet never overwhelming. The base lines fit harmoniously well. Herring’s vocals are hoarse and deep, but sometimes smooth as if he’s whispering them to you. Sometimes he can shout, sometimes he can hold it in. Both ways are undeniably effective. The coalesce of Herring’s dark vocals and band mates, Gerrit Welmers and William Cashion’s tightly structured, extremely layered music thrive. Future Islands’ music can be danceable, but the vocals and lyrics tend to come off very serious in nature. When the band is at their finest, rarely anything can compare. Songs such as “Seasons (Waiting On You),”A Song For Our Grandfathers” and “A Dream Of You and Me” easily rank up as the best songs of 2014 (without a doubt they will be difficult to match by any band as we proceed into the year). All aforementioned tracks are vastly different one another. Nonetheless, each tune is utterly moving in such an exceptional manner. The record clocks in at about forty-two and a half minutes and like any voyage, there are sights and sounds you’ll remember more so than others.

Future Islands is a group that continues to deliver upon one superlative record after another with little recognition to boot. Their recent weirdly epic performance on The Late Show with David Letterman may boost their cult status popularity. However, that shouldn’t be the reason alone. Future Islands perform songs with a heavy heart. They write about the inner workings of your soul, love that was or never was, and the uncertainty we must come to understand in our lives. They may be asking more questions than they are delivering answers. With this fourth album and conceivably their finest lyrically, it appears the band is finally content without consciously being aware of holding all the answers. Perhaps if they did, we wouldn’t be bestowed with the wondrous opportunity of hearing new material from a band worthy of one’s complete attention.

Grade: 8.3 out of 10

Key Tracks: Seasons (Waiting On You),” “Back in the Tall Grass,” A Song For Our Grandfathers,” “A Dream Of Your and Me”

SPRING PLAYLIST

Review By: Sean Kayden

Pure X – “Starlight” - The first single, “Starlight” off Pure X’s forthcoming third album, “Angel” is a hazy, tender, incredibly intimate jam. It was only a year ago, they released “Crawling Up The Stairs.” For their latest endeavor, Pure X recorded the new album live-to-tape in a century-old dancehall in rural Texas. It’s an achingly beautiful song with unparallel harmonies and a guitar line reminiscent of 70s rock. With falsetto vocals, romantic lyrics, and a refreshingly old school approach to song crafting, “Starlight” will put you in a daydream you’ll not want to snap out of. “Angel” is out on April 1^st via Fat Possum Records.

Small Black – “Downtown Lights” - One of my favorite albums of 2013 was “Limits of Desire” from Small Black. The chillwave, synth-pop band is back with a brand new EP entitled “Real People.” In the same vein of their previous effort, the band has crafted five new dreamy, electronic induced songs worth your attention. “Downtown Lights” is an ultra sleek, danceable, lowtempo jam that captures the craziness of a fun filled night. It’s exceptionally enchanting with soft vocals, passionate lyrics and cool vibes. It cuts a little deeper than previous songs have in the past, but the growth this band has shown of the course of their last two records is positively admirable. “Real People EP” hits shelves April 1^st on Jagjaguwar.

Tokyo Police Club – “Feel The Effect” - It’s been four years since Tokyo Police Club’s sophomore LP, “Champ.” On March 25^th, the band is set to release “Forcefield.” Closing track, “Feel The Effect,” is indie pop at it’s finest. It’s a slower one from this band, but the power-pop tendencies come into effect in the final stages of the tune. It’s unbelievably catchy, super smooth and so irresistible that you’ll most definitely have this one on repeat. While not as lyrically powerful as the first two songs on this list, the simplicity is welcoming, if a bit underwhelming. I’ve already had the pleasure to preview “Forcefield” and this one is a great addition to kick off the spring season. “Forcefield” is your winning ticket out of those gloom and doom sort of afternoons.

