My Favorite Albums of 2011

Review by: Sean Kayden

You won’t find any Billboard Top 40 songs here. This is a collection of my favorite albums of 2011. Quite a few records missed the cut, but as for the top five, there’s no denying them as my highest choices of the year. All of the records listed are deeply personal and deserve a look even if this isn’t your type of music preference. One thing is certain, each album is unequivocally beautiful, dense, engrossing, and passionate. You never know what you’ll discover if you don’t give them a chance.

10. Snowmine – “Laminate Pet Animal”
9. Minks – “By The Hedge”
8. The Drums – “Portamento”
7. Craft Spells – “Idle Labor”
6. Yuck – “Yuck”

5. The Antlers – “Burst Apart”
“Burst Apart” is an often subtle, perceptive, and emotive display of music. The record isn’t perfect, but The Antlers easily deliver some of the most personal, compelling, and heartbreaking songs of the year. Founder/vocalist behind The Antlers, Peter Silberman’s voice is as soothing as they come by these days. It’s the kind of tone that can mend a broken heart. He sings in a crooning manner that floats on top of the delicacy and intimacy of the often times majestic arrangements. It is very easy to get immersed into the incontestable beauty of the songs. There is a very special feeling you’ll experience while listening to “Burst Apart.” It will effortlessly tug on the strings of your heart and gently guide you back to previous moments in life. “Burst Apart” will lift those heavy eyelids, alleviate that tiresome mind, and facilitate a wounded heart. If you’re in need of all or any of the aforementioned, do yourself a solid and pick up this amazing record.

4. Bon Iver – “Bon Iver”
While the direction is faintly down a different path than his debut, Bon Iver’s music has never sounded so tranquil, transcendent and heartrending. Justin Vernon has taken some new liberties with his own artistry and yet nothing presented here feels false or misguided. Every song significantly matters and holds something vastly consequential. Instead of purely creating a beat-for-beat sequel to his debut, Vernon adds more instruments, higher production values and focuses his songwriting on an entirely different theme. All of this translates to a bigger and arguably more well-rounded soundscape. Bon Iver never overstays his welcome, yet at the same time, you wish he wouldn’t leave. That’s how this new album feels. At just shy of forty minutes, I don’t think there’s anything else you can be utterly inspired by in that period of time.

3. Destroyer – “Kaputt”
Glossy, new wave, retro, and even jazzy, “Kaputt” is pure 80s velvetiness. However, it’s not another replica of wannabe 80s inspired tunes from a contemporary band with a taste of nostalgia. The lyrics are sophisticated yet complicated and outspoken. The listener gets a real sense of comfort hearing Dan Bejar’s smooth vocals. However, you can still feel the pain, envision the tragedy, but contain a belief in the optimism throughout. This is a rare album where not only do the words tell a story, but the instruments speak as well. The arrangements of these songs are powerful, boisterous, and often magical. You get lost and found emotionally with every song. Destroyer helps me believe that music can once again be thought provoking, rapturous, and deeply personal.

2. Wild Beasts – “Smother”
“Smother” is dazzling, vividly trenched with imagery and transcendental intoxication. It’s tightly produced, atmospheric and a grand showcase of utter originality and creativity beyond the means of anything currently polluting the airwaves. Such brilliance and bravado are soaked within the confines of this record. The album will speak volumes to you in ways most compilations could only imagine to ever do. The heart and pulse of “Smother” beats methodically, gently, and cautiously. However, there is always a sense of impending doom on the horizon. A feeling of something imploding feels very close on the verge. To listen to the album in its entirety (the way it should be experienced) will place you on a voyage of awe and wonder. It unravels slowly, but what becomes fleshed out is something persuasively beautiful, terrifyingly imaginative, and artistically innovative. Arguably tied for album of the year with the #1 spot.

1. Future Islands – “On The Water”
Future Islands return with their third LP, “On The Water”, a carefully crafted and slow burning album that exudes love, lost, and life. Exploring these common themes may evidently be cliché in rock music, however make no mistake, Future Islands are everything, but ordinary. There is something mythical ingrained on this compilation. “On The Water” probes for the wonders of life’s mysteries by beginning with the past and looking into the future. There is so much beauty to be found if you let the album seep inside of you. It will carry you to another time and place, but remind you that the only way of moving forward is looking onward. Dreamy, passionate, and perceptive, these songs will pull you in and frankly, never let you go. A rare and majestic feeling that shouldn’t be missed by anyone that’s a fan of this music persuasion. While it will impact any listener in numerously different ways, one thing is for certain, you’ll be surprised of how deep it sinks into your mind, body, and most of all, soul. Future Islands also proves that mind, body, and soul are all super-connected.


Published by Mountain Views News on December 24th, 2011
http://mtnviewsnews.com/v05/htm/n52/p12.htm

“Oscar” Contenders & “Sundance” Movie Worth Skipping

Review by: Sean Kayden




In “Rampart,” Woody Harrelson portrays Dave “Date Rape” Brown, a dirty cop under investigation for his crimes during the LAPD’s Rampart scandal. While being hailed as a “masterful” performance by Harrelson, I really can’t say the same about the movie. The storytelling is distorted and the viewer is never truly immersed into what’s being presented to them on screen. “Rampart” feels like a series of scenes barely connected together with an ambiguous ending (if you can call that a true ending) that ultimately leads to an entirely unsatisfying viewing experience. You can’t really knock the dynamite performance by Harrelson, but despite the deep character study, the supporting players (which includes some famous names) feel non-genuine, one-dimensional, and flat. When all is said and done (which feels like little was both said or done), you’re left wondering what the point of the entire film was. Director Owen Moverman directed the fantastic 2009 film, “The Messenger”, but with “Rampart,” he’s definitely taken a step in the wrong direction. Profoundly disappointing and lacking a cohesive plot, “Rampart” is a slowly paced, uninspiring slog of a film.



“The Descendants” puts George Clooney on the radar for next year’s Academy Awards. However, it’ll be an obligatory nomination because it’s Clooney we’re talking about. His performance, while satisfactory, is by no means “Oscar” worthy. Clooney stars as Matt King, an indifferent husband and father of two girls, whose wife is involved in a potentially tragic boating accident. Unequipped to handle the responsibility of raising two girls (ages ten and seventeen), Clooney finds himself in limbo and somewhat lost. To add to the stress, he’s in the middle of negotiating a deal to sell his family's land handed down from Hawaiian royalty and missionaries. “The Descendants” isn’t a horrible film, but it’s noting spectacular either. At least not in the way it could have been especially coming from renowned “Sideways” writer and director, Alexander Payne. Easily the best parts of the movie involve Clooney and his ten-year-old daughter (Amara Miller). Additionally, the older sister (Shailene Woodley) often upstages Clooney. I was hoping “The Descendants” was going to be moving, inspirational, and tug at the strings of my heart. In the end, it barely reaches any of those heights. I’m only left with idea of what it could have truly accomplished. Looks like I’ll have to invest those eminent expectations in another film.



2011 Sundance flick, “I Melt With You,” stars Thomas Jane, Rob Lowe, Jeremy Piven, and Christian McKay as four old college buddies getting together for a drug induced week getaway. The first 45 minutes is awash with heavy drug use, music video type cinematography and a loud, semi-aggressive soundtrack. After the barrage of drugs and partying with both younger men and women, the film takes a very, expected dark turn. It takes a lengthy time getting there and even a longer time coming to a resolution. “I Melt With You” will definitely split audiences as it remains largely convoluted, controversial, and rather depressing. I’m not entirely sure what kind of audience this movie was intended for, but I know I was left out in the cold. Four middle age men at crossroads, all of which bear a haunted past or present life isn’t all that enticing to moviegoers. None of the guys are in any way much likable with the slight exception of Christian McKay’s character. However, you really don’t know anything about these buddies. Their demons are scattered throughout the movie, but you find no sympathy or connection to these self-absorbed men. A letter at the end of the movie shows up that practically tries to sum up the last two hours, but it’s way too late for any last minute pleads. The filmmaker’s intentions remain clearly unknown (possibly to even themselves?) because this film means absolutely nothing. A bloated (122 minutes), toxic, miserable movie trying to be different, artsy and meaningful comes together poorly, misguided, and ornate.

