MY 10 FAVORITE ALBUMS OF 2012

By Sean Kayden

Another year, another top 10 list. They’re never easy to compile. With a plethora of favorite songs this year, it was very difficult to come up with my personal favorites. Quite a few records fell short of the eclectic list, but in the end the following ten bands released indelible, powerful, and thrilling albums.

10. The XX – “Coexist”

9. The Rest – “Seesaw”

8. Japandroids – “Celebration Rock”

7. The Gaslight Anthem – “Handwritten”

6. Twin Shadow – “Confess”

5. LORD HURON – “LONESOME DREAMS” - The aptly titled Lord Huron’s debut album really strikes a cord with the American people. In the age we live in, lonesome dreams are ever so apparent. “Lonesome Dreams” is a vast, ambitious, poignant piece of music. It echoes along the borders of Fleet Foxes with its harmonies, but they shouldn’t be restrained to just sheer comparisons. While Lord Huron may not be completely treading new ground, they’re at least carving their own path. It seems we’re all figuring how to do so and “Lonesome Dreams” may just be the soundtrack that leads you down it. There is this alluring attribute, a wistful sound that magically spans over the course of the 10-track album. The dreariness of long days and sleepless nights are alleviated thorough this tranquil resonance. It’s the epitome of a true American album and while the revelations exposed may not be all that new, it doesn’t mean they are any less true. The themes of immortality, impending doom, and helplessness blues can be discovered here, but also the whimsical cheerfulness in songs such as “Time To Run.” The record, an even keel of optimism and perennial caution, remains embedded in the blood that pumps out the veins of this album. “Lonesome Dreams” debuted back in October, but it still hummed along to a buoyant summer resonance, but also unequivocally finds itself in the melancholic autumn season. With this hovering layer of hope and idealism on “Lonesome Dreams,” it becomes a place where the heavy hearts, dreamers, and un-conformists can meet and unite as one. 

4. TANLINES – “MIXED EMOTIONS” - Jesse Cohen and Eric Emm, the dynamic duo behind Tanlines, have already been on the scene for a couple years. However, it’s not until now that the boys from Brooklyn have released their debut LP, “Mixed Emotions.” The influences range from pop, indie, dance and even world music. The aptly titled record is exactly what the record feels like—a collection of mixed emotions developed into one of the most vivacious sounding records thus far this year. Despite the customary lyrics, the real attraction is the band’s overall sound and how Emm’s sprightly vocals oscillate with each line. The music absolutely brings the listener to a completely new emotional elevation. The bending of genres is both brilliant and utterly alluring. There is something naturally genial about “Mixed Emotions.” The songs are constructed in such an effervescent, expressive, and earnest manner. I’m not sure if another album this year was filled with so much raw passion, vitality, and ebullience. It’s amazing how everything feels perfectly executed. Tanlines have composed a record with songs that will either have your feet moving to the beats, your mind contemplating whatever troubles you, or your heart finding much needed relief. In the end, “Mixed Emotions” is an outstanding achievement that ultimately makes for a truly incredible debut presentation.

3. PASSION PIT – “GOSSAMER” - Hailing from Cambridge, Massachusetts, electropop darlings Passion Pit find themselves bursting back onto the scene with “Gossamer,” the successor to their 2009 breakthrough album, “Manners”. Simply put, “Gossamer” is pure awesomeness for the summer season. It’s glorious, beautiful, amazing in every aspect. It’s brighter and bubblier than their last outing, which is saying a whole lot if you’re already familiar with their previous material. Passion Pit mixes synthesizers, tweaked post-production vocals, funky beats, the occasional R&B vibe and an overall pop sound that is exceptionally revitalizing. “Gossamer” is a smashingly high-quality record that should cater to both indie and mainstream fans equally. The fun seriously never stops for its 48 minutes of length. While some people may mistake the album for being grandiloquent in nature, I absolutely love the overblown sound. The high flowing energy “Gossamer” brings to the table is not only mind-blowing, but also commendable on Passion Pit’s part. They slow down a bit in the R&B inspired tune, “Constant Conversations”. It’s a welcoming small departure that’s smooth, sexy, and is easily superior to anything that’s been released by artists who are confined to that genre as their dominant stomping ground. Credit is due for Passion Pit for their tremendous efforts of not only expanding upon their artistic abilities, but also pushing the envelope even further. The record outdoes its predecessor in every imaginative way possible and ends up being the closest thing to a pop masterpiece in quite sometime.

2. BEACH HOUSE – “BLOOM” - Dream-pop aficionados, Beach House, have somehow managed to stay within the margins of their genre of expertise, but further expand their dreamy and hauntingly immaculate resonance on their latest record. “Bloom,” comes off the heels of their acclaimed 2010 opus, “Teen Dream,” which wowed critics and fans alike. “Bloom” dazzles and hypnotizes with its atmospheric haze that embodies the ten glorious tracks. The innately organic tone Beach House offers is a marvel to become fully immersed with. There is something truly remarkable to the weightlessness each track plays off. That’s not to say they don’t provide any substance because they do, but attempting to discover this kind of utter beauty anywhere else may as well be a futile task. Darkly layered rhythms and immensely personal, “Bloom” takes you on an ethereal journey. Composed of stunning melodies and a deep complexity of arrangements, the album is a passage to an unearthly reality. Seemingly flawless from start to finish, “Bloom” is exactly what it’s named after—a period of time which sparks the utmost exquisiteness and imagination. The real treat with “Bloom” is the voyage from beginning to end—one I may add, will stay with you far after your return back.

1. MOTORAMA – “CALENDAR” - Motorama are a band hailing from Rostov-on-Don (Southern river port), Russia. Their sound is considered to be post-punk rock, but you’ll unmistakably notice the ‘80s new wave style blended into their unique style. However, to lump them into any genre isn’t fair. “Calendar” features ten remarkable tracks. The consistency of the album is astounding. That’s not to say the band plays anything too safe because they hardly ever do. Their talent of crafting soothing and peaceful melodies is rather astonishing. Rarely can a group put you in a perpetual reverie state like the way this five-piece band does. There is no denying how their sound induces a strong presence, one that needs not to be ignored or freely dismissed. If you’re looking for some of the best music offered in any country, look no further than Motorama. These guys will shock you on how great they are. , Motorama will completely surprise you on every track. Their sound is sweet and while it gallops fluently, it will draw you in like a strong vortex. Listening to their sophomore album, “Calendar” is like heading to unknown terrain. You don’t know what you’ll discover, but when you do find that something, you’ll realize it’s exactly that very thing you’ve been missing all along. “Calendar” brings you an arsenal of pensively twee pop tunes. There’s no lack of warmth, heart, or soul. Everything found on the album was unexpected pleasure matched with unparalleled beauty. With some of the best sounding arrangements I’ve ever heard, Motorama’s follow-up album, “Calendar,” is an extraordinary accomplishment on all levels of production. This isn’t just the best album of the year, but one of the greatest albums in quite sometime.

