Five Songs You Don’t Know But Should

Review by: Sean Kayden

Crystal Antlers – “Pray” – Not too familiar with this California band until the release of their third LP, “Nothing is Real.” This ferociously crafted tune is pure rock with heavy emphasis on guitar, bass, and drums. The last part of the song dazzles with crazy guitar riffs and the energy level throughout is beyond comparison. With heavy rock, garage rock, and punk rock at the core of its influence here, “Pray” feels entirely unique. As we get into a sleepy fall season, Crystal Antlers will make certain you’re wide awake throughout. Listen to this one with the volume turned all the way up.

Bear Hands – “Giants” – Perhaps not the most innovative song the band’s come up with, but “Giants” is explosively energetic. It’s an insanely catchy track that embodies this vaguely hip-hop sound. It’s not until it breakouts into the chorus, where we know this is a full-blown synth-pop song. In the lyrics department, there’s not a whole lot to be deemed spectacular. However, it’s the arrangements that make “Giants” a summer inspired tune that will liven up your cool autumn days.

Los Campesinos! – “As Lucerne/The Low” – Los Campesinos! continues to make good albums over the years. Their fifth LP, “No Blues” is no exception. One of the best records of the year, Los Campesinos! truly make beautifully executed pop music. “As Lucerne/The Low” starts off with the line “There is no blues that can sound quite as heartfelt as mine.” However, frontman Gareth Campesinos never succumbs to whiny, self-indulgence. While sarcastic, self-aware lyrics have always been a staple for the band, “No Blues” feels much more mature. The band from Wales is still having fun, but the record balances earnest lyrics and lighter arrangements. “No Blues” is a display of band aging, but never losing their whimsical youthfulness that makes them who they are and who they seemingly will always be.

Motorama – “Winter At Night” – Russian indie rock act, Motorama continues their trend of incredible song making. “Winter At Night,” the light as a feather b-side to their new seven inch single, “Eyes,” is an extraordinary gem. Motorama, topping my best of 2012 list, are at it again with effervescent melodies and smooth guitars. Influenced by New Order and The Radio Dept,, the dream-pop rockers craft such an indelible sound that it is almost criminal how they’re not bigger in the indie scene than they are. Motorama is one of the best bands out in today’s music scene and yet in the US, they’re virtually unknown. Something just doesn’t add up here.

Shine 2009 – “Running Around” – “Running Around” is off Shine 2009’s latest sophomore record, “Our Nation.” The Finnish duo’s recent track is snyth-infused that’s both soulful and downtempo. Shine 2009 definitely have a distinct style of all their own. They’re an unconventional synth-pop group that has plenty of flair and poise to spare. “Running Around” is a very elegant tune that will put you in a hypotonic state of mind.  The duo’s beats will utterly pull you in and have you become lost on the dance floor. Dreamy and as smooth as any song released this year, Shine 2009 have positioned themselves to which it would be inconceivably wrong if they don’t have a big year in 2014.   

Mutual Benefit - Love's Crushing Diamond

Artist: Mutual Benefit

Album: Love’s Crushing Diamond

Label: Other Music Recording Company

Release Date: October 25^th, 2013 (Digital Release)

Review by: Sean Kayden

Mutual Benefit is the experimental baroque folk project of Jordan Lee. He’s been releasing music for several years, but “Love’s Crushing Diamond” marks his first proper LP release.  Already a buzz artist for a few years now, this debut record may launch the man from obscurity to indie folk stardom. “Love’s Crushing Diamond” may only be seven tracks in length, but these ardent tunes are entirely heartfelt. The arrangements consisting of guitar, violin, banjo, percussion and other interesting sounds are always graceful and heavenly. However, what really pulls you in is Lee’s fragile and elegant voice that sends chills down your spine. His ability to create these atmospheric sounds is relatively stunning. There is optimism and a yearning latched onto the record even when the songs appear to be downbeat and somber. “Love’s Crushing Diamond” is romantic at heart but the record runs deep creating an emotional landscape filled with beautiful experimental sounds, emotive vocals, along with celestial arrangements. “Love’s Crushing Diamond” is filled with hope when all hope seems gone these days.

