Wild Cub - "Youth"

Artist: Wild Cub

Album: Youth

Label: Big Light Recordings

Release Date: August 14^th, 2012

Review by: Sean Kayden

Everywhere you turn these days, it seems yet another synth-pop group has entered the already overly crowded arena. With many imitators and not enough innovators, it’s difficult to find something genuinely exceptional. Without coming off completely bias with my predilection to this particular resonance, I decided to give Wild Cub’s debut album, “Youth” an honest listen. During my first go around I noticed how there is something inherently breezy and blissful about this record. Perhaps, I fell victim to my own penchant for this style of music. After moderate reflection on this superbly produced and studio-like generated compilation, I consider Wild Cub sounding like everything else out there, everything that’s more or less good, anyway. At the end of the day or simply at the conclusion of the album, you won’t be changed or feel all that much different. However, the time spent in the world of “Youth” could be far worse anywhere else because singer Keegan DeWitt and multi-instrumentalist Jeremy Bullock bring the nostalgic factor to a new high. Sometimes the album feels a bit one-dimensional, but when the sound of beauty meets melancholy yet again, mostly, if not all is forgiven.

“Youth” kicks off with “Shapeless,” a slow dance tune that speeds up into this anthem of recaptured love. The next track is “Colour,” a song that should and probably will be featured in indie movies and the edgier Hollywood romantic comedies. It’s fast-paced, catchy as hell, and will pump you up more than you could ever intend on being. DeWitt and Bullock have this praise worthy ability to go from supercharged anthems with a lot of heart and energy to boot to the carefully constructed, soulful melodies of slowly measured tunes. This phenomenon begins on track six with “The Water” and followed by “Drive,” a song that inexplicability reminds me of a cross between the vocals of Damon Albarn of Blur and Greg Dulli of The Twilight Singers. Regardless, “Drive” is a meticulous, slow smoldering, supremely ruminative highlight from the record. It’s easily the best song here and displays the talents Wild Cub clearly have in store for the present and future material.

The first half of “Youth” offers a great blend of swift and leisurely tempo treats. The second half, however, feels a bit of a retread. Nothing terribly wrong with it, but by the time halftime hits, the listener may become a little restless with the lack of surprises. On a brighter note, there are thirteen tracks present, which is more than the ten or eleven songs typically seen on many albums from this genre. Fortunately the closing track “Windows,” another chilled out remedy for the daydreamers, is very, very good. If you make it to the end of the album in spite of the slightly tedious second half (which could be ignored), Wild Cub does leave you with an all around alluring, comforting, and alleviating tune to send you on your way. Wherever that way is will be strictly upon you, but at least Wild Cub provides you with the necessary push to get you started.

Grade 7.7 out of 10  

Key Tracks: “Colour”, “The Water”, “Drive”, “Windows” 

Published by Mountain Views News on August 25th, 2012
http://mtnviewsnews.com/v06/htm/n34/p11.htm

"Killer Joe" Review

Directed by: William Friedkin

Screenplay by: Tracy Letts

Release Date: July 27^th, 2012 (Limited)

Rated: NC-17 for graphic disturbing content involving violence and sexuality, and a scene of brutality

Review by: Sean Kayden

     Director William Friedkin brings, Killer Joe, Tracy Letts’ 1993 play (who also adapted the screenplay) to the big screen. This “totally twisted deep-fried Texas redneck trailer park murder story” depicted on the film poster definitely fits that outlandish description. However, the often lurid and perverse film isn’t what it’s all cracked up to be. Emile Hirsch plays Chris Smith, a twenty something year old lowlife that owes money to a drug dealer. His mother sold his cocaine and he’s in a crucial bind. Desperate for cash, Chris seeks aid from his father Ansel, portrayed by Thomas Haden Church. Ansel, as broke as they come by these days, can’t help his son. Nonetheless, Chris proposes a plan to hire a man named Joe Cooper aka Killer Joe, a Dallas detective, who’s also a contract killer to murder his mother. His apparently good-for-nothing mother, Ansel’s ex-wife, has an insurance policy of $50,000. If they get rid of her, they can split the profit. However, the beneficiary of the will is Dottie, Chris’ younger, impressionable sister played by the lovely Juno Temple. After trying to convince his father at a seedy strip club, the two return back to their trailer park home to further discuss the matter. Dottie, overhears them contemplating the notion and is surprisingly all for it. Problem solved? Not exactly.