Published by Mountain Views News on December 22nd, 2012
http://mtnviewsnews.com/v06/htm/n51/p11.htm

"Killing Them Softly" - Review

Written and Directed by: Andrew Dominik

Based on the novel “Cogan's Trade” by George V. Higgins

Rated R for violence, sexual references, pervasive language, and some drug use

Release Date: November 30^th, 2012

Review by: Sean Kayden

Have you ever been so amped up to see a movie after initially seeing its trailer? That was the case for me with “Killing Them Softly.” An apparently badass, old school crime movie destined to be a memorable one, if not a classic. On the contrary, I quickly found myself in a theater utterly disinterested by the political undertones, straightforward storytelling, and the way things were heighten so greatly, they simply came across as phony. When writers attempt to tell a tale about the enigmatic crime underworld with the involvement of gamblers, degenerates, and derelicts, most appear to have no real life experience with the potentially dark environment. That’s the problem with Andrew Dominik’s adapted screenplay. Perhaps, I’m being too critical, but something is awry when you’re shaking your head at characters’ choices and feeling a sense of bewilderment by the actions characters would take to solve a problem. “Killing Them Softly” looks beautiful, but physical appearance wears off thin. Underneath the aesthetics, you have a one-trick pony that’s riddled with clichés, buried with political drivel, and about as monotonous as watching paint dry.

“Killing Them Softly” begins with a man named the “Squirrel” (an owner of a dry cleaner) who hires two lackeys for an easy, “get in-get out” job. They are going to hit up a poker game hosted by Ray Liotta’s character, Markie. By the way, Ray Liotta is about as washed up as the cities Hurricane Sandy just pummeled through. He offered nothing and is only associated with this movie because Liotta is a perennial wise guy. As I digress, the reason it’s described as an easy, no strings attached job is because a few years ago Markie hired two guys to rob his own game. Not too long after, high on his own supply in a sense, Markie professes what he did at a random poker game to others. They all had a good laugh until word got back to a man named Dylan and his muscle, who apparently are the enforcers at these back alley gamers. They don’t take too kindly to the news and rough up Markie a bit. Therefore, if Markie’s game gets hit again, all fingers will point to him.

After these two lost souls do the deed, Markie gets some heat from the guys upstairs. This is where Brad Pitt’s character comes in. They realize Markie probably didn’t do it, but someone must pay. Shortly afterward one of the guys who part took in the poker bust, a heroin addict of all people, gloats about what he did to a guy who works for this mysterious man named Dylan (played by Sam Shepard). Dylan handles these dire situations where someone must pay for their wrong doings. Long story short, Brad Pitt’s too cool for school character must take care of the two guys involved as well as the “Squirrel” who orchestrated the heist. He brings in James Gandolfini, an old school hitman looking for work by figuring this is a two-man job. With recession prices to boot, they get Gandolfini for less than he normally would ask for. Anyway, his character Mickey is obscene, rude, and a perpetual drunk. He’s only in two scenes, but they are the longest and worst scenes in the movie. He goes on a tirade about his previous heydays, women he’s fornicated with, and whatever else that is still holding him together. Bottom line, Gandolfini’s outing is embarrassing and sadly one that’s reminiscent of his old alter ego, Tony Soprano. He’s gone from the movie rather quickly, but by that time, you’re already feeling the pain from sitting through the first hour or so.

You can argue all you want that the picture is a lot deeper than what appears at face value. However, if you want be reminded about the recession then just open up any US circulated newspaper or better yet take a hard look at your own financial structure if needed. Brad Pitt may be smooth as silk but even is strong presence can't overtake the barebones storytelling, incompetent character decisions, and serious lack of thrills and chills. The only redeeming quality of the film perhaps takes place in the final scene. Brad Pitt’s character Jackie goes on rant about Thomas Jefferson and his hypocrisy and President Obama's outlook on the American people. Jackie boldly states America not being a country but a business. It’s definitely a thought provoking claim on how what this country is transitioning into, which is a pitiful scenario nonetheless. This may cause ire for many viewers, but same thing goes for those anticipating a great 21st century crime film this holiday season and instead come away with a big lump of coal. I rather be killed off softly than sit through “Killing Them Softly” for another go around.

Grade: 1.5 out 5

Published by Mountain Views News on December 15th, 2012
http://mtnviewsnews.com/v06/htm/n50/p12.htm

"Silver Linings Playbook" - Review

Written and Directed by: David O. Russell

Based on the novel by: Matthew Quick

Rated R for language and some sexual content/nudity

Release Date: November 21^st, 2012 (limited)

Review by: Sean Kayden

When the first trailer debuted for Silver Linings Playbook, I had my reservations about it. It seemed too nice, too safe, especially for writer/director David O. Russell (The Fighter, I Heart Huckabees, Three Kings). I was also afraid of it being a formulaic quintessential Hollywood romantic comedy. While the ending was predictable, it was the finale you were rooting for all along. What separates this picture from others in the genre are the strong multifaceted characters, the impeccable balance of both drama and comedy, and keen sense of insight on the subject matter at hand. Silver Linings Playbook is a strong showcase in all aspects—intelligent writing, perceptive direction, and razor-sharp efforts from the talented ensemble of actors.
     Bradley Copper plays Pat Solatano, a substitute teacher getting released from state institute for beating up the man his wife was cheating on him with. Determined to turn his life around, Pat will do whatever it takes to win back his wife despite the circumstances that stand in his way. However, he isn’t allowed to speak to her because of a court-ruled restraining order due to his violent nature and temperamental mood swings. In the mean time, his mother and father want the best for their son and have him be a part of their obsession with the Philadelphia Eagles. Pat’s dad, played by Robert DeNiro (seriously his best role in years and one worthy of a supporting Oscar nomination) is a superstitious bookmaker. His superstitions play a significant role in the film, but ultimately he just wants to reconnect with his son, who’s seemingly lost and driven to get his wife back that may not even love him anymore. However, Pat meets Tiffany, a girl with her own baggage and deeply ingrained problems after the death of her husband. The two individuals form an unconventional and rather unlikely friendship after Pat reluctantly agrees to team up with her for a dance competition. In return she gives a letter he wrote to his wife. With the Philadelphia Eagles season on the line, the dedication it’ll take for Pat to practice for this dance competition and the unreserved optimism in him that his wife will take him back, the movie’s storylines blend effortlessly together. Silver Linings Playbook is more than a character-driven story, it’s exceedingly far more gratifying than a typical rom-com, and with characters you actually care about and root for, the overall package is undeniably difficult to dismiss.