Lee’s whispery vocals occupy the record and the results are rather lovely. On “Golden Wake,” Lee boldly states, “we weren’t made to be afraid.” This sentiment is kind of a theme for the record. A collection of songs to get yourself back up from the ground, stand tall, and take care of those you love. The record glides as much as it moves you in ways you could only wish for in a record. The music seems more like art than anything else. It’s a canvas with panorama of meanings. Each listen may give you another interpretation. “Advanced Falconry” is the most expansive track and undoubtedly the best one. The romanticism on display is divine. It’s a sweet, gorgeously crafted song that would have one becoming lost within their personal daydream. Lee isn’t heavy handed with his lyrics. The harmonies found on “‘Let’s Play/Statue of a Man,” are exquisite.  Lee sings, “There’s always love/when you think there’s none to give,” which stays true to the idea that “Love’s Crushing Diamond” is idealistic even in a world increasingly becoming disparaged.

The debut record from Jordan Lee is truly an accomplishment. I believe that the album is quite effective, as all the songs feel super connected. “Love’s Crushing Diamond” is an album you’d have to listen in the comfort of isolation. If you allow it to sink in, you’ll be quite stirred by the experience. It’s one of the better folk type records to come around this year. Lee has constructed a small album with a big impact on the human spirit. Just like with love, if you let this album get inside, you’ll be amazed at what it can do. And if love is truly the answer, then this album is the medicine for an ailing heart.

Grade: 8.5 out of 10

Key Tracks: “Golden Wake,” “Advanced Falconry,” “That Light That’s Blinding,” “"Let's Play" / Statue of a Man”

Heavenly Beat - "Prominence"

Artist: Heavenly Beat

Album: Prominence

Label: Captured Tracks

Release Date: October 14^th, 2013

Review by: Sean Kayden

“Prominence,” the sophomore release from John Pena a.k.a. Heavenly Beat is essentially the first album revisited all over again. Some may deem it a dead on sequel to 2012’s “Talent.” Since the first album was a pleasant surprise it’s not all that alarming this one is too. Moreover this was also a complete departure from the previous band (Beach Fossils) he was a part of. The tropical pop resonance with daydream lyrics is a fitting fall season release. The lulling arrangements may alleviate some past wounds one may still have. While I mentioned the album feels identical to the first record, it goes a bit deeper. Pena is more comfortable in his own skin now and it shows with his lyrical abilities. The music here is a bit morose, but he’s able to liven things up from time to time.  Another key component to Pena’s signature sound is the grouping of sounds that stem from popular music of other countries. However, “Prominence” lacks variety, which makes it the experience a bit stale toward the end of its 9-track run. The songs are better played throughout a mix CD, popping up periodically, instead of listening the record track by track.

The echoed low voice of Pena is extremely calming. With his proclivity for electronic beats, lush, and layered melodies, Pena is a masterful composer of pop-orientated songs. At the same token, most songs blend together, making it rather difficult to differentiate the tracks. I’m a fan of Pena’s work, but I find myself bored with the album as it comes to a halt. It’s less than 35 minutes in length, but feels greater since most songs have overlapping sounds. Heavenly Beat creates a very ethereal atmosphere from beginning to end. The record sort of glides throughout, but could be due to the lack of diversity. With nearly every song sounding overwhelming similar to the next, the record never takes a much-needed detour. One of the better tracks here is, “Expectation.” Sure it’s not a whole lot different than the other songs, but Pena’s voice is a lot clearer here. The lyrically gloomy tune displays words such as, “I wanted that and so much more/won’t accept that I lost out/it hurts to think that all I’ve felt was only leading me nowhere.” Overall, it breathes such beauty and warmth. “Forever” is another highlight that has Pena painfully reciting the lines, “can’t remember a time when I didn’t feel awful,” and “it’s so hard believing there’s nothing more I could do/forever’s a long time to spend hurting for you.” The man’s sensitivity shines throughout even if sometimes it appears more on the doom and gloom side.

“Prominence,” is a decent record that puts on display a musician with many talents. However, it would be great to see (and hear) what Pena can do beyond this sound he’s cultivated over the span of two albums. I will say his music doesn’t sound like any other American musician since the influences span different cultures. While I applaud his creativity, I can’t say that I was utterly enamored by this experience. There are things to appreciate with “Prominence,” however becoming completely stimulated by it may not be the case. Heavenly Beat has a lot of potential but with “Prominence” it’s only shown in small doses. Not bad by any means, just kind of substandard seeing how Pena has a lot going for him artistically.