The Mary Onettes – “Naïve Dream” - It was only a year ago when dream-pop Swedish band The Mary Onettes released “Hit The Waves.” The band is back with what they describe as a mini-album entitled “Portico.” The seven-track album is filled with dreamy, 80s soaked tunes. One of the singles, “Naïve Dream” is a song for any fans of The Cure. This shoegazey tune is nostalgic too the max. Blissful melodies, spaced out arrangements and yearning for love type of lyrics is ideal combination for this indie-pop gem. If you dig the 80s, “Naïve Dream” is one you can’t afford to pass up. “Portico” is out now on Labrador Records.

Future Islands – “A Dream Of You and Me” - One of my favorite bands is Future Islands. The unique synthpop band from Baltimore, Maryland features the raspy vocals for singer/songwriter Samuel T Herring. His vocals are unlike anyone in the game and while it may take some time to adjusting to, you can find the sheer beauty in his songs. Future Islands craft poetry in their deeply profound, but occasional danceable material. “A Dream Of You and Me” is off their third LP, “Singles” out on March 25^th via 4AD. This harrowing gem has the signature snythpop style of Future Islands, but the lyrics will pull you in. The words are reflective and exceedingly pondering that you must carefully take in. Future Islands once again doesn’t disappoint with one of the most stunning songs of 2014. Like I said before, the vocals may not be for everyone, but for those seeking something unconventional and intensely rewarding, look no further than the sheer splendor that lies within this powerful song.

SHE SIR - "GO GUITARS"

Artist: She Sir

Album: Go Guitars

Label: Shelf Life

Release Date: February 25^th, 2014

Review By: Sean Kayden

The Austin, Texas quartet She Sir started playing together nearly a decade ago. After a series of hiatuses and a couple of EP’s along the way, the band has lastly released their full-length debut record, “Go Guitars” this past February.  I just discovered this unique and disparate band. She Sir’s finesse is demonstrated in their music style. They quoted as Fleetwood Mac being their biggest influence, but lesser known bands such as My Bloody Valentine, Slowdive, and a cluster of other early 90s bands specializing in reverb would be better examples of being influential. I’ve always had a penchant for this dreamy sort of pop music. It’s absolutely calming and sometimes transcendent. While She Sir is perhaps not breaking any new ground, their music is a fine example of nostalgia. I’m in love with their shoegaze tendencies. Bright melodies, tight arrangements, subtle rhythms make up most of “Go Guitars.” She Sir’s debut dream pop album hits all the right melancholic chords.

“Go Guitars” is a thirty-two minute dream from beginning to end. Each track effortlessly transitions into the next. The richly textured melodic sound alongside Russell’s Karloff soft and compelling vocals is indeed a marvelous conjunction. “Bitter Bazaar” is the arguably the best track on the record, but a difficult decision to be made given the caliber of songs. It starts off slow and then there’s a rush of blood straight to the head. Vivid guitars create a reverie soundscape that allows the listener to be taken away to another place and time. However, this could also be said for “Warmwimming.” The low tempo “He’s Not A Lawyer, It’s Not A Company” is exquisitely divine. It’s a heavenly treat. Majority of “Go Guitars” is simply just that. The short-lived experience is worth every bit of the journey. While other bands seem to be heading down a road, not sure where it is taking them, She Sir is headed down a path. They know where they want to go and following them may be just be the resolution after all.

While the genre She Sir occupies in isn’t commercially popular, it’s still a delight for those with a proclivity for 90s reverb, shoegaze and dream pop. The band has ten iridescent tracks that could have been something you’d hear twenty years ago. However, She Sir allows for each track to be amazingly up to date. After what appeared to be a laborious effort to get where they are, all I can say that the results are incredible. Tuneful, meditative, and graceful are just few of the things to describe the record. If you want to get lost for a few hours, take “Go Guitars” for a few spins. You never know what you’ll discover on each go around and that’s the true beauty of this album for each individual.