What easily could have been a tame and rather lame one-dimensional dud ended up being an invigorating, emotionally packed gem that is brutally honest, sincere, quite humorous and surprisingly uplifting. The film has everything you could possibly want: drama, laughter, romantic elements, family dynamics and the sense of authenticity within each and every supporting character. For a film that tackles the themes of changing your life for the better and finding that silver lining, it truly exceeds on nearly all accounts.

Grade: 4.5 out of 5

Published by Mountain Views News on December 8th, 2012
http://mtnviewsnews.com/v06/htm/n49/p12.htm

Night Moves - "Colored Emotions"

Artist: Night Moves

Album: Colored Emotions

Label: Domino Records

Release Date: October 16, 2012

Review by: Sean Kayden

The Twin Cities natives Night Moves have a smooth take off on their first endeavor, “Colored Emotions,” but their flight has some turbulence along the way. Luckily, there’s no crash landing and come out of that rough patch in one piece. With the combination of 70s glam rock and pop-country flair of late 80s/early 90s acts to alternative rock of the early 2000s, Night Moves occupies a lot of style with a decent amount of substance to boot. At only ten songs, three of which are less than two minutes long, the album demands to be listened in its full entirety. Luckily, it’s a breezy and mostly consistent voyage from beginning to end. There are a lot of transitions that are powerful and moving, but the sum of the album is greater than its parts. Despite that, there’s a lot of fun to be had on the debut record. Not only does Night Moves connect to their generation, but also effortlessly evoke the sounds of previous one too.

A bit of country, a bit of soul, and a lot of soft rock, Night Moves feel like their from another era and I am perfectly content with that. You can’t really pinpoint the exact sound of the band since they have discernable influences that are all over the board. In today’s music Night Moves is a mix between glam-psychedelic rockers MGMT and freewheelin’ folk-rock aficionados, My Morning Jacket. The Eagles and Fleetwood Mac would fit the bill as the band’s earlier influences. Listening to “Colored Emotions” doesn’t require much attention, but if you do attentively take note, you’re actually in for quite a refreshing sound for today’s era. If you take it at face value, you may appreciate the sounds of the past three decades, but if you rather just listen to a band from those years, you might as well take heed and seek another different music outlet.

The best track is the opener, “Headlights.” It begins like a classic 70s jam and simply hooks you in with its build ups and drop offs consistently running through the track. Lead singer John Pelant has quite the falsetto range. There is something quite charming underneath those vocals. He may not use them to the fullest extent, but nascent vocals nonetheless. While there is so much personality layered under “Colored Emotions,” you start to wonder if it’s entirely original or just mimicking those of others it admires. Nevertheless, with a solid combination of sensitive pop melodies, solid songwriting, and seasoned sound, Night Moves could be your guiding light to the past. What I mean is that they may make you seek out the sounds of earlier days.

The album is full of mercurial hooks, warm undertones, and soulful vocals. The more you listen, the more you connect. It’s the kind of record you wish there was just a little more to put it over the edge. With only 7 normal duration tracks, the album is short-lived. However, with wonderful arrangements and effervescent choruses, the record has great depth despite the relatively limited length. Night Moves’ “Colored Emotions” is as compelling and tender as it is green and undercooked at times. Without a doubt it is a considerably solid first outing. Big ideas and mighty musical explorations leave the Minneapolis three-piece to be a gifted band seeking to ascend from the shadows and enter newfound light.

Grade 7.5 out of 10

Key Tracks: “Headlights”, “Country Queen”, “Only A Child”, “Family Tongues”

Published by Mountain Views News on December 1st, 2012
http://mtnviewsnews.com/v06/htm/n48/p12.htm

LOOKING BACK AT ONE OF THE BEST ALBUMS OF THE LAST DECADE

Review By: Sean Kayden

I don’t know what’s more shocking, how Interpol’s stellar debut album came out 10 years ago or the fact it still can stand toe-to-toe with any rock album released today. While the band may be on an extended hiatus (anyone’s guess if they’ll regroup), I wanted to go back to the period when this album came to light. I was a freshman in high school when “Turn On The Bright Lights,” a post-911 record by a foursome band hailing from NYC at the time was released. I distinctly recall a precise moment in my life when I was in a car when the radio was playing good music and the DJ hailed “PDA” by Interpol the best song on the airwaves after it ended. In a rare occurrence, the man on the radio was absolutely right. Incidentally, what he failed to mention was that the entirety of the album was something quite grand and deeply majestic. “Turn On The Bright Lights” was a game changer. As rock music was slowly decaying, the 90s alternative/grunge era was fading out, and indie rock on the rise, Interpol’s introduction couldn’t have been at a more ideal time. With their sophisticated panache, dark lyrics, and post-punk revival sound, the quartet was doing something very few bands at the time ever succeeded upon accomplishing.

Eleven tracks clocking in just shy of 49 minutes, the opus was effectively powerful and demonstrated complete catharsis. The cacophonous guitars, unexpected tonal shifts, and skillfully cadenced flow shined throughout. The record was extremely layered and rarely do any songs feel redundant in their resonance. There are the more slow-burn tunes like “Untitled,” “NYC,” and “Hands Away.” Then there’s “Obstacle 1,” a shimmering, commanding song that showcases Paul Banks’ stark and drone-like vocals in the absolute best way possible. His vocals are reminiscent of the 80s band Joy Division—a downbeat sort of delivery that touches on both dramatic and harrowing elements. When “PDA” begins, the record is taken to new heights. It’s a fierce tune that is utterly in your face and you have no problem with that. There is this intangible cool factor to it that is incomparable. Even Interpol themselves were never able to replicate. Despite the fact that “Turn On The Bright Lights” has had ten years now to collect rust and decompose, the sound of the record feels more sprightly and refreshing than ever before. I must forewarn you when listening to this record again, you may experience extreme nostalgia and yearn for another place and time—possibly to the first time this sound wonderfully graced your eardrums.