     Enters Joe Cooper, portrayed by Matthew McConaughey, who gives an oily slick and almost stoic, sociopath like performance. One of the character’s rules is simple, payment upfront. When Chris tries to explain to him that they’ll get the money after he takes care of his mother, Cooper is about to walk out on them. Until he lays his eyes on Dottie for a second time and suggests a retainer. Faced with the dilemma of giving us his sister, Chris and Ansel without any real trepidation put up Dottie as the retainer, figuring it won’t be that long until they get the money, anyway. After this takes place, the movie begins to unravel into a silly, nearly comical experience.

     The chemistry between characters is so uneven and lack any true spark, especially the scenes between Hirsch and Church. Church’s character is nothing but a buffoon. I’m not sure what it was exactly, but Church’s acting prowess is off kilter and utterly misguided here. McConaughey, on the other hand, is twisted and sick, but it’s difficult to take your eyes off of him. His character is unequivocally the best aspect the movie has to offer, which isn’t saying that much seeing how the rest of it is derivative, unfeasible, and merely bland. You never really care about any of these characters with perhaps the exception of Dottie. She becomes involved with a weird love affair with Joe. You’re never entirely sure if she loves him or what the deal is. In the third act, Chris has held off paying off his debt to the drug dealer long enough and he’s ready to collect. So then we have the obligatory “I-need-cash-fast-so-I’ll-bet-everything-I-have-on-a-pony-at-the-racetrack” scene and of course that becomes futile at securing the cash needed to pay off some guy who’s about to beat the crap out of you. The climax at the end is a bit obvious, but what occurs within the scene is downright explicit. The dialogue gets pretty hokie at times too. The final moments of Killer Joe couldn’t be more preposterous and inane. At the end of the day, every character is idiotic, but I guess that’s kind of the point to entire story. For a movie that’s received much praise by critics, I am honestly left stunned. Killer Joe ultimately proves to be a movie set on being nasty, shocking, and raw. Yeah, it accomplishes that all right, but simply in the worst possible way.

Grade: 2 out of 5 

Published by Mountain Views News on August 18th, 2012
http://mtnviewsnews.com/v06/htm/n33/p11.htm

The Gaslight Anthem - "Handwritten"

Artist: The Gaslight Anthem

Album: Handwritten

Label: Mercury Records

Release Date: July 24^th, 2012

Review By: Sean Kayden

Handwritten is the fourth studio album from New Jersey rockers The Gaslight Anthem. This is their first album in over two years, but lead singer Brian Fallon did release the debut album from The Horrible Crowes last October. However, his side project seemed to be conceived under the circumstances of boredom and slight apathy with his current position at the time. Stricken with a sudden resurgence and a mindset to shake things up again, Fallon and company set out to work on their next record. Taking notes from previous records and examining the good, the bad and everything in between, The Gaslight Anthem decided on constructing a record that was not only acutely personal, but also devotedly universal. Handwritten is the epitome of 21^st century living. It’s a record that touches on the despair, difficulties, and tribulations of survival, keeping hope alive, and the desertion of your dreams of tomorrow.

 The band has always demonstrated a deep affinity for strong storytelling and arena type anthems. One of their biggest influences is Bruce Springsteen. Anyone can easily deem the group from Jersey as the second coming of Springsteen (even if Springsteen is still kicking around harder than anyone half his age). Bandleader Brian Fallon is the quintessential poster boy for this country, who has his own story to tell—a tale as deep as the flowing rivers and vast as the dark streets of America. Spanning from alternative to heartland rock and folk to punk, the New Brunswick natives bring traditional, guitar driven rock back to center stage in a world that has unfortunately forgotten about the glory days of rock n’ roll. The Gaslight Anthem may be hung up on heroics, blindsided heartbreak, and the perpetually reflective frame of mind, but they do it ever so majestically and exceedingly well. Make no mistake, these guys do more than just rock.