Grade: 6.5 out of 10

Key Tracks: “Honest,” “Forever,” “Expectation”

Dale Earnhardt Jr. Jr. - "The Speed of Things" Review

Artist: Dale Earnhardt Jr. Jr. 

Album: The Speed Of Things

Label: Warner Bros. Records

Release Date: October 8^th, 2013

Review by: Sean Kayden

Dale Earnhardt Jr. Jr., the Detroit duo, cook up carefree, pop-induced tunes for their sophomore record, “The Speed Of Things.” The band’s first record, “It’s A Corporate World” demonstrated the guys proclivity toward humorous lyrics and saccharine electronics. With their latest LP, they expand their sound, but keep within the same realm. The debut record was a modest outing from Joshua Epstein and Daniel Zott, who came from other bands to join forces. However, “The Speed Of Things,” shows the band to be more comfortable with the sound they’re conveying. They made not be treading new ground entirely, but the catchiness and ramped up melodies on the sophomore release exemplifies much improvement.

“It’s A Corporate World” offered many simple compositions. I never thought the album fully came together as a whole. The band had a few innovative ideas that sprawled over the course of a few songs, but exhaustively ran out of gas midway. On “The Speed Of Things,” Dale Earnhardt Jr. Jr.  keeps the energy flowing quite smoothly. They know when to slow it down like on “I Can’t Help It.” This tune shows a different side of the band, more melodic, more sensitive. I prefer the toned down electronics rather than completely going overboard with them. There’s still a carefree vibe attached to most of the songs they perform, but something about this album feels more grown up. They may still be delivering the fun without being taken too seriously. However, the growth they’ve made from the last record to this is rather striking. There is still a lightness to be found yet this records runs much deeper than previous material. The harmonies are in full force here especially on “Dark Water.” Epstein and Zott effortlessly pull off Beach Boys style arrangements.

With a combination of fast and mid-tempo tracks, glowing harmonies, and a penchant for dazzling electronics, Dale Earnhardt Jr. Jr. surprised me with this latest effort. I thought they only had a decent first outing which inevitably led them falling off the grid for me. Now they’ve come back with such a cool, nearly seamless second LP that impresses me a lot more. When the interlude hits, it tilts the record into a slightly slower speed from then on out. Nonetheless, it’s still incredibly joyous. “A Haunting,” puts on display a different side to the band. It demonstrates a more heartfelt, serious tune compared to their appetite for lightheartedness. “Run,” is probably the best track here. It’s high energy, super charged electronics and purely addictive sound makes it one of the most entertaining songs of the year. “War Zone” is absolutely intoxicating.  It’s another prominent song for the band. In the end, Dale Earnhardt Jr. Jr. might not take over the world with this record, but it’s a great addition for anyone looking for a good time with an album that balances buoyancy and sensitivity in a near perfect fashion.

Grade: 8.3 out of 10

Key Tracks: “Run,” “I Can’t Help It,” “Don’t Tell Me,” “War Zone”

DON JON - Review

Written & Directed By: Joseph Gordon-Levitt

Rated R for strong graphic sexual material and dialogue throughout, nudity, language and some drug use

Release Date: September 27^th, 2013

Review by: Sean Kayden

Joseph Gordon Levitt makes his directorial debut with “Don Jon.” The thespian also wrote and stars in it.  In the film, JGL portrays the title role of a modern day lothario who can pretty much get any girl he wants on a night-to-night basis. The problem is he’s only truly satisfied by the women he sees in porn. His expectations of women lie within the videos he views multiple times on a daily basis. While viewing pornography, he “loses himself.” It’s something that in fact has never occurred with a real life woman for him. “Don Jon” attempts to explore the world of pornography, men and women, and relationships. However, it only touches upon these different subjects and rarely does it dig deeper than surface level.