There is such a strangely intoxicating fog that hovers over the record. Lyrically distance and cold, but also uplifting and boisterous, the bands songwriting really shines. It’s as if you can sense the blood, sweat, and tears that went into this masterful work of art. Undoubtedly, it’s one of the most fervent albums of the past decade and one that seemingly can stand the test of time. At the end of the day, for me at least, it’s not a perfect album. A near perfect album? Sure. The problem is the song “Roland,” a punk rock type of song with unpleasant discordant vocals and unappealing music arrangements. The song saves itself in the final stages when it becomes instrumental as Interpol once again turns heads and delivers their typical wow factor. There are some other minor complications, but as far as debut records go, it’s in a league of its own. However, even in spite of being only a debut, the album just works on all levels, something you noticed more in seasoned veterans. “Turn On The Bright Lights” is dark, menacing, tender, and drenched in unconventional beauty. It will be talked about in another ten years. And probably another ten years after that. Trust me as I tell you that this, my friends, is a classic album never to abandon and one never too late to discover for the first time, no matter how well it gracefully ages.

Grade: 9.5 out of 10

Key Tracks: “Obstacle 1”, “PDA” “Say Hello To The Angels”, “NYC”, “Stella Was a Diver and She Was Always Down”

*NOTE: Turn On the Bright Lights (10th Anniversary Edition) will be released on December 11^th, 2012 through Matador Records. The set includes a disc with bonus material like unreleased demos and b-sides.

Published By Mountain Views News on November 24th, 2012
http://mtnviewsnews.com/v06/htm/n47/p10.htm

Motorama - "Calendar"

Artist: Motorama

Album: Calendar

Label: Talitres

Release Date: November 6^th, 2012

Review by: Sean Kayden

It’s not everyday where you come across a musical group that absolutely blows you away. Granted, there are many acts one may enjoy, but I’m talking about hearing a song (and eventually the entire album) that makes you feel like your listening to music for the very first time in your life. I strongly believe this moment of sheer enlightenment or bliss or whatever you want to call it happened to me. I present, Motorama, a band hailing from Rostov-on-Don (Southern river port), Russia. Their sound is considered to be post-punk rock, but you’ll unmistakably notice the ‘80s new wave style blended into their unique style. However, to lump them into any genre isn’t fair. Their music speaks louder and means more than the confinements to any specific type of category. The strange thing is the band’s lyrics are all in English. They’re completely unknown stateside and are signed to a French label. As far similarities go, the band’s music evokes the sounds of The National, Interpol, and Joy Division with a dash of chillwave sprinkled on top. These obligatory comparisons are drawn on the basis of the singer’s strong vocal resemblance to the lead singers of these bands. The vocals are stark, deep, and carry much emotional weight. However, what really stood out to me were the wondrous arrangements that are dreamy, light, and float effortlessly in each and every song. Like I previously mentioned, Motorama will completely surprise you on every track. Their sound is sweet and while it gallops fluently, it will draw you in like a strong vortex.

“Calendar” features ten remarkable tracks. The consistency of the album is astounding. That’s not to say the band plays anything too safe because they hardly ever do. Their talent of crafting soothing and peaceful melodies is rather astonishing. Rarely can a group put you in a perpetual reverie state like the way this five-piece band does. There is no denying how their sound induces a strong presence, one that needs not to be ignored or freely dismissed. If you’re looking for some of the best music offered in any country, look no further than Motorama. These guys will shock you on how great they are. Of course everything is subjective, but I’m telling you, if you’re a fan of any kind of rock music, Motorama is your next favorite band. Listening to their sophomore album, “Calendar” is like heading to unknown terrain. You don’t know what you’ll discover, but when you do find that something, you’ll realize it’s exactly that very thing you’ve been missing all along. Motorama is the band absent from your car’s CD player, your computer’s hard drive, and your mp3 player’s playlist. Don’t go another day without listening to this exceptionally unmatched band. 

To identify which songs precisely are a highlight from the album is not an easy task because every song is simply marvelous. The opening track, “Image,” is an excellent example of how the record will sound throughout. With it’s danceable, jangly like rhythm, you’ll get easily lost within the music. Despite how an individual song may open up sounding, Motorama always switches gears and shifts their resonance into something quite heavenly. “Rose In The Vase” is completely stunning. This masterpiece has an exquisite rhythmic sound and a deeply melancholic tone. “Calendar” brings you an arsenal of pensively twee pop tunes. There’s no lack of warmth, heart, or soul. Everything found on the album was unexpected pleasure matched with unparalleled beauty. With some of the best sounding arrangements I’ve ever heard, Motorama’s follow-up album, “Calendar,” is an extraordinary accomplishment on all levels of production. This isn’t just the best album of the year, but one of the greatest albums in quite sometime.

Grade: 9.7 out of 10

Key Tracks: “Rose In The Vase”, “In Your Arms”, “Young River”, “Sometimes”

Published By Mountain Views News on November 17th, 2012
http://mtnviewsnews.com/v06/htm/n46/p11.htm

Chad Valley - "Young Hunger"

Artist: Chad Valley

Album: Young Hunger

Label: Cascine

Release Date: October 30^th, 2012

Review by: Sean Kayden

     Hugo Manuel’s Chad Valley isn’t quite the one-man show anymore with his debut LP. He has a number of guests contributing including romantic doom pop enthusiast, Twin Shadow.  For what it is, “Young Hunger” is a silky smooth, tropical paradise of seductive beats that is carried by the warm vocals Manuel belts out. Far from perfect or even wildly innovative, Chad Valley’s takes cues and notes from previous generations to craft tightly produced material that is utterly danceable and blissful. “Young Hunger” benefits from its supporting players to give variety to the album since Manuel sounds exactly the same on each track. His real talent is the way he mixes his songs. They are considerably accessible which allows the listener to become instantly enthralled with. What evolves is the perfect balance of pop and electronic. Ultimately, Manuel has a keen sense of taking chances when you least expect it. “Young Hunger” won’t rock the boat and certainly isn’t going to blow you away, but the likability factor is huge and the fun, sweet vocals, and romanticism wrapped tightly around the record should delight fans and curious listeners.