Published on December 17th, 2011 by Mountain Views News
http://mtnviewsnews.com/v05/htm/n51/p12.htm

MUSIC SPOTLIGHT: A B & THE SEA

Review by: Sean Kayden

I was recently asked to check out an up and coming young band called “A B & The Sea.” Initially, I had my reservations, but once I heard these guys, I knew instantly they weren’t just any other band that materialized overnight. Instilled with a sprightly, beachy, and an inherently likable sound, I realized these Midwest kids had more to offer than simply replicating the sound of The Beach Boys. Koley O'Brien and Joe Spargur, Wisconsin natives, founded the band back in 2008. With their sights set on California (which their sound is perfect for), the two friends took the leap of faith and along the way acquired three new members. A B & The Sea was complete, making them a five-piece surf rock band. Shortly after, they released two singles. The first song, “Suzie,” an infectious and genial tune, is remarkably spectacular. Undoubtedly, the finest song in A B & The Sea’s expanding repertoire. Taking cues from 60s surf pop rock, A B & The Sea have an innocence about them that is fresh and endearing. While their resonance is meant for the summer season, the songs they’ve composed are light, breezy, and uncompromisingly fun. Not long after the release of their singles, the band started work on their first EP, “Boys and Girls”. The five-song complication was hip, cool, and showed much potential for a band merely in their early stages of life. More importantly, it got them the rightfully deserved attention of heavy indie rock players. With 2012 just around the corner and two EPs already under their belt, A B & The Sea seem prime and ready for not only a full length record, but total breakout stardom.

Comparisons can be made with other indie acts such as The Smiles, Miniature Tigers, Young The Giant and even a touch of Vampire Weekend. However, A B & The Sea remain true to themselves by creating original and wistful tunes that seem eloquently ideal for any mood the listener may be in. They’ve proven to establish a consistent sound, but their two EPs do present differences. Their first EP, “Boys and Girls,” definitely has a more cheery, jovial pop backdrop than their predecessor, “Run Run Run.” The latter EP seems to exhibit a more deeper and developed sound. With that being duly noted, the transition from one EP to the next is the demonstration of a young band displaying strong growth. Their latest endeavor, “In The Sunshine” (which may be a glimpse of how a forthcoming full length record will sound) is a dance infused pop rock song, that’s also very charming and delicate. If you’re a fan of 2011 rising rockstars, Foster The People, then “In The Sunshine” will feel right at home for you. Actually, they kind of give Foster The People a run for their money with this splendidly joyous tune. Nonetheless, this is easily a step in the right direction, which should grant A B & The Sea even more success than they’ve already endured.

The future will present many choices for A B & The Sea. To overcome the shadows of other acts with a similar sound, I think A B & The Sea will have their work cut out for them. However, that’s a good thing. This will hopefully be a welcoming challenge for a band that’s encountered some good fortunate already with their musical talents. Personally, I think A B & The Sea is on the cusp of being the breakout kings of 2012. Of course that’s if they can play their cards right. If the band can somehow release a full-length album by springtime and get on the bills for the plethora of summer music festivals, the results may be deadly. Deadly in the best kind of way that is.



Published on December 10th, 2011 by Mountain Views News
http://mtnviewsnews.com/v05/htm/n50/p11.htm

Snowmine - "Laminate Pet Animal"

Artist: Snowmine
Record: Laminate Pet Animal
Label: Self-released
Release Date: May 3rd, 2011
Review by: Sean Kayden

There are thousands upon thousands of bands in the world. Obviously, it’s an impossible feat to hear them all. However once in awhile you come across a band or an album that hits you like a ton of bricks. Snowmine’s debut record, “Laminate Pet Animal” is one of those bands. A psychedelic-indie group that is a far cry from other performing acts in this modern age of rock music. While comparisons can be drawn from other well-established acts such as My Morning Jacket, Death Cab For Cutie and Fleet Foxes, I feel that Snowmine is composed of the best elements of what those bands offer and then some. Ironically, the aforementioned bands have released new records this year, but none of them come close capturing the magic and essence of Snowmine. What makes this even more of a surprise is how Laminate Pet Animal is merely Snowmine’s first album, while the other bands, with maybe the exception of Fleet Foxes, are considered veteran musicians. The rookie here definitely outshines the seasoned pros in multiple aspects.

“Laminate Pet Animal” is immersed with beautifully composed arrangements, soaring string sections and painstakingly gorgeous vocals. An often spacey and magical soundscape places the listener on an expedition of music wonderment. It is a very rate site to find one’s self not skipping tracks on albums these days. That’s the case here since every song feels just as important as the last. The album permeates into your mind and forms an imaginary world. A world you’re not too familiar with, but love the uncertainty it brings. It’s the kind of album you have to deeply get into. I don’t see that to be much of a challenge since the composition does much of the work for you. The sum of its parts is not greater than its whole though. To enjoy the record to its fullest, one must listen and listen thoroughly to each consecutive track. The journey is relatively short, but the experience is everlasting. Snowmine have crafted a superlatively debut album that may be mistaken for an album from a band deep into their career. I’m not sure what’s more fascinating, the fact this album is undeniably great or the potential of where Snowmine can go next.

Grayson Sanders showcases his soulful side on the track “This One”, where he sings “Let’s fade away and make time for another day.” I can tell you this; you will not want this feeling to ever fade away anytime soon. The vocals for “Hologram”, the closing track on LPA, reminds me much of Jim James of My Morning Jacket. The arrangement is something from Fleet Foxes’ latest endeavor. However, unlike MMJ of the past few years, Snowmine’s music is more focused and less concerned with reinventing themselves with every single song they perform. A little more half way into the slow tempo “Hologram” is where it really picks up. It concludes the rather melancholy album on an upbeat note. Just like this song, the entire record is very well balanced while distinctively going back and forth from a moody atmosphere to jovial beats, such as the ones found on “The Hill” and “Danger in the Snow!” “LPA” is a whirlwind that is comprised of small jolts and hasty collisions. No matter the impact, the songs always leave a lasting impression on the listener. To be moved greatly is an understatement and to be unaffected is clearly unlikely.

Grade 9.2 out of 10
Best Tracks: "Beast in Air, Beast In Water", "The Hill", "Trial and Error", "This One"

Published on November 26th, 2011 by Mountain Views News
http://mtnviewsnews.com/v05/htm/n48/p11.htm

The Devil's Double Review

“The Devil’s Double”

Directed by: Lee Tamahori

Written by: Michael Thomas (based on the novel by Latif Yahia)

Theatrical Release Date: July 29, 2011

DVD/Blu-ray Release Date: November 22, 2011

Rated: R for strong brutal bloody violence and torture, sexual content, graphic nudity, drug use and pervasive language

Review by: Sean Kayden

“The Devil’s Double,” based on the novel by Latif Yahia, is the disturbing true story of a man who is forced to become the double to Saddam Hussein’s sadistic son. While it didn’t do too much damage at the box office this past summer, you’ll get another opportunity to catch this hidden gem as it’s hitting DVD/Blu-ray on November 22. In all honesty, I really had no idea what to expect from “The Devil’s Double”. I went into blindly and came out completely enthralled by the very essence of it. Make no mistake, the film isn’t all that deep or intricate, but the electrifying, career-making performance by Dominic Cooper is worth the price of admission and then some. Cooper takes on the dual roles of Latif Yahia, an Iraqi soldier from an upper class family and the unpredictably insane Uday Hussein. Cooper, a supporting character in this summer’s mega blockbuster, “Captain America” has officially entered leading man status. In the film, Latif is strong-armed into becoming Uday’s double because of the potential threat of an assassination on him (just like his father). Latif, feeling nothing but dead, doesn’t always comply with Uday’s orders. This becomes a problem for Uday, but he knows that he created Latif and owns him. Latif finds himself in a physical relationship with one of Uday’s women and that raises a major problem in act three. While initially it’s a risky move by Latif, the every idea of it becomes a bit under-cooked, especially in the final stages of the film. Regardless, Cooper’s dual performance elevates the movie from being pretty good to being borderline great.