Jon cares about only a few things in life: his boys, his girls, his family, his body, his church, and his porn. The latter becomes an issue when he scores with a girl (Scarlett Johansson) he calls “the most beautiful thing he’s ever seen.” Once she discovers his little secret, she will have no part of him. He has a logical excuse for it and for the time being, she buys it. In the movie, Jon navigates boyfriend territory, beloved son, gym enthusiast, and student. Johansson’s character has Jon take a night class because she prefer for him to have a suit & tie job rather than a food service one (bartender). In the end, we realize this woman is very taxing with her demands. Scarlet Johansson is certainly adequate in her role, but it’s not as if she needs to go above and beyond. Other scenes depict Jon at church always asking for forgiveness when he has sex out of wedlock. It becomes comical as the priest always tells him practically the same thing. Then there’s his family life. Jon is actually very similar to his father, played by Tony Danza. His father looks at women the same way as his son and they both communally posses a random temper (several scenes within the film where Jon is screaming at passing drivers on the road). Despite a constantly moving camera and a film bursting with high energy, the film starts to deflate toward the half way mark. It picks up here and there, however, while there’s nothing erroneous to point out, the road it travels on isn’t as fascinating as I was eagerly hoping for.
      When Jon attends his night classes, introduced is Julianne Moore’s character. At first they don’t really get off to a good start despite a considerate effort on her part. Once Jon’s relationship with his girlfriend starts to deteriorate, the two of them start up an unlikely friendship that leads to unlikely intercourse. Keep in mind, Jon is always hooking up with women around his age and now finds himself attracted to a middle-aged woman. In fact, what he sees in her and most of all feels when with her doesn’t hold a candle to women of his past.  Moore is always great, but she doesn’t really have a whole lot to work with. Besides being a widow, that’s briefly touched upon, it’s unclear what her role really is. I guess she helps Jon figure out that there’s more to life than sex and porn. Don never spends time with women and really treats them as another conquest, one after the other. Moore opens his eyes to a different side; one that ultimately is more pleasing than what Jon gets out of watching porn. “Don Jon” is a fine effort from Joseph Gordon-Levitt. He surely has a knack for behind the camera, keeping us interested even if the story starts to go nowhere. You also realize that he’s carefully studied the directors he’s worked with on previous films. The screenplay is a bit green, but there have been far worse first time efforts. “Don Jon” is at times fun, humorous, and very light. Almost too light. With an abrupt, quickly wrapped up ending, and some themes never explored to their fullest, “Don Jon” is a decent time at the movies rather than something much more memorable.  

Grade: 3 out of 5

Kings of Leon - "Mechanical Bull"

Artist: Kings Of Leon

Album: Mechanical Bull

Label: RCA Records

Release Date: September 24, 2013

Review By: Sean Kayden

Call them overrated, underrated, rock Gods or major sellouts, but Kings of Leon, perhaps one of the biggest modern rock acts in the world, are back at it. It’s been three years since Kings of Leon released their fifth and ultimately disappointing album, “Come Around Sundown.” In 2011, it appeared the band was slowing down and hits like “Sex On Fire” and “Use Somebody” were clearly absent on the aforementioned record. With a tour abruptly cancelled and breakup rumors swirling, Kings of Leon decided to take a seemingly much desirable hiatus. This past June, however, it was revealed by the band that they would be making their return with album number six in ten years entitled, “Mechanical Bull.” Does “Mechanical Bull” put the band back on top? Well, for starters, after a first listen, this is clearly a much better record than “Come Around Sundown.” Nevertheless, some inconsistencies with tone and theme forbid the record on being spectacular rather than just very good. If you can skip through those particular tracks that drag down the record, you’ll find out that Kings of Leon still have the magic left in them.

“Mechanical Bull” kicks off with the first single, “Supersoaker,” a summer type jam with enthusiasm and vigor to boot. It recalls the youthful days of KOL such as the “Aha Shake Heartbreak” record. However, with the heavy studio sound surrounding it, the song appears less organic than those of their earlier days. Nonetheless, “Supersoaker” is undoubtedly the inner workings of a band that knows how to still have fun. After the frolicsome opener, the band throws a few misfires into the record. First with “Rock City” and subsequent track, “Don’t Matter.” Those two tracks stray away from what the album wants to say midway through the end. “Don’t Matter” channels the former days of KOL, but since the band has clearly grown into a more, mature rock band, this song feels painfully outdated to be added to their current repertoire. Rests assure, regardless of a pretty solid single that’s followed by two or three average tracks, Kings’ come on stronger than possibly ever before. “Temple,” a clear standout that is filled with hooks and powerful, but smooth guitars. It’s one of their catchiest songs to date and an obvious choice for the next single. “Wait For Me” slows it down, but you couldn’t ask for a better cool down track. Beautifully written, wonderfully wistful, and supporting a vintage KOL sound, “Wait For