      With ten full length tracks and an interlude, the album clocks in over 42 minutes. It’s a good duration given the genre and especially since things start to sound too alike after awhile. The real treat is “Fathering/Mothering,” which features the vocals of Anne Lise Frøkedal. It’s a slow, methodical, and tranquil song that will subdue any negative thoughts you may have. That’s why Hugo Manuel is so damn good at what he does. His music is unbelievably soothing and lovely. While his lyrics aren’t anything to go bonkers over, they are still enjoyable and come across deeply personal at times. There is a subtle sweetness to “Young Hunger.” The first half of the record makes you want to bust a move on the dance floor, but the second half slows you down, puts away the worries for another day. Come to think about it, the record feels like two EPs that make up one LP since how both halves of the album take different directions. The second half of Chad Valley’s solid debut asks you to put aside any problems and concerns for a moment because you can always return to them but why not try to just let yourself go for just a bit. I can definitely roll with and in this day and age, who can’t?

     For the genre it plays into it, Chad Valley is quite the magician. His song often cast spells on its listeners because your body is present, but mind travels somewhere else, somewhere better. On the title track, Manuel is at his undeniable best. The song is a spectacular showcase of tenderness and beauty found within polished beats. Somehow, this guy manages to move you in deeper way ever imaginable with the electronic sound—a genre that quite often expands to very shallow and inept musicians. Unfortunately, Manuel almost falls into this on the track, “My Girl,” where he inexplicably quotes a Spice Girls’ lyric for some odd reason. Other than that noticeable misstep, the guy is pretty legit as an artist. By the end of the record, Chad Valley does an admirable job with what he set out to do. With “Young Hunger,” Manuel covers additional ground than he probably should have since he could have benefited more by taking the shorter, more distinct route rather than weaving through the highways to finally reach his destination. Then again, at least he made it to the end.

7.4 out of 10

Key Tracks: “Tell All Your Friends”, “Fall 4 U”, “Young Hunger”, “Fathering/Mothering” 

Published by Mountain Views New on November 10th, 2012
http://mtnviewsnews.com/v06/htm/n45/p10.htm

"Smashed" - Review

Directed by: James Ponsoldt

Written by: Susan Burke and James Ponsoldt

Rated R for alcohol abuse, language, some sexual content and brief drug use

Release Date: October 12^th, 2012

Review by: Sean Kayden

“Smashed,” tells the cautionary tale about a young married couple who share a mutual connection to music, laughter, and drinking…especially drinking. The film, shot in just one month, first premiered at the 2012 Sundance Festival. It’s a very small human story and how the effects of alcohol have on people in all areas of life. While nothing expressed on the subject matter was entirely innovative, it was the small, intimate moments in the film that were great. However, those are few and far between while sometimes the film kind of just flows at steady, tame stream instead of erupting into anything wild and rampant. The lovely Mary Elizabeth Winstead gives a superb, genuine, and breakthrough performance as the protagonist. If anything, her acting prowess is worth the price of admission.

Winstead portrays Kate, an affable 1^st grade teacher who is struggling with her alcoholism (something she doesn’t think is a problem at first). Her husband, Charlie played by Aaron Paul, is an online music journalist that stays home all day writing and you guessed it, drinking. He doesn’t really see his drinking as a problem because frankly it doesn’t have the same negative effect on him, or so he likes to believe. Things start to unravel a bit when Kate vomits in front of her class and the kids inquisitively ask her if she’s pregnant. Without knowing how to answer them sincerely, she fibs by saying yes. She lets the lie carry on, which ultimately is going to be a problem. Mr. Davies (Nick Offerman), the vice principal, knows Kate was drinking (from a flask) prior to class as he spotted her doing so in the school’s parking lot. He confronts her about it, but doesn’t squeal on her. We soon find out this seemingly straight-laced middle-aged man is 9 years sober. He extends his hand out to Kate after things get worse with her extracurricular activities at home with her husband. He suggests accompanying him to AA. With slight trepidation, Kate attends the meeting and it ultimately becomes the first day of her new life. She forms a stronger friendship with Mr. Davies as well as finds a sponsor that’s super supportive. All is seemingly well, but things at home begin to deteriorate.

This was James Ponsoldt second feature film, which he co-wrote with Susan Burke. It’s a fine effort on his part coming from a script that has some weak spots. What really elevated the screenplay came down to the casting. Winstead isn’t going to be nominated for an Oscar, but she should score a much-deserved Independent Spirit Award nomination. She’s absolutely terrific as a young woman trying to save herself from self-destruction. Aaron Paul, mostly known for playing Jesse on the TV series “Breaking Bad,” is solid in this too. He really shines at the end in a deeply moving scene that leaves the viewer somewhat melancholy on their way out of the theater. Overall, I found “Smashed” to be decent and driven from mediocre to better than average with its wonderful lead actress, tender moments, and flashes of humorous lightheartedness. At any rate, the only thing that didn’t make sense to me was how Kate was having the most fun when drinking, but when she stops, it takes a toll on both her personal and professional life. Maybe happiness is neither found in recklessness or pure serenity. It could be that everyone needs to find middle ground between the spectrum of careless and carefree. “Smashed” is something like that, a middle of the road movie that is a reasonably commendable excursion, but the ride could have been so much more worthwhile if the pit stops along the way were extraordinarily out of the ordinary.

Grade: 3.5 out of 5

Published by Mountain Views News on November 3rd, 2012
http://mtnviewsnews.com/v06/htm/n44/p10.htm

FIVE SONGS TO DOWNLOAD THIS MONTH

By Sean Kayden

Chad Valley – “Tell All Your Friends” - Lush melodies buried within a tropical heaven,  “Tell All Your Friends” is one of eleven gems you’ll find on Chad Valley’s debut record, “Young Hunger” due out on Oct 30^th, 2012. What very well could be the future of R&B, one-man show Hugo Manuel delivers a vibrant listening experience that trickles with sentimentality and glittering arrangements.  Soaked with tender electronic beats and an 80s vibrancy, “Tell All Your Friends” is the ideal fall song—soft and mellow, but just enough haze to get you lost in the music without ever wanting it to end.

Letting Up Despite Great Faults – “Take My Jacket, Pauline” - Unite the fuzziness of shoegaze and the tranquility of indie dream-pop and you’ll have, “Take My Jacket, Pauline,” the new song off the album “Untogether.” The sleepy but sweet sound of the foursome band is pure euphoria for the ears. Once again, we have a band taking bits and pieces from 80s British pop and 90s alternative rock to craft their own distinct resonance. For fans of M83 and The Pains of Being Pure At Heart, Letting Up Despite Great Faults navigates through the depths of daydreaming and ultimately reaches one’s own emotional core with their reflective lyrics and swirling melodies.  “Untogether,” the self-released sophomore LP was released just a few weeks ago. Be sure to seek this one out, people.