Despite the indelible acting presentation, the movie has it share of flaws and demonstrates slight repetitiveness with all the sex and violence. However, don’t get me wrong, it’s an absolute blast to take in. “The Devil’s Double” is one of the coolest, sexiest, and most violent films of the year. While not for everyone, those who enjoy a departure from mundane boring life will be undoubtedly glued to the screen while watching it. The plot is fairly loose, which is a series of events that occur leading up to Latif making a run for it. Whatever shortcomings there are in the script are almost completely forgivable because Cooper is simply brilliant in his dual portrayals. I really can’t say enough about this Oscar level performance that sadly won’t even be on the minds of Academy voters early next year.

Across the board, everything from the beautiful set design, to the killer 80s soundtrack, to the polished and stunning cinematography, to the ultra slick direction were top notch. Director Lee Tamahori (“Die Another Day”, “The Edge”) shaped a very sleek and tight thriller with “The Devil’s Double” that provided unsettling chills on more than one occasion. It’s devastating that the movie only received a super limited release because if it had better marketing and advertising, then just maybe it could have found its footing in a rather stale summer movie season. All I can say is shame on you, Lionsgate. At any rate, I found “The Devil’s Double” to be absolutely engrossing, outrageously entertaining and bat-shit crazy. This movie ranks among my favorites of the year. Not to mention, be on the lookout for Dominic Cooper because the guy is the next big thing for all the right reasons.

Grade: 4 out of 5

Published on November 19th, 2011 by Mountain Views News
http://mtnviewsnews.com/v05/htm/n47/p11.htm

NEW MUST HEAR MUSIC

By: Sean Kayden

M83 – “New Map” – Anthony Gonzalez, the brainchild of M83, has recently released his sixth studio album, “Hurry Up, We’re Dreaming”. The versatile musician has always demonstrated a strong affinity for shoegaze, pop, reverb effects and soft vocals over loud instrumentals. “New Map” is no different as it’s a glorious, dreamy, and explosive song that journeys to the unknown. The unknown, in this case, is wherever this song takes you (the listener) personally. It’s a special song that comes off a double album which the central theme is dreams; the ones you have as a kid, teenager and adult. To hear this song is to love this song. That’s a personal guarantee of mine.

M83 - New Map by Drugs and Mirrors

Girl In A Coma – “Smart” – The all female rock band hailing from San Antonio, Texas have just put out their fourth LP, “Exits and All The Rest” for Black Heart Records. Their latest sound is a slight departure from previous efforts. More poppy, catchy, and new wave-ish, these girls may just rise to the next level with this new record. “Smart” is the radio-friendly single that borrows right from The Smiths’ back catalogue (where the band’s name is originated from). Despite the heavy influence, this tune stands toe-to-toe with the best pop songs of the year. With distressingly intended vocals that are both stunning and delicate, “Smart” is a throwback to the 80s, but also a song that compliments this band as being potential rising rockstars for this day and age.

Girl in a Coma - Smart by Here Comes The Flood

A Classic Education – “Can You Feel The Backwash” - This brand new song is off the debut album, “Call It Blazing” from the three-piece alternative rock band, A Classic Education. These young men hail from Italy, but their sound is a mixture between The Beach Boys and Band Of Horses. However, the resemblance doesn’t stop there. You can definitely hear the influences from 50s and 60s rock. This hidden treasure is one of the stronger tracks off their new LP and really differentiates itself from other indie rock acts. A Classic Education may not be poised for total world domination just yet, but their presence should be known because this record is a warm embrace that’s gentle, gracious and tender. It’s hard to find a beating heart in music these days, but this one feels everlasting.

A Classic Education - Can You Feel The Backwash by MOORWORKS

Keepaway – “Cake” – Keepaway will finally be releasing their long awaited debut LP, Black Flute this January. They’ve just dropped “Cake”, a glimmering, multi-vocal, electronic drenched pop song that shouldn’t be mistaken for Animal Collective revisited. Honestly, this band fell off my radar after their mid 2010 EP, “Baby Style”. Over a year later, I can proudly say I’m so pumped for their full length. This new song feels more structured than anything they’ve put out in the past. . They’re definitely sporting more lyrics/singing this time around and it just adds to the wonderment that this song truly is. Ranging from R&B influences, conversational type singing, and beats that are as hot as girls rocking skirts in the summer, “Cake” is a lavishly and glistening tune that’s sure to give you some heat during this cold wintertime.

Cake - Keepaway by GREEDHEADMUSIC

Weird Dreams – “Joan” – East London lads show off their sensitive side on their new song, “Joan”. Apparently, this awesomely hazy gem is not making the cut for their debut record hitting the digital world in February. While it’s easy to dismiss the cluster of guitar-pop bands in the indie-sphere, there are a few that deserve a deeper look. Based on this tune alone, Weird Dreams rank among those worthy of your time. “Joan”, while wistful and soothing three-fourths of the way into the song, picks up momentum in its final stages. What starts out sounding good, ends up being magnificent upon completion. Be on the lookout early next year for Weird Dreams first full length album.

joan // weird dreams by sexmusic

Published on November 12th, 2011 by Mountain Views News
http://mtnviewsnews.com/v05/htm/n46/p11.htm

"The Son Of No One" Review

“The Son Of No One”

Directed by: Dito Montiel

Written by: Dito Montiel

Rated: R for violence, pervasive language and brief disturbing sexual content

Release Date: November 4^th, 2011 (limited)

Review by: Sean Kayden

Dito Montiel’s latest outing, a NYC police drama starring Channing Tatum is about as useless as a Christian Slater television show. Respectively speaking, the film does have an interesting concept, but the navigation of the plot is both tedious and not very compelling in the slightest bit. Montiel broke out in the scene a few years ago with his Sundance movie, “A Guide To Recognizing Your Saints”. He then directed the studio picture, “Fighting”. Both films feature Channing Tatum, who seems to be Montiel’s go-to-guy. I don’t really have a problem with Tatum as an actor, but the guy isn’t someone who has the capacity of drawing me in. He doesn’t have the strongest screen presence either. However, I’ll give the guy a fair shot if the material is worthy enough. Unfortunately, once again, Tatum is only as good as the script in front of him and the screenplay for “The Son Of No One” is as soulless as they come by.

Tatum plays a young NYC police officer assigned to a precinct in the Queens neighborhood where he grew up. He continues to stay on the right track by providing for his wife and daughter, but a haunting secret from his past is back in the forefront. His life is threatened when news starts surfacing about an unsolved double murder by two boys and the possible police cover up that took place 16 years ago. With little to go on, Tatum must stop a tough female journalist from revealing this potentially damaging clandestine past. Al Pacino pops in for a quick paycheck as Tatum’s father’s old police partner and his godfather (revealed later on). He’s mostly seen in flashback scenes when Tatum’s character was merely just a boy. Ray Liotta, another actor slumming it, plays the police captain who’s trying to protect all the boys in blue. Katie Holmes, who portrays Tatum’s wife, is absolutely wasted of any talents she may have. Lastly, Tracy Morgan takes on the persona of Vinnie, Tatum’s old childhood friend that is schizophrenic and now gay. He quickly becomes the prime culprit of who may be leaking this vital information to the journalist. After Pacino, Liotta, and Tatum have a sit down conversation on how things are going to go down, it’s clear that Pacino and Liotta are trying to protect themselves more so than Tatum. Since Tatum is one of their own, they’re not going to throw him under the bus. Toward the end, things unravel on the rooftop of Tatum’s old apartment complex with Pacino, Liotta, Morgan, another cop and Tatum appearing in the heat of the action. Let’s just say, the events that take place are simply ridiculous and ludicrous. The movie will leave you undeniably empty with the motivation to ask one self, “Did I really just spend 90 minutes sitting through this garbage?”