Handwritten kicks off with “45” a finger-snapping, high-energy rock tune with all the requisites in making it the obvious choice for their first radio single. It’s the perfect summer rock song inside and out. Keeping the momentum alive with the subsequent track, “Handwritten,” the tightly arranged track consists of the obligatory “ohs” and continual buildups found in many motivated anthems. “And we waited for the sirens that never come/And we only write by the moon/Every word handwritten/And to ease the loss of youth/And the many, many years I've missed you/Pages plead forgiveness/Every word handwritten,” may appear to be yet another song of vanished love but it doesn’t feel rudimentary, only progressively more heartfelt.

The Gaslight Anthem even goes further in the terrain of romance with “Here Comes My Man” and it’s one for the ladies to get behind.  One of the final songs is “Mae,” a dark horse for best track off the album, is beautifully written, sung and arranged. It’s an all-embracing tune that reminds us tonight the possibilities are boundless, even if times have never been so dark. The Gaslight Anthem caters to every living soul, but only those that let them in will discover the many wonders the band has to offer. With Handwritten, the listener will ultimately come across a new beginning to their old, tiresome routine. After that, it’s up to you to follow through.

Grade: 9 out of 10

Key Tracks: “Handwritten”, “Here Comes My Man”, “Desire”, “Mae”, “Teenage Rebellion (Deluxe Edition Only)”

Published by Mountain Views News on August 11th, 2012

http://mtnviewsnews.com/v06/htm/n32/p12.htm

Heavenly Beat - "Talent"

Artist: Heavenly Beat

Album: Talent

Label: Captured Tracks

Release Date: July 24^th, 2012

Review By: Sean Kayden

Heavenly Beat, the latest venture from ex-Beach Fossils bassist, John Peña, has an utterly delectable sound. His debut LP, “Talent” is heavy rhythm inducing and it occupies a diversity in sounds ranging from hints of dance, soul, lo-fi, and surf-rock. Heavenly Beat is a far cry from Peña’s previous band. While Beach Fossils are the epitome of chillwave, Heavenly Beat is not. With “Talent”, Peña takes his experiences with Beach Fossils and developed an entirely sensual and quite mesmerizing record by anyone’s account. Despite the diversity in tones, each sequential track does sound familiar to the next. It’s not necessarily a bad thing since every song is marvelous in it’s own slightly distinctive way. The record’s theme is somewhat of an enigma with all one-name titles for the respective songs. What should be noted is how all the tunes presented here have a distinguishable ebullient beat that carries endlessly through. It won’t be too long, until you find yourself submerged into the mindset of Peña as he displays a truly innovative approach to a genre filled to the brim of equals that really don’t match the vibes or mood crafted here.

“Talent” is graced with eleven delicate but robust tracks that give the listener roughly 35 and ½ minutes of sublime contentment. You can’t knock an album like this that will easily put you in a wistful state of mind. The powers of “Talent” seem limitless but are constrained into a particular section of the genre. The album never strays away from the sound it initially proposes. However, if you like one song here, chances are you’ll like them all. It just boils down to how much you like each individual song. The collection of tunes from beginning to end makes up for one of the most consistent albums of the year. One of my favorite songs off “Talent” is “Faithless”, with its 70s disco inspired verses and outright beguiling beat. “Influence” is striking and beautiful and while the shortest in duration, it’s definitely the most memorable. The tunes flow as if they are effortlessly performed—simple one minute, intricate the next. Heavenly Beat may seem to play with overwhelming amount of ease, but don’t believe for a second that every bit of heart, mind, and soul weren’t connected in delivering upon this enlivening assortment of songs.

I truly can’t fault the band for anything. I love the fact that Peña took a completely different direction with H.B. than simply trying to emulate the sound of Beach Fossils. In the end, “Talent” is entirely intoxicating with glorious songs that are as much of a joy to listen to at face value, as they are getting completely lost in the beat with. No matter if you’re a dreamer or realist, Heavenly Beat has something for you with no preparation needed to dive right in.

Grade: 8.5 out of 10
Key Tracks: “Faithless”, “Tolerance”, “Presence”, “Influence”

Published on August 4th, 2012 by Mountain Views News
http://mtnviewsnews.com/v06/htm/n31/p12.htm