Peace – “Your Hand In Mind” - While this band is too influenced by an 80s sound, it’s by a different breed of groups than the first two bands on this list. More in vein of Joy Division and Gang of Four, Peace is a four-piece post-punk group that hails from the British Columbia. With the accessible pop-induced tune, “Your Hand In Mind,” the band channels The Smiths more so than other influences. However, don’t take the band for carbon copies. They bring a certain edge and new flavor to the scene that is quite lacking. Furthermore, their second LP, “The World Is Too Much With Us,” oscillates between a razor-sharp punk rock existence that dabbles with dark and ominous tones to a largely less intruding sound that makes the listener at hand never put off by the atmosphere, but also never expecting anything ordinarily dull.

Tamaryn – “Afterlight” - Girl/guy dream-pop duos are flooding the indie scene, but that doesn’t mean they’re all alike or equally as good. Tamaryn (which is the name of the female vocalist hailing from New Zealand) and her collaborator Rex John Shelverton combine the likes of shoegaze and psychedelic. While the most notable similarity draws from their influencers like Cocteau Twins and Slowdive, however, the most contemporary band they share a common sound with is Beach House (another female/male twosome). “Afterlight,” which comes directly from the band’s second album, “Tender New Signs” is a slow, utterly beautiful showcase of haunting vocals and a rich, fully layered sound with a hypnotic array of churning guitars. Tamaryn has the true ability to pull you in deep and even an easier time keeping you there.

Lord Huron – “Lonesome Dreams” – Right from the get go, there is this jovial, optimistic sound that plays when you first start listening to this track. When the lyrics kick in, you notice they’re a bit on the reflective side. They describe an adventure with no destination in sight because we’ve all learned by now it’s about the journey, anyhow. Lord Huron hones in on folk-pop aesthetics but messes around with it enough to develop a truly unique style to call their own. “Lonesome Dreams” shares the name of the band’s debut LP and after two low profile EPs, Lord Huron has burst onto the scene with a majestic, entirely enchanting introduction full length record. As for the song I’ve mentioned here, it will please any fans of Fleet Foxes and My Morning Jacket, but newcomers should feel free to enter the arena as well. Ultimately, you too will become enthralled with the band’s western resonance, their vivid storytelling and that supreme feeling of conquering anything that may be standing in your way while listening to each and every song of theirs.

Published by Mountain Views News on October 27th, 2012
http://mtnviewsnews.com/v06/htm/n43/p12.htm

SEVEN PSYCHOPATHS Review

Directed By: Martin McDonagh

Written By: Martin McDonagh

Rated R for strong violence, bloody images, pervasive language, sexuality/nudity and some drug use

Release Date: October 12^th, 2012

Review by: Sean Kayden

“Seven Psychopaths” is the second feature film from writer/director Martin McDonagh (“In Bruges”). The crime/comedy film has its moments and it’s humorous in bits and pieces, but after a strong opening half, it tends to lose its way a bit in the second half. When watching a movie like this, you really need to suspend your disbelief as well be cool with such implausible events. McDonagh definitely tries to stray away from clichés and conventional setups, but sometimes those things work for a reason. While he may seem a bit more daring with his sophomore film, the entire storyline feels flimsy and too loosely strung together. Sure, the performances are a joy to watch and there is originality and creativity to commend, but if you’re looking for substance and plausibility, you won’t find all that much here.

The movie stars Colin Ferrell as Marty, a struggling screenwriter trying to finish (mostly start) his latest project called “Seven Psychopaths.” The always reliable and stand out performer of the bunch, Sam Rockwell, portrays Billy Bickle, Marty’s best friend. Billy, sporadic, optimistic, and downright goofy is an unemployed actor, who moonlights as a part-time dog thief. His partner-in-crime is Hans (Christopher Walken), a 60-something year-old religious man with a dark and vicious past. Billy wants to help Marty with his screenplay, but Marty isn’t too keen on the idea. Hans, in the meantime, visits his wife at a cancer ward. Billy ends up kidnapping a Shih Tzu. However, we soon find out this isn’t any old Shih Tzu, but one belonging to Charlie, a gangster with issues played by Woody Harrelson. Charlie’s henchmen find out about Hans being in the dog kidnapping business. They seek him out one day as he is returning another dog to his rightful owner (for the reward). When they take him back to the warehouse where Hans and Billy keep the dogs, the Shih Tzu isn’t there, but Marty is after getting kicked out of the house by his girlfriend (a completely wasted role for actress Abbie Cornish) for calling her a “bitch” in front of all her friends at her own house party the night before. Marty knows the dog they’re looking for is at Billy’s house, but Hans, who is just meeting Marty for the time, tells him not to say a damn word. Marty, a self-proclaimed pacifist doesn’t like violence and is about to spill the beans before a mysterious man, with a mask covering his face walks in and kills the two bad guys. The man leaves behind two jack of diamond playing cards. This character is shown in the first scene of the movie, killing two unrelated bad guys in an undisclosed area. All we know about him is that he was in the newspaper and Billy told Marty to use this character for one of his “seven psychopaths.” After the mysterious man does his thing, Hans and Marty meet up at Billy’s house, where they figure out their next move. Obviously, we’ll reach a final showdown with the three men and the gangster. There are a few things that take place between then, something involving Hans’ wife, a “self-described psychopath”(Tom Waits) wanting to share his story with Billy (who posts an ad in the LA Weekly calling for all psychopaths to share their stories that may be included in a screenplay) and a Vietnamese priest seeking vengeance. With all these whimsical things going on, the fun level is kept high, but it overstays its welcome. The main storyline, with the kidnapped dog, suffers as the film heads into the third act.
     Don’t get me wrong, the cast is wonderful, especially Rockwell, who seems to continuously steal the show in every movie he appears in. However, there really isn’t much backstory to the characters (except for Hans). We have no idea how Marty and Billy became best friends or how Billy and Hans ever got together in the dog kidnapping business. I feel the movie was more concerned with quirky moments, fun one-liners, and non-conventional resolutions rather than a having solid, thought out plot. It goes without mentioning that the three female characters were utterly wasted and contributed truly nothing for the film. It wasn’t any of the actresses’ faults, but they just had barely any noteworthy material to work with. When the dust settles, “Seven Psychopaths” ends up being a decent time at the theater. There’s not a lot of replay value and it’ll probably have more of a cult following than a massive reception. Honest opinion, just wait for Netflix or the Blu-ray to catch this one at home.