In the end, you discover who’s really behind the leaked information, but by that time, you really don’t give a damn. In retrospect, there’s very little to care about at all pertaining to the story itself. I doubt anyone will show any regard about the murders that occur. There’s nothing insightful or intriguing about what’s going on and frankly, the film is just lackluster. “The Son Of No One” closed out the 2011 Sundance festival to an array of walkouts and negative reception by critics. Anchor Bay took the liberty of “cutting” and “tightening” some sequences, but the finish result is an utter mess. The major notable change has to do with that rooftop scene I mentioned. However, the tweaked conclusion is still deeply unsatisfying. I have deep reservations that the original cut provided anything remotely significant to the abysmal plot, anyway. The hope that a Queens native such as Montiel could offer an unique perspective on the old police drama story is quickly dashed and abandoned soon after the movie is underway. “The Son Of No One” is only getting a very limited theatrical release and that alone is more than generous.

Grade: 1 out of 5

Published on November 5th, 2011 by Mountain Views News

http://mtnviewsnews.com/v05/htm/n45/p11.htm

Real Estate - "Days"

Artist: Real Estate

Album: Days

Label: Domino Records

Release Date: October 18, 2011

Review by: Sean Kayden

Real Estate’s latest effort, “Days” is breezy, tight, sharp and laid back. It’s a bit more upbeat than their previous eponymous record back in 2009. This time around, the band finds themselves on a bigger label (Domino Records) with higher production values to boot. However, they don’t always fully utilize the higher production sound and often revert back to their lo-fi sonic landscape. One thing is certain; Real Estate has a very unique sound, even if it’s simplistic. There is both a cool and collective vibe to their disposition. The songs here are wistful, 60s inspired (Beach Boys style) and guitar-driven. From track to track, the record has this strange ability to lift you from your bed (where you’ll be when enjoying this kind of album) and have you floating aimlessly in mid air. “Days” is more comprehensive than Real Estate’s first record. However, more times than not, the songs here seem interchangeable to those on their debut. While not a terrible thing, it shows Real Estate displaying smaller growth than previously anticipated.

The biggest problem I have here is that while the record is ten tracks, two of the tracks actually debuted well over a year ago. What we’re left here is eight brand new songs. Given the nature of Real Estate’s arrangements (and sometimes repetitious sound) the record flies by. I mean, of course none of this matters if this is your first introduction to the band. By the end of the album, Real Estate sort of staggers to the finish line. “Younger Than Yesterday”, which made its first appearance on a previous EP record, feels a bit limp. It drags and easily the one track you’ll skip over. The final track, “All The Same” goes on for over seven minutes and the last four are purely dreamy and atmospheric, but rather anticlimactic. If it were only shorter in duration or separated into two songs then maybe it could work. Sadly, the payoff isn’t worth the wait. Before you know it, the album ends and it ends on a whimper. Despite the knock, there are a multitude of fine, well-crafted moments to be heard. Your best bet is to play this album on shuffle and hope to avoid the aforementioned song.

“Out of Tune”, which debuted last year, is a different story. Even a year later, this may be the best Real Estate song in their personal repertoire. Not surprisingly, the two stronger tracks off “Days” are the ones under three minutes. “It’s Real” and “Wonder Years” are the songs why you’re a fan and true believer of this band in the first place. Real Estate was built for quick, chill, 3-minute plus tunes. In the end, “Days” is no groundbreaking affair, but it’s ingrained with wistfulness, warmth and a soul. Airy, light, and reflective, the surf-pop/garage-pop resonance surprisingly works better in the brisk fall season than it would have in the glory days of summer. It may not grasp new listeners, but certainly please the ears of previous fans.

Key Tracks: “It’s Real”, “Out Of Tune”, “Municipality” and “Wonder Years”

Grade: 7.4 out of 10

Published on October 29th, 2011 by Mountain Views News

http://mtnviewsnews.com/v05/htm/n44/p11.htm

Future Islands - "On The Water"

Artist: Future Islands

Album: On The Water

Label: Thrill Jockey

Release Date: October 11, 2011

Review by: Sean Kayden

It was only a year and half ago when Baltimore natives, Future Islands released their sophomore album (first from independent record label Thrill Jockey), “In Evening Air”. Heavy on synths with a dash of dreamy and pop, Future Islands’ promising reintroduction earned them the much-deserved attention from critics and pending fans. There was something inconceivable about “In Evening Air” that somehow revealed Future Islands as a band hopefully pioneering the future of modern rock music. It was a scary notion to begin with, but after listening to “In Evening Air” everything pointed in that direction. As heartbreaking as it was earnest, the music that was being created simply had meaning. To those who listened and found higher purpose, I can tell you that it wasn’t a fluke because Future Islands are the real deal. Let me proudly introduce to you, “On The Water”, the successor to “In Evening Air” and one of the more inspiring albums of 2011.

Future Islands return with their third LP, “On The Water”, a carefully crafted and slow burning album that exudes love, lost, and life. Exploring these common themes may evidently be cliché in rock music, however make no mistake, Future Islands are everything, but ordinary. There is something mythical ingrained on this compilation. “On The Water” probes for the wonders of life’s mysteries by beginning with the past and looking into the future. There is so much beauty to be found if you let the album seep inside of you. It will carry you to another time and place, but remind you that the only way of moving forward is looking onward. Granted nostalgia has become a repetitious subject explored in today’s indie rock music, Future Islands still find a way to tug at your heart. You may have to warm up a bit to Samuel T. Herring’s crooning, Dracula type vocals. In time, I’m sure you will and when that happens, you’ll see the light. This is the same light that will guide you on your path of dreams, hopes, and desires. “On The Water”, “The Great Fire”, “Where I Found You” and “Give Us The Wind” drive the album into masterpiece territory. Dreamy, passionate, and perceptive, these songs will pull you in and frankly, never let you go. A rare and majestic feeling that shouldn’t be missed by anyone that’s a fan of this music persuasion.

There’s little not to admire about this stellar and grandiose effort Future Islands have pulled off. It’s shocking and truly not fair that a band of this magnitude will go undetected to the masses. The embracing of “On The Water” feels like a spiritual awakening in the process. It’s a deeply satisfying experience that will affect you as if you were starting all over. The album carries its heart on its sleeve and this heart is warm, compassionate and giving. The conquest over both life and love bleed through the veins of “On The Water”. Instead of saying life is merely nothing, it reminds you that life is something after all. It’s simply how you accept it that makes all the difference in the end. Deeply personal and heavily emotional, “On The Water” reminds us just how powerful music can be. While it will impact any listener in numerously different ways, one thing is for certain, you’ll be surprised of how deep it sinks into your mind, body, and most of all, soul. Future Islands also proves that mind, body, and soul are all super-connected. If you think otherwise, you haven’t listened to “On The Water”.