Grade: 9 out of 10

Key Tracks: “Bitter Bazzar,” “Warmwimming,” “He’s Not A Lawyer, It’s Not A Company,” “Condensedindents”

REAL ESTATE - "ATLAS"

Artist: Real Estate

Album: Atlas

Label: Domino

Release Date: March 4^th, 2014

Review By: Sean Kayden

For New Jersey musicians, Real Estate, their third LP is an example of simplicity. They’ve always crafted songs that seem so effortless but also boost much meaning behind it all. Their music caters to the nostalgic kind. “Atlas” is no exception as the band weaves and bobs through the terrain of contemplative material. Their arrangements are a bit tighter and more cohesive than their previous endeavors. Album number three is so laidback that when the album finishes, you don’t even realize 38 minutes just went by. While the music is quite wistful and the purely guitar-driven songcraft is incredibly refreshing in today’s music, I was not at all captivated by this anticipated release. In fact, with the exclusion of the single, “Talking Backwards,” the liveliest track here, I found the rest of the songs to be kind of monotonous. The record from start to finish is unvarying.

“Atlas” is not necessary a bad album. That’s just it. I don’t feel like Real Estate crafted any egregious tracks. The record is fueled by a yearning, reflective resonance. Real Estate’s songs invariably have that appeal. Martin Courtney’s mellifluous vocals are always pleasant, but there’s not a whole lot of range. It is fairly one note from track to track. Ten tracks are to be found, but “April’s Song” is purely instrumental. It has a very cool dreamy sound to it, but what comes to mind is how there aren’t any vocals on it. Makes you wonder if this was simply a leftover track in order to achieve that magic number of ten tracks. There’s some delight with closing piece, “Navigator.”  It’s a relatively slow, easy-going song that sports clear and shining guitars. “Talking Backwards” is a solid track and gave me high hopes for the record. However, it bares an interesting resemblance to the single off their last record, “It’s Real.” While the band wants to move forward with their artistic abilities, it appears they’re really just standing still.

I was very much hoping to be in awe of this record. Perhaps, expectations unfortunately got the best of me because I was savagely disappointed. In the thirty-eight minutes of this record, I never felt enamored by the experience. In actuality, I was rather bored by most of what I heard. The sleepy nature of the record will probably put the listener to a pleasant sleep if that’s what they want. As for me, Real Estate’s third album is their worst. Its meditative approach doesn’t offer much for me that I can’t find elsewhere. By the end of two listens from beginning to end, I felt weary and more distanced toward a band I generally liked. The questions going through my mind were left unanswered by the end. Perhaps the solution all along was just to switch albums, which I did immediately so. 

Grade: 5 out of 10
Key Tracks: “Talking Backwards,” “Navigator”

SNOWMINE - "DIALECTS"

Artist: Snowmine  

Album: Dialects

Label: Mystery Buildings (Self-released)

Release Date: February 24^th, 2014

Review By: Sean Kayden

Taking the alternative route of self-releasing their sophomore album, “Dialects,” Snowmine’s follow-up to their underrated debut record “Laminate Pet Animal” is a different kind of an animal entirely.  This new perspective has the band entering into a brooding territory. In fact, with these eleven brand new tracks, the band feels more comfortable and determined than ever before. While the first album was completely unique in its own right, it was a bit all over the place. It was really good, but felt very much like a debut record. A little bit misguided. “Dialects” displays Snowmine in a different light. The many talents of the band are put forth on this record. There is sort of an experimental element to the album, which was recorded in a church. A lot of ambience is presented and weird quirks/sounds to give it a unique experience unlike other indie acts in the same arena. While “Dialects” is far from the perfect indie rock album, it’s still a solid, if a bit uneven entry that shouldn’t be ignored or missed.