Grade: 3 out of 5

Published by Mountain Views News on October 20th, 2012
http://mtnviewsnews.com/v06/htm/n42/p12.htm

Sun Airway - "Soft Fall"

Artist: Sun Airway

Album: Soft Fall

Release Date: October 2nd, 2012

Label: Dead Oceans

Review by: Sean Kayden

     In 2010, Sun Airway released their stunning debut album called “Nocturne Of Exploded Crystal Chandelier.” However, in spite of what the pretentious appellation may convey, the album itself was an ethereal but lively infusion of electronic and dreamy pop rock. With a significant task at hand to follow up with another great album surely poses the question, does the band have any artistry left over? The short answer is yes. While the genre has been beating to a bloody pulp by the multitude of bands tying to find the success of electronic aficionados Animal Collective and M83, Sun Airway has always struck me as a band that was never trying to replicate any sounds of bands before them. They simply have a deep predilection for lavish synths, fuzzed out beats and ambitious pop songs, which shouldn’t be held against them for any reason. 

     Main player Jon Barthmus’ singing is loose and somewhat lackadaisical sounding. The Chris Martin-esque vocals are peaceful and pretty. The sounds of Sun Airway are really easy-going, which often leads to songs whizzing by without realizing a song ended and a new one has started. That’s not to say the songs are fast paced, but if you multi-task while listening, you may not even become conscious of the song change. Barthmus’ singing has always seemed to take a backseat to the music, but with the sophomore record, “Soft Fall,” it doesn’t feel entirely secondary all the time. Between the two albums, the differences aren’t too noticeable at first listen. On repeated listens, I discovered Sun Airway honing their craft more so than ever. While the debut was a rapturous experimental treat, the follow up record sounds more like a band feeling at ease inside their skin. Instead of feeling like newcomers to the party, Sun Airway is now hosting the shindig. The songs here have this fragility stitched to them as if each song is cautious and attentive. From the distance, Sun Airway may enthrall you with its warm sound, but when you come closer, you’re not as likely to feel the same way. It’s still pleasant to the ears yet the tracks just flow right pass you if you don’t pay close too attention. 

     Most songs here need frequent listens before you can get close to them. While no song really stands out like a sore thumb, the consistency of the album is fairly superb. The compilation feels like one complete set of songs rather than random songs strung together to make an unrelated, disconnected record. While things may be difficult for Sun Airway to breakthrough with the masses since the genre is overpopulated, at the very least Sun Airway has originality, creativity, and integrity to boot. Overall, “Soft Fall” is a pretty damn good sophomore album. It may have not hit the same highs of the first record as much as I would have liked it to, but I can respect the noble effort. I think I’ve would have preferred an album not limited to its restraints, but concerned with pushing even further. Perhaps next time Sun Airway will expand their rich alluring sound to the fullest because I still believe the very best is yet to come. 

Grade: 7.7 out of 10

Key Tracks: “Close”, “Laketop Swimmers”,  “Soft Fall” “Black Noise”

Published by Mountain Views News on October 13th, 2012
http://mtnviewsnews.com/v06/htm/n41/p12.htm

Lord Huron - "Lonesome Dreams"

Artist: Lord Huron  

Album: Lonesome Dreams

Label: IAMSOUND

Release Date: October 9^th, 2012

Review by: Sean Kayden

     The aptly titled Lord Huron’s debut album really strikes a cord with the American people. In the age we live in, lonesome dreams are ever so apparent. “Lonesome Dreams” is a vast, ambitious, poignant piece of music. It echoes along the borders of Fleet Foxes with its harmonies, but they shouldn’t be restrained to just sheer comparisons. While Lord Huron may not be completely treading new ground, they’re at least carving their own path. It seems we’re all figuring how to do so and “Lonesome Dreams” may just be the soundtrack that leads you down it. There is this alluring attribute, a wistful sound that magically spans over the course of the 10-track album. The dreariness of long days and sleepless nights are alleviated thorough this tranquil resonance. It’s the epitome of a true American album and while the revelations exposed may not be all that new, it doesn’t mean they are any less true. 

     There is this sort of “western” vibe implanted into the album. I can’t help but not to envision a cavernous landscape where you’re free to roam to wherever you’d like when listening to Lord Huron. The deep, but new age folk sound is probably why I feel this way. The themes of immortality, impending doom, and helplessness blues can be discovered here, but also the whimsical cheerfulness in songs such as “Time To Run.” The record, an even keel of optimism and perennial caution, remains embedded in the blood that pumps out the veins of this album. Each time I listen to a song over again, I find something new, something worth mentioning. For example, “End of the Earth,” is about taking that leap of faith and seeing where you end up. “What good is livin' a life you've been given, if all you do is stand in one place,” permeates through one’s soul because it’s true and we should all believe in this statement.  

     “Lonesome Dreams” arrives at the ideal time of the year. It still hums along to a buoyant summer resonance, but also unequivocally finds itself in the melancholic autumn season. Once again, there is this perfect balance to the album. While every little sound, nuance, lyric, and sentiment may not work every time, the effort alone deserves praising nonetheless. Singer-songwriter Ben Schneider, the man behind Lord Huron, audaciously steps outside the box that everyone else seemingly jumps into these days. With this hovering layer of hope and idealism on “Lonesome Dreams,” it’s becomes a place where the heavy hearts, dreamers, and un-conformists can meet and unite as one. 

Grade: 8.2 out of 10

Key Tracks: “Ends of the Earth”, “Lonesome Dreams”, “The Man Who Lives Forever”, “Brother (Last Ride)” 

Published by Mountain Views News on October 6ht, 2012

http://mtnviewsnews.com/v06/htm/n40/p09.htm

END OF WATCH Review

"End Of Watch"

Written & Directed by: David Ayer

Release Date: September 21, 2012

Rated R for strong violence, some disturbing images, pervasive language including sexual references, and some drug use

Review by: Sean Kayden

     The dog days of summer may be upon us, but that doesn’t mean we have to settle for the summer leftovers at the Cineplex. End Of Watch, written and directed by David Ayer (Street Kings, Harsh Times) is a shocking, often gruesome portrait of sex, drugs, and money in the nasty streets of LA. The movie follows the lives of two police officers as one of them films their daily routines and adventures through LA for his film class. When the two police officers pull over someone for a routine traffic infraction and discover money, drugs, and guns, they unknowingly become a target for the Mexican cartel as they’ve interfered with their operations. What separates End Of Watch from previous police films is how the cops here are shown as the “good guys”, not shady, dishonest, and corrupt. Secondly, the entire film is shot in documentary-style, with handheld, steady cams attached to most of the actors. With this particular style of filmmaking, Ayer is able to bring a completely visceral and often surreal experience for the viewer. You feel as if you’re right there with them in a ride-along. Speaking of ride-alongs, both leads, Jake Gyllenhaal and Michael Pena went through intense and grueling training for their roles. Both thespians took their roles seriously and wanted to provide authentic performances as their portrayal of two hardcore street cops. Films about cops over the last few years have suffered from clichés and tedious pacing like last year’s stiff “Rampart” and the dreadful 2011 Sundance dud, “The Son Of No One.” Even Ayer himself has had a few missteps within the world of police officers after writing his masterpiece, “Training Day.” However, this time around, Ayer has rebounded in making not only the best cop film arguably since “Training Day,” but also one of the best films of 2012 period.