Key Tracks: “On The Water”, “The Great Fire”, “Where I Found You”, “Give Us The Wind”

Grade: 9 out of 10

Published on October 22nd, 2011 by Mountain Views News
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The Fall Mix

By: Sean Kayden

Family of the Year – “St. Croix”

“St. Croix” is the perfect jam for this fall season. Warm and upbeat, there’s no denying the magic. This is the ideal song to transition from the summer season into the autumn season. Songs like this make me believe how cool indie rock really just is. I can’t get enough of this joyous and indelible tune that is so light and breezy, it’d be a crime not to find it appealing in some way. “St. Croix”, which appears on Family of the Year’s latest EP album with the same name, is an ebullient tune that you really can’t go wrong with this fall season. Your ears will thank you and yes, you’re welcome.

St. Croix by Family of the Year

Heavenly Beat – “Desire”

“Desire” is the first song from bassist John Peña of the group, Beach Fossils. “Desire” is slightly reminiscent of the classic Beach Fossils sound, but much more polished and rhythmic. Despite its short duration (2:18), the song goes through a number of tempo changes. Silky smooth vocals, infectious drum beats and a delicate arrangement, “Desire” is the latest hidden gem of the season. It’s hard to imagine something more eloquent, pristine, and striking as this subtle and pensive tune is.

Heavenly Beat - Desire by lauralasmane

Weekend – “Hazel”

“Hazel” is a new song off Weekend’s EP album, “Red”. It’s the follow-up from their debut record, “Sports”. Hazel provides all the goodies—gush bass chords, clamorous guitar hooks and a flawless melody that would have most pop bands foaming at the mouth. This track is wall-to-wall reverb central that supplies the ideal amount of aggression, abrasiveness and boisterous sound to make it a must hear. Heavy on tempo, dark undertones and just all around badass, “Hazel” will have you hooked faster than heroin. The same euphoric feeling, but with none of the side effects. So, what are you waiting for?

Weekend - Hazel by Slumberland Records

Surfer Blood – “I’m Not Ready”

The aforementioned track comes off Surfer Blood’s upcoming EP, “Tarot Classics”. It’s undeniably catchy is a ridiculous understatement. This is a well-crafted tune that follows in the footsteps of Surfer Blood’s debut album, but far more laid-back. The 90s inspired indie rock act seems to be in top form with “I’m Not Ready”. It’s definitely an indication Surfer Blood is continuing down the right path. “I’m Not Ready” is a heavily guitar driven tune that’s as piercing as it is zealous. The song may be called “I’m Not Ready”, but I’m absolutely ready for some more Surfer Blood.

Surfer Blood - I'm Not Ready (Live from DC) by theaudioperv

Big Troubles – “You’ll Be Laughing”

This retro-pop treasure comes off the Big Troubles recent sophomore album, “Romantic Comedy”. Light on comedy, heavy on romantics, “You’ll Be Laughing” is a dreamy, 80s inspired tune that’s polished and divine. It will move you, tantalize all your senses and put you in a state of utter bliss. Saturated with autumn vibrations and flourishing, swooping hooks, “You’ll Be Laughing” is the cure to your post-summer blues. If you fall in love with this track, just wait until you hear the entire album.

Big Troubles, You'll Be Laughing by danceyrselfclean28

Published on October 15th, 2011 by Mountain Views News
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50/50 Review

"50/50"
Release Date: September 30, 2011
Directed by: Jonathan Levine
Screenplay by: Will Reiser
Rated R for language throughout, sexual content and some drug use
Review by: Sean Kayden

"50/50" is the story of an affable 27-year-old guy that becomes diagnosed with a rare form of spinal cancer and the events that take place afterward. Now you’re probably thinking a movie about cancer, how depressing. While it certainly has those moments, the movie is quite upbeat. It’s safe to say you can now abandoned any trepidation you may have had and devote your time to a truly special film. With strong performances from its key players, "50/50" is both endearing and good-hearted. Never is it cloying or heavy handed in its presentation of cancer. Will Reiser took his own real life experiences and adapted them into an incredibly strong screenplay. The third act of this movie will surely test your emotions while never feeling inauthentic, but remarkably honest. "50/50" is one of those rare films that can jungle both comedy and drama in perfect synchronicity. While it may not completely stick with you after it’s all said and done, odds are you’ll find something to like about 50/50 within its 99 minutes duration.

Joseph Gordon Levitt plays Adam, an amicable guy that works in radio. He’s currently have intimacy issues with his girlfriend, but other than that, life seems to be going fairly copasetic. Seth Rogen, (who’s undoubtedly way better as a supporting character than a leading man) plays Kyle, Adam’s perpetually horny best friend. Rogen is actually quite great here playing the comedic relief character. He’s never overbearing nor does he try to steal the show. A rather low key and restrained performance by a guy who can be either really funny or just plan annoying in movies. Levitt, on the other hand, plays the character with sharp precision and a great amount of self-awareness of the disease. Bryce Dallas Howard, portrays Rachel, Adam’s girlfriend who seems reluctant to care for him to the fullest. This leads to a few poor decisions on her part, which inevitably leads Adam not being able to deal with it anymore. Howard is great in her subtle performance, but there’s not much to like about her character (or the things her character ends up doing). She claims this cancer thing is too much for her to handle, but really, it’s the person diagnosed with it that has a hell of a lot harder time coping with it than any of the spectators. Anna Kendrick effortlessly slips into the character of Katherine, Adam’s super young therapist. You can get a sense that Katherine starts to show an affinity toward Adam, but knows that it’s unprofessional to do anything about it besides help him with his condition. If the movie takes any misguided steps, it’s the very “Hollywood”-esque outcome to what occurs between them. However, I can’t say that it doesn’t work. It’s what you’ll want in the end even if it feels a bit cliché.

Surprisingly, the movie is more about how others close to the person with the disease react rather than the one actually diagnosed with it. Adam finds himself breaking down in the third act of the movie when everything is on the line. He feels alone, scared, anxious and confused. Everything you could imagine about dealing with such a horrible (and unjust) disease. Despite these moments, "50/50" still remains rather optimistic. It carefully knows when to strike with flashes of sadness and positivity. "50/50" doesn’t hit you over the head with the idea of cancer and all it’s dreadful baggage, but shows you that the best medicine is both the love and support of the people close to you. The relationships and friendships of those in your life will ultimately prove to be the greatest healer of all.

Director Jonathan Levine has progressed further along in his filmmaking abilities.
Levine has a perennial future in Hollywood, that’s for sure. While "50/50" may not be his best film ("The Wackness" is undeniably a superbly underrated film), it is however one of the best of the year. Despite a few minor issues with the romantic aspects of the film, there’s little to knock about it as a whole. Honest, sincere, emotional when needed and genuine all around, "50/50" is simply just a great film. The odds are definitely stacked in your favor that you’ll come out of the theater feeling like a winner. What is it that you won you may ask? That really just depends on how much you’ve invested into the movie.

Grade: 4.5 out of 5

Published on October 8th, 2011 by Mountain Views News
http://mtnviewsnews.com/v05/htm/n41/p10.htm

Mini Album Reviews

Review by: Sean Kayden



The Drums sophomore album, “Portamento” is a dark, jangly pop record that excels to the utmost degree. While it feels like a retread of their debut album, the surf pop outfit has drifted more into a melancholy sound reminiscent of The Smiths (and so many earlier 80s acts). Jonathan Pierce remains a hopeless romantic on “Portamento”. However, even with the simplicity of lyrics such as “And I believe, that when we die, we die/so let me love you tonight, let me love you tonight”, The Drums are infectiously catchy. Within minutes, you’ll be singing along to nearly every gem on this album as well dancing your little heart off. One thing is for certain, a lot of personal memories and ominous undertones lie embedded within the record. Happy go lucky and let’s go surfing type of lyrics have been replaced by the thought of ex-girlfriends, ex-bandmates and the feeling of “right now”. The Drums have grown wiser, albeit not quite to the extent of reinventing their sound, but still expanding on a resonance that simply works, most of the time. “Portamento” was released on September 6th, 2011 on Universal Island Records. Score: 8.3 out of 10.