One of the best tracks of the year is to be found here. “Plans” is an absolute delight. It has such a distinctive sound that makes it totally original from the band. When it breaks into the chorus, it just explodes into sheer beauty. For the most part, this is a slow tempo album. It combines interesting sounds along with Grayson Sanders’ sometimes crooning vocals. While the record doesn’t quite have that alluring element of being listend to over and over again, it’s the kind of record you come back to after a period of time away from it. Not every track is golden and some songs can be simply passed on. However, the tracks that do work, Plans,” “Columbus,” “You Want Everything,” ”Courts,” and “Dollar Divided” make the experience a memorable one for at least the time those tracks are playing. The other half the album is acceptable, but they take some chances that don’t always pay off accordingly. “Safety in an Open Mind” is purely instrumental. It can be considered an intermission track as we approach the second half of the album. It has these washed out effects. It’s a peaceful tune, but doesn’t push the album any forward.

“Dialects,” for the most part, has a laid-back sound. The instruments are eclectic and despite some less than stellar tunes, Snowmine aren’t trying to mimic anyone. They’re completely original. Perhaps, the tunes that don’t resonate first or second time need some more listens before you can actually appreciate them. The  problem with music today is how one might not want to give songs a chance when there’s just too much music to hold onto from the moment you hear it. At any rate, Snowmine is an underrated band that is trying to press forward and make a name for themselves. While the path they may be on seems a bit crowded, they definitely have the aptitude to find a way around in order to finally find that open road. Once there, there’s no telling what Snowmine can do, but I know I’ll be carefully watching to see where it ultimately leads them.

Key Tracks: “Columbus,” “You Want Everything.” “Plans,” “Courts”

Grade: 7.2 out of 10

FEBRUARY’S PLAYLIST

Review by: Sean Kayden

Work Drugs – “Heaven Or Farewell” – Another year, another Work Drugs album. Perhaps the hardest working musicians around, Thomas Crystal and Benjamin Louisiana, the duo from Philadelphia is prepping their new record, “Insurgents” for a March release. “Heaven or Farewell” is a boisterous new jam. In vein of the Work Drugs’ signature sound of synth-pop and smooth-fi, the new track is extremely catchy. If you’re not dancing to this 80s style tune, something is terribly wrong. Once you get a taste of this one, you’ll be coming back for some Work Drugs in no time flat.

Fanfarlo – “Cell Song” – Fanfarlo just released their third LP, “Let’s Go Extinct.” The London indie-pop rockers change up their style a bit for this latest endeavor. “Let’s Go Extinct” is a little slower than previous efforts, but still effective. “Cell Song” is a smooth, really interesting tune that throws in a lot of instruments, including the piano and saxophone. Their unique blend of multiple instruments is quite laudable. It even features female vocals in the background for a nice touch. In fact, this record continues on the path of their previous 2013 EP, “The Sea,” where the band stated their music will be part of a science fiction/Utopian concept project. The lyrical content is consistent of where humanity has evolved from and where it’s heading. This is one of the more innovative tunes of 2014 thus far.

Woods – “Leaves Like Glass” – Folk rockers are back with their seventh studio album,  “With Light And With Love.” For this go around, there is more of a psychedelic element. They’ve definitely expanded their already unique tone. From jam type songs, they’re now displaying a more melodic sound. With this new record hitting shelves this April, I hope to see more tracks like “Leaves Like Glass.” The band’s first several records weren’t always the most accessible listening experience, but the path they’ve found themselves on now hits all the right chords for me, literally and figuratively.

Snowmine – “Plans” – Mellow, deep, and pulling you in as if there’s no tomorrow, Snowmine’s new song “Plans” is absolutely breathtaking. The band’s sophomore release, “Dialects” was self-released earlier this month. It follows the band’s superb debut record, “Laminate Pet Animal.” The band navigates new waters since “Dialects” is more structured than their debut. “Plans” is incredibly dramatic and cinematic. High pitched vocals come around and really lifts the song to new heights. The guitars dazzle and swirl as the euphoric vocals provide a spiritual guide for your mind to wander off to. Get lost in these four minutes and you’ll never want to come back.