     Jake Gyllenhaal and Michael Penn are partners in the LAPD as well as best of friends. Their friendship is stronger than anything and they would take a bullet for one another. Pena plays Mike Zavala, a husband and new father, who seeps into his role effortlessly. Zavala is fierce, but loyal. He doesn’t back down to anything or anyone. He’s the guy you want by your side when things get heavy and out of control. At the same token, he provides many of the films comedic parts as well as arguably being the emotional core of the movie. While Gyllenhaal may be the most recognizable actor in the movie, Pena’s performance is his absolute finest. The long time supporting character is definitely due for some recognition and with this turnaround should be considered for a best supporting actor nod. Not to be outshined, Gyllenhaal, who’s a fine actor in his own right, gives what I call the performance of his life as officer Brian Taylor. He’s perfect in the role and the chemistry both he and Pena share on screen is phenomenal. These guys and their daily heroics enthrall you, even if the two guys never feel or consider themselves as being heroes. Between the action, chummy dialogue, and police procedures, there are the love stories. You have Zavala becoming a father to the woman he’s been with since high school. Taylor becomes involved with a woman named Janet, played by the lovely Anna Kendrick. These scenes show the men out of their uniforms, their strong bond to one another, and the normal lives they attempt to lead. While sometimes these external sequences may interrupt the flow of the action, they do supply the audience with the realism of their existence. If anything, it makes the film more authentic.

     In all honesty, there’s really nothing I can say negative about this film. Maybe the only quarrel is the central storyline being a bit light. The storytelling structure is unlike most films. Instead of some huge story arc, there are random, daily events happening for the partners. After I think about it, Ayer does do something different with putting much of the focus on the cops rather than the “bad guys.” You know the villains are ruthless. They may not have much of a personality besides being evil and to get invested in their lives would unnecessarily expand the film too much. There are a plethora of other films you can view to see the why bad people make bad choices in the first place. Anyway, without a doubt, the audience will be distressed by some of the images they’ll witness. The final scenes are brutal, haunting, and will knock the wind out of you. There is one curious decision Ayer makes in the closing scene. When you think the movie is about to conclude, there’s one more little anecdote to tell. While it may not appear entirely pertinent, it does, however, leave you a bit happier than you just were merely five minutes before. Ayer’s decision to do this is somewhat bold and unpredictable. But everything Ayer does is here is bold and unpredictable. End of Watch is the real deal and arguably the first great American film of 2012.

Grade: 4.5 out of 5

Two Door Cinema Club - "Beacon"

Artist: Two Door Cinema Club  

Album: Beacon

Label: Glassnote

Release Date: September 4^th, 2012

Review by: Sean Kayden

     “Tourist History” was a buoyant, lively, and stunning debut from the young Irish band, Two Door Cinema Club. The band garnered praise from both supporters and most critics to make the transformation from under-the-radar players to full fledge all-stars. Now nearly two and a half years later, the three-piece pop-rock band find themselves trying to reinvigorate their 2010 sound. It pains me to say that after a solid introduction, Two Door Cinema Club can’t figure out which direction to head. While the listener may enjoy some pit stops along the way, ultimately, their second LP is an aimless exploration that’s sorely unrewarding.  Maybe it’s the sonically polished, yet tiresome pop sound that merely just doesn’t do it for me anymore. Whatever the case may be, “Beacon” is the epitome of the sophomore slump.

     The reason why this effort seems to wander and be disoriented is the sheer fact that the band has stated how “Beacon” begins where “Tourist History” left off. Instead of a brand new story, we’re just getting another chapter of the same old narrative. At just shy of forty minutes, the record is relatively short, but feels lengthy because some songs are simply flaccid. Despite some heavy emptiness, there is the occasional song or two that has you remembering just why you were a fan of Two Door Cinema Club in the first place. One of these songs is “Settle,” a slower and more heartfelt song for a band with a partiality to frenzy type arrangements. “Settle” is a rare song off “Beacon” that demonstrates the group’s artistic talents aren’t simply one-dimensional, but dynamic and multifarious. Following in tone as well as track order is, “Spring.” The aforementioned tune is another lovely and mellower resonance. If only Two Door Cinema Club had more songs like these then maybe this new album as a whole would be completely fulfilling. The first single, “Sleep Alone” sounds like something off “Tourist History” but it’s immediately amicable. “Next Year” is another track that bares strong similarity to the band’s first album. There’s much to enjoy with its catchy riffs and its impeccable way of being so smooth and jovial. However, it’s one more reincarnation of something off of “Tourist History.” In essence, you like it on one hand, but soon realize the best songs are just retreading the same ground already planted two years ago.

     

     The problem with many of the other tracks such as “Wake Up,” “Sun,” and “Beacon” is how formulaic they are. There’s no “it” factor that separates these songs from the other tracks or songs from different bands competing in this congested genre. I came away discovering that Two Door Cinema Club may benefit much more with songs that are a bit dreamier and that slowly transition from mellow to fast-paced then back to a nice calm state. As far as themes go, you have the typical subjects like remaining optimistic despite heartbreak. While the songs remain mostly upbeat and positive throughout, there are shades of darkness in lyrical choices. Two Door Cinema Club are a fine band, but in the end, they didn’t accomplish all that much to put them leaps and bounds above the competition. Unfortunately, with “Beacon” the band sounds like they’re imitating the imitators.

Grade: 6.3 out of 10

Key Tracks: “Sleep Alone”, “Settle”, “Spring”

Published by Mountain Views News on September 22nd, 2012
http://mtnviewsnews.com/v06/htm/n38/p11.htm