Cymbals Eat Guitars have such a ferocious sound. With so many new acts these days using electronics, it’s quite refreshing (and seemingly old-fashioned) to hear raw, guitar-driven, augmented tunes. Audacious, strong writing, and an amalgamation of garage rock, pure noise rock, and haunting melodies, sophomore record “Lenses Alien” is deeply penetrating to your senses. While the theme of the album feels a bit scattered, each song works near flawlessly its own right. Cymbals Eat Guitars is a band to watch out for and one that both mainstream rock acts and hard rock bands should be not only envy of, but jealous of their stunning conclusions to their songs. “Lenses Alien” was released on August 30th, 2011 on Barsuk Records. Score: 8.1 out of 10.



NewVillager’s sound is pure experimental. Their self-titled debut album has it all—crazy arrangements, pop and R&B influences, but still falls into the elusive indie rock universe. Definitely a sound that defines “alternative”, NewVillager may be onto something. They are taking the best parts of each genre and blending them together. At the end of the day, what you end up with is something truly impressive, inventive and awesome. The record has a grand sound, with excellent production values. The record truly hits the mark. NewVillager’s sound is different and almost groundbreaking. They may not be creating entirely new soundscape, but the pastiche of tunes is allowing them to separate themselves from nearly everyone else. NewVillager has the ability to become leaders with their mesmeric sound. They are pushing the envelope in unthinkable ways, but I hope they have the staying power to continue along this path. As long they don’t succumb on being merely followers with subsequent releases, the future of NewVillager appears to be unpredictable in the best kind of way. The self-titled album was released on June 20th, 2011 on IAMSOUND Records. Score: 8 out of 10.

Published on October 1st, 2011 by Mountain Views News
http://mtnviewsnews.com/v05/htm/n40/p10.htm

Drive Review

“Drive”
Release Date: September 16, 2011
Directed by: Nicolas Winding Refn
Screenplay by: Hossein Amini
Rated R for strong brutal bloody violence, language and some nudity
Review by: Sean Kayden

Director Nicolas Winding Refn is an aberrant visual artist. Drive, his latest work of art, combines striking imagery and an essence of cool that’s been missing in American cinema for quite sometime. It’s funny how a Danish director is the one to bring cool back in a way we haven’t seen in years. I’m not going to lie, Refn (winner of this year’s Cannes Film Festival for Best Director) was inspired by earlier films of the genre, but figures out a way to make this endeavor completely his own body of work. Essentially, Drive is about a chivalrous Hollywood stunt driver and loner, who moonlights as a getaway driver. He quickly finds himself caught up with the wrong people in a heist that goes terribly wrong. Yes, we’ve all seen movies of this conformation before, but I can promise you that you haven’t seen it like this. At face value, Drive is minimalistic and straightforward, but at its core, this uniquely developed drama/suspense film is ultra sleek, eloquently violent, beautifully composed and superbly acted.

The screenplay, adapted by Hossein Amini from the book by James Sallis is solid, but is light on dialogue. Drive is elevated by the electrifying performances of its cast. Ryan Gosling plays the nameless protagonist known as “The Driver” in such a subtle, but harrowing way. A man of few words, Gosling has never been this good. The mannerisms, the facial expressions, the pain behind those blue eyes make this character so memorable and exemplary. From Clint Eastwood to Steve McQueen to James Dean, Gosling exemplifies a true yet complex action hero with this character. Carey Mulligan, the woman down the hall of the driver’s apartment building, is affecting and excellent as Irene. She plays a mother waiting for her husband to be released from prison. However, she forms a strong affinity for the Driver and her little boy finds a surrogate father while his own father is locked up. The Driver sees a life he has never had and may never have with Irene and her son. In this light, the Driver seems vulnerable, sensitive, and compassionate. Without sappy or lovey-dovey trite dialogue, The Driver and Irene’s bond blossoms with little words that are ever spoken. Credit is due to Cliff Martinez’s romantic, electro-pop, electronica score. The tone and textures of this resonance fuels the poignant acting in the scenes shared on screen by Gosling and Mulligan. Bottom line, the score is a modern day masterpiece. At the other end of the spectrum is Albert Brooks. In an unlikely performance, Brooks plays a former 80s Hollywood producer/mob boss that is scary, daunting, and ruthless. While his presence is limited, he is downright engrossing. It’s as almost as if his lines weren’t even written, but simply formed by Brooks himself. The movie quickly shifts into high gears after the Driver is part of an ill-advised heist gone awry. Gosling’s character goes from playing defense to offense in a flick of a switch. At this moment, all bets are off and the movie comes to life in unimaginable way. So while Drive deliberately starts off in the slow lane, it eventually kicks into overdrive at a blazing pace you can only hope to be equipped for.

Refn’s penchant for violence and gore is overwhelmingly present here, but the bursts of brutality is enthralling, if not disturbing. While not for the faint at heart, the violent behavior in Drive is artful and vividly produced. These particular scenes rank among the finest of the year. On a technical level, Drive is flawless. I love the way it was shot. Every scene, every shadow within a scene, and the precise way light is used matters. Nothing feels wasted or oversaturated. Always taut and suspenseful, you’re eyes will never veer off screen. The film easily takes over all your senses with every single scene telling a story within itself. It’s simply the coolest film of the year. With powerhouse performances and Refn’s skillful directing, Drive is a tightly and impressively constructed motion picture worth seeing. Despite an extremely familiar storyline, a somewhat scattered plot, and earlier film influences, Drive still takes the viewer on a ridiculously wild ride. Buckle up because “it’s going to be a bumpy ride” is clearly an understatement here.

Grade: 4.5 out of 5

Published on September 24th, 2011 by Mountain Views News
http://mtnviewsnews.com/v05/htm/n39/p10.htm

Three Awesome and Overlooked Summer Movies

Review by: Sean Kayden



“Attack The Block” is irrefutably the best summer blockbuster that isn’t a “blockbuster” per se. On a shoestring budget ($13 million to be exact and yet a fraction of bloated affairs such as Transformers 3, Green Lantern, and Thor), first time writer/director Joe Cornish took “the alien invasion theme” to new heights. What a raucously, super-charged, and ferociously entertaining piece of cinema we are presented with. From the producers of “Shaun of the Dead” and “Hot Fuzz”, “Attack The Block” is sort of sci-fi, sort of horror, and on more than one occasion, comedic. It’s set in South London, where a young street gang must defend themselves from unruly alien intruders. While alien movies seem all the rage for the past year, this one is leaps and bounds the best of the bunch. While the twilight sets down on a crushingly second-rate summer movie season, “Attack The Block” is able to give us hope that summer movies can be smart, entertaining, and original all at once. If you missed “Attack The Block” in theaters, you’ll be able to catch it when it hits DVD/Blu-ray this October.



“30 Minutes or Less” stars Jesse Eisenberg as a slacking pizza delivery boy who is forced into robbing a bank by two wannabe criminals (Danny McBride and Nick Swardson). Problem is, they’ve attached a bomb to his chest and it will go off he doesn’t complete the mission. Based on true-life events, but taken in a completely absurdly comedic direction, “30 Minutes or Less” is beat for beat the funniest flick of the summer. It’s also rare that every key player here is hilarious in his own, dysfunctional and eccentric sort of way. The flick is entirely straightforward and very lo-fi, but director Ruben Fleischer (“Zombieland”) never has a problem keeping things absolutely refreshing at a mere running time of 82 minutes. With rarely ever a dull moment and endlessly amusing, “30 Minutes or Less” offers more laughs and gags than all the other mainstream R-rated comedies this summer combined. Keep your eye out for “30 Minutes or Less” when it’s released on DVD/Blu-ray sometime in late November.



“The Beaver” had marked the return of Mel Gibson. While we can’t go as far as saying ‘witness the resurrection of Mel Gibson’, I can say that his performance in “The Beaver” is his best to date. “The Beaver” is a painfully and surprisingly genuine portrayal of depression and remoteness. Gibson plays a husband and father of two who is completely gone. He’s a dead end with no return in sight. He finds comfort in a beaver puppet that becomes his only form of communication. Director Jodie Foster (who also plays Gibson’s wife) keeps the pace moving at a good rate without ever getting sidetracked with what could have turned into sappy or overly weepy scenes here. While there may not be any true surprises here, the subplots in the film are unexpectedly strong and all the key supporting characters are three-dimensional, cogent, and unfeigned. Kyle Killen’s debut script (considered ‘The Black List’s” best unproduced screenplay in 2008) is powerful, deep, and brutally honest. Many people may be turned off by the idea of a talking beaver puppet and the sheer fact Mel Gibson is in this movie, but sometimes we have to leave our reservations and opinions at the door and attempt to embrace something as sincerely meaningful and real as “The Beaver” has come to be. Do yourself a favor and seek this one out on DVD or Blu-ray.


Published on September 17th, 2011 by Mountain Views News
http://mtnviewsnews.com/v05/htm/n38/p11.htm

Warrior Review

“Warrior”
Release Date: September 9th, 2011
Directed by: Gavin O’Connor
Screenplay by: Gavin O'Connor, Anthony Tambakis, and Cliff Dorfman
Rated: PG-13 for sequences of intense mixed martial arts fighting, some language and thematic material

The summer movie season provided us with a copious amount of misfires and to no surprise, found itself badly straggling to the finish line. Thankfully, we can move on since the fall movie season is now upon us. With that said, I have the sheer gratification of telling you that “Warrior” starring Joel Edgerton, Tom Hardy and Nick Nolte is one knockout of a movie. In vein of last year’s powerful film, “The Fighter”, “Warrior” is about two brothers both fighting for something greater than themselves. Tom Hardy brilliantly portrays Tommy Riordan, an ex-Marine haunted by his past who returns home to his former alcoholic father, played by a battered and wounded Nick Nolte. Joel Edgerton takes on the persona of Brendan Conlon, a high school physics teacher and ex-MMA fighter unable to make ends meet. In a turn of events, Tommy asks his estranged father to train him to fight once again. Brendan, unbeknownst to this, finds himself competing in amateur MMA fights to help out at home. Alienated from one another for 16 years, the brothers’ paths will soon cross as they face off in Sparta, a Grand Prix tournament of MMA fights. While the set-up may be dauntingly cliché, director Gavin O’Connor somehow is able to throw punch after punch at your vulnerable heart in what is the most unrelentingly impassioned packed film this year.

For starters, “Warrior” is part gritty family drama, part sports action flick, and part feel-good crowd pleaser. Translation? Raw, gut-wrenching, and compelling. The acting is never less than absolutely stellar. Joel Edgerton plays Brendan, the typical underdog persona, with such heart and compassion. With his house seeing foreclosure and medical bills for one of his daughters with a defected heart adding up, it’s difficult not to show rooting interest for this guy. Tom Hardy’s character, Tommy, on the other hand, has many complexities and an aura of mystery surrounding him. He’s not entirely psychologically stable because of what haunts him from his days in Iraq and his devastatingly strained relationship with his father. Hardy is nothing short of brilliant as an ex-marine with a lot of built up agony and pain to release. Easily the breakout star of “Warrior”, Hardy’s utterly sublime representation really pulls you in. Anchored by a subtle, electrifying and haunting performance, Hardy should be recognized during award season. Furthermore, his scenes with his Nick Nolte were as heartrending and distressing as they come by. The dynamic of their shattered relationship felt honest, real, and unfeigned. Nolte as a recovering alcoholic, who listens to self-help audiotapes, really nails it here. He’s a lost and fractured soul trying to reconnect with his sons, who don’t seem to want to give in. While the MMA fight sequences are exhilarating and super-charged, it’s the chemistry between Nolte and Hardy on screen that’s absolutely remarkable and really drives the movie into the territory of absolute greatness.

Well over two hours, “Warrior” never eases up in toying with one’s emotions. It does an outstanding job continually pulling at the strings of one’s own heart. If you surrender to its tricks, you may find yourself tearing up in multiple scenes. “Warrior” definitely ranks up there with ultimate guy-cry movies. By the end of the movie, you’ll not only find yourself on the edge of your seat, but also wiping those tears away and rooting for these guys as if they were your own brothers. The ending may not be what you completely expected, but it seems appropriate and realistic. Never does “Warrior” seem false or manipulative in the earnest ways it touches your heart, mind, and soul. This movie just feels right in this day and age. The constant struggle of overcoming the odds and believing in one’s self despite any obstructions in your line of sight. It’s a stunning achievement that a mainstream movie like this packs so much pure entertainment, affecting moments and uncompromised compassion. “Warrior” excels on nearly all levels making it a definite must-see for all ages.

Grade: 4.5 out of 5

Published on September 10th, 2011 by Mountain Views News
http://mtnviewsnews.com/v05/htm/n37/p11.htm

The Rapture - "In The Grace Of Your Love"

Artist: The Rapture
Album: In The Grace Of Your Love
Label: DFA Records
Release Date: September 6, 2011
Review by: Sean Kayden

I must confess that prior to “In The Grace Of Your Love” I wasn’t at all familiar with The Rapture’s repertoire of songs. My only prior knowledge of the band’s existence was seeing their name on an array of music festivals posters from the last few years. Even with my former lack of familiarity of the band’s sound, I’m now aware that this record marks the restoration of The Rapture’s dance-punk resonance. Despite an unreleased song specifically recorded a few years ago for the soundtrack to Grand Theft Auto IV, “In The Grace Of Your Love” marks The Rapture’s first record in five years. Now I fully understand the allure the band has had for over a decade. The sweet and soulful sound of the band’s latest resurgence is undeniably apparent with their forth album.

Chill beats, saxophones, stylish and polished to a tee, “I.T.G.O.Y.L.” will have you dancing on the beach in no time. The vibe is electrifying and pure ecstasy. Seriously, the fun rarely eases up and the ride is well worth the price of admission. Earlier this summer, I would have bet everything that Friendly Fire’s electro-pop opus, “Pala” was the top prizefighter for the best danceable rock album. Now it seems a real heavyweight contender has just entered the ring. The track “Come Back To Me” is slick and chilled, but half way into it, it takes an ominous turn. The thick baseline will elevate you from the dance floor. Raw, funky, moody and turbo-charged, The Rapture hits you with everything it’s got in its plentiful arsenal of tricks. Clearly fans of the band shouldn’t be disappointed with “I.T.G.O.Y.L.” and newcomers, like myself, evidently don’t have a reason not to check out their previous material now.

“Sail Away”, “Blue Bird” and the closer, “It Takes Time To Be A Man” are without question the superior songs off the album. However, make no mistake, the rest of the album does a pretty bang up job delivering utter bliss to your ears. As the summer season twiddles down, “I.T.G.O.Y.L.” will lift your spirit up as the fall season becomes underway. It’s a terrific album to close out the summer, but not even for that reason alone. The Rapture has proved that great things happen with a little patience. Although it took a solid five years for the album to come into fruition, it should be duly noted that their efforts are greatly appreciated. Instead of phoning in an underdeveloped album (what bands seem to do these days for their grand arrival back to the music scene), The Rapture appear to be on the right track with what distinctly can be deemed an unexpected, yet tremendous new endeavor.

Grade: 8.2 out of 10
Key Tracks: “Sail Away”, “Blue Bird”, “Children” and “It Takes Time To Be A Man”

Published on September 3rd, 2011 by Mountain Views News.
http://mtnviewsnews.com/v05/htm/n36/p11.htm

The War On Drugs - "Slave Ambient"

Artist: The War On Drugs
Album: Slave Ambient
Label: Secretly Canadian
Release Date: August 16, 2011
Review by: Sean Kayden

The War On Drugs have already had a tumultuous early career. Adam Granduciel and Kurt Vile displayed a communal bond for classic rock and reflective storytelling. In the forefront, they were setting out to make great American rock music. Raw, guitar-driven, and with a knack for gritty songwriting, The War On Drugs were onto something magnetic. After dropping their much-lauded debut LP, “Wagonwheel Blues” in 2008, three of the five members left the band. This included co-founder, Kurt Vile, who released a critically acclaimed album this year entitled, “Smoke Ring for My Halo”. Instead of disbanding, co-founder and vocalist, Adam Granduciel recruited drummer Mike Zanghi making The War On Drugs a three-piece rock band. With a new perspective on things, Granduciel went from co-pilot, to full on navigator. The War On Drugs proudly present “Slave Ambient”, the sophomore record from a band that was poised to change 21st century rock forever.

“Slave Ambient” roots lie within the confines of Bob Dylan, Tom Petty and Bruce Springsteen. It’s pure Americana rock and oddly enough, fresh and innovative for this day and age. Whatever fragments of guitar-driven music still exist, The War on Drugs may have the only remaining pieces left to pave a new path for not only themselves, but followers as well. The record kicks off with “Best Night”, the best track off the album (and one of the better songs of the 2011). The initial sound resembles something off a “Broken Social Scene” album, but the comparisons end once Granduciel starts to sing. He has sort of a nasally tone and is lyrically succinct. The image you get when he sings is as if he’s driving on an open, desolate road traveling through the heartland of America and taking it all in. He may not be able to discern where he’s heading or what possibilities may lie ahead, but he’s perfectly content with not knowing so. “Baby Missiles” sounds like something off of Arcade Fire’s “The Suburbs”, but you easily realize this substance is more of a remedy than whatever “Arcade Fire” had subscribed. The twelfth and final track is “Blackwater” and it’s truly spectacular. It may feel like a vintage Bob Dylan song, but Granduciel has enough creative intuitiveness to call this one his very own masterpiece. Holding me back from calling the entire record a masterpiece are the four instrumental tracks that sadly don’t do any favors for the record as a whole. They come and go without feeling like a necessity for the album, but just purely filler. However, the other tunes demonstrate Granduciel as an expressive lyricist and an impassioned singer who means every single word he sings.

“Slave Ambient” is for the believers, the non-conformists, the wonderers, the dreamers, the lovers, the fighters, the optimists, the broken-hearted, and the life-changing seekers. If you’re deep in the hole or just barely crawling out, “Slave Ambient” has your name written all over it. The album is sophisticated and classic rock inspired. It’s a reminder that rock music can mean something once again. It’s unfortunate that this may very well be a sleeper hit of an album and only become discovered by the ones searching for something with more merit than what is on the Billboard Top 40. The War On Drugs is another prime example of how mainstream music doesn’t hold a candle to what independent rock has to offer. If you have a penchant for superior American rock music that is laced with superb songwriting and dazzling guitar-driven melodies, “Slave Ambient” undeniably fits the bill.

Grade: 8 out of 10
Key Tracks: "Best Night", "Come To The City", "Baby Missiles", "Blackwater"

Published on August 20th, 2011 by Mountain Views News.
http://mtnviewsnews.com/v05/htm/n34/p10.htm

The Change-Up Review

"The Change-Up"
Release Date: August 5, 2011
Directed by: David Dobkin
Screenplay by: Jon Lucas and Scott Moore
Rated: R for pervasive strong crude sexual content and language, some graphic nudity and drug use.
Review by: Sean Kayden

As the race continues for the best comedy of the summer, “The Change-Up” may just be the one to hold the throne. While this illustrious status might appear to be grand in nature, one must bear in mind that it’s not like it was going up against stiff competition. Any specific elements that seemed to be lacking in “The Hangover: Part II”, “Horrible Bosses” and “Bad Teacher” (nothing in that film worked at all), is touched upon (at times half-heartedly) in “The Change-Up”. It went for more crudeness than “Horrible Bosses”, it provided more consistent laughs than “The Hangover: Part II” and did everything better than the ill-conceived “Bad Teacher”. The plot of the movie is far from original. It’s about two best friends that live entirely different lifestyles and magically switch bodies after announcing to one another that they wish they had the other’s life. Jason Bateman plays Dave Lockwood, a straight-laced, successful lawyer and father of three. He doesn’t spend all that much time with his wife these days and it has a put a bit of strain on their marriage. Ryan Reynolds portrays Mitch Planko, a single, sort of loser-ish ladies man. It’s briefly shown that he has a stressed relationship with his father, played by Alan Arkin. It is due to the fact that Mitch never grew up and lacks any true responsibilities or motivation. In any event, after a night of drinking (never entering “Hangover” status-like), Dave and Mitch decide to urinate in a fountain. Once they recite the same lines about wanting the other’s life simultaneously, the whole city has a rolling black out. The following morning, they wake up in the other’s body. This occurs within the initial fifteen minutes and after that, the energetic pace of the movie dives into outrageous, ridiculous, and absurd terrain. However, it’s sort of endearing and sentimental too. It’s a wildly uneven ride, but that’s why it kind of works.

The electrifying comedic performances of Bateman and Reynolds are what make the movie become lifted from pure mediocrity. It’s fun to watch these guys playing the type of character the other one usually plays. We’re so accustomed to Jason Bateman playing the same, straight-laced character, such as the one from his beloved TV series, “Arrested Development”. Reynolds is usually the fratboy, too cool for school sort of guy, but plays the reserved and more responsible type. It’s actually refreshing to see if you’re a fan of these two actors (such as I am). Surprisingly so, the supporting women characters were written quite well. Leslie Mann and Olivia Wilde don’t feel like stock women characters for the men to merely just play off of. They are independent, believable and have real personalities. Director David Dobkin, best known for “Wedding Crashers”, is able to get everyone on their A-game. He keeps things wild and unrestrained, but knows (majority of the time) not to go too overboard. However, he probably used a little more CGI than necessary. I guess the new thing for nude scenes is CGI nipples. Hey guys, kind of shame, isn’t it? As I digress, Jon Lucas and Scott Moore, the team behind the first “The Hangover”, wrote the screenplay. They certainly know how keep things fun and vibrant. The script’s pace is swift and generally funny, but not everything here is a success. Sometimes the jokes go a little too far for a laugh and the gross out humor in the beginning may be a turn off for some. There are a lot of F-bombs and while most seem appropriate, the overwhelmingly amount could have certain individuals turned off by it. In the third act, the movie wanders into the obligatory life lesson segment. While we perceptively know where it’s heading, it does however, genuinely feel valid getting there. Needless to say, it does it a hell of a better than the atrocious “Bad Teacher” set out to accomplish.

It’s possible to write off “The Change-Up” as a Hollywood manufactured movie. The premise is as old as dirt and certain plot points seems to be sugarcoated. Strangely enough, the movie is far better than what it is on paper and simply based on the trailer alone. It’s a traditional story kicked up a few notches with its ribald dialect, raunchiness, and distasteful humor, but it actually comes together relatively well. The performances are spot on and that’s credited to Bateman and Reynolds’ ultra strong comedic sensibilities. “The Change-Up” easily provides the most laughs of any of the R-rated comedies this summer. It’s risky and takes chances the other films seem to avoid on doing. While it’s far from perfect and has its share of problems, it’s ultimately satisfying in the way a summer comedy should be.

Grade: 3.5 out of 5

Published on August 13th, 2011 by Mountain Views News.
http://mtnviewsnews.com/v05/htm/n33/p09.htm