“Comeback Story” is another gentle song, however, it’s very difficult not to be utterly enamored by it. Sure, it may sport some silly lyrics, “I walked a mile in your shoes/And now I am a mile away and I’ve got your shoes.” Nonetheless, the sensitive, attractive guitar layout pulls you in which easily captures your heart. Compassionate and cordial, Kings adds another strong track to their collection (one that is quite plentiful with hits). “On The Chin” closes out the album and it’s another simple and carefree tune. It has an alternative-country rock vibe attached to it. Not the best song here, but a fitting closer to an album that balances between youthful sounds and mature themes. The deluxe album has two bonus tracks that are terrific, especially “Work On Me.” This classic rock inspired tune alone should attract new fans that never seemed to give KOL a fighting chance. I wish the bonus material had been on the regular edition instead of some of the subpar tracks that did make the final cut. If you pick up this album and you totally should, the deluxe edition is the way to go. All in all, “Mechanical Bull” is a winning effort from a band that has had its share of ups and down. Kings of Leon are one of the biggest rock bands around and over the span of their 10 plus year career, no other rock act has come close to imitating their signature sound. Love them or hate them, they should be respected and regarded as utterly talented musicians. Innovators or not, Kings of Leon’s latest endeavor pulls the Nashville boys out of the rubble to shed new skin. At the very least, there is plenty of satisfying rock songs to enjoy. Deserves a listen, but possibly worth much more than just that.

Grade: 8.4 out of 10
Key Tracks: “Temple,” “Wait For Me,” “Comeback Story,” “Coming Back Again”

Published by Mountain Views News on October 5th, 2013
http://mtnviewsnews.com/v07/htm/n40/p09.htm

Yuck - "Glow and Behold"

Artist: Yuck

Album: Glow and Behold

Label: Fat Possum Records

Release Date: September 30^th, 2013

Review By: Sean Kayden

Two years ago Yuck released their highly inspired 90s alternative rock self-titled record. It was a glorious record that ranked among the best debuts of the year. Earlier this year when lead singer/songwriter Daniel Blumberg announced his departure from the band, it appeared the days of Yuck as a band would come to an abrupt end. However, guitarist Max Bloom stepped up to the mic and Yuck was reborn. Where Blumberg had an affinity for melancholy tunes, Bloom’s vocals are smoother, more cheerful. For their sophomore release, “Glow and Behold,” the band didn’t completely abandon their proclivity for 90s alternative/grunge, but their seemingly more optimistic approach has the band displaying new signs of life. Their aptly titled first single, “Rebirth” is a shining example of Yuck heading down a different direction, but ultimately reaching a similar destination as before. Blumberg’s dulcet vocals will be missed for sure, however, Yuck’s ability to carry on without him is commendable. They may not be the same band from 2011 and you know what, I’m okay with that.

“Memorial Fields” is a slow burner and reminds me a lot of their debut record. It’s not until track five, “Middle Sea,” where the energy and enthusiasm kicks into high gear. Half way into the album, you’re realizing Yuck is doing just fine without Blumberg. Disappointingly here comes the second half. Admittedly so, Yuck has established a unique sound with their new album that touches upon their old material as well as indicating the band isn’t resting on their laurels. However, “Glow and Behold” is different than what I was expecting.  I really enjoyed the first several tracks and then the rest of the album was, to put simply, a bore. It’s not as if the wheels come completely off the rails. However, while the first half was traveling smoothly, the record takes a turn to dullsville on the way to our destination.

While the sounds of their previous outing will always be cherished, Yuck’s decision to change it up second go around was probably necessary. “Glow and Behold” starts off incredibly strong for a band that could have been easily dismissed to never return again. I thought for a minute Yuck actually made a better album this time, but then my anticipation was shattered. The last few songs including, “Somewhere,” “Nothing New,” and “Glow and Behold” will have you snoozing. Those three songs alone account for over sixteen minutes of material that has you wondering what went wrong after hearing six really good songs in the beginning. In the end, I’m not exactly sure how I feel about Yuck. If they only released the first six tracks as an EP for their celebrated arrival, I would have praised the band to the fullest. Unfortunately, the additional five songs in the second half puts a real limitation on what could have been, should have been, a grand homecoming. Yuck didn’t quite hit a homerun with their latest at bat, but hung in there long enough to safely reach base. Still, they at least find themselves in scoring position.

Grade: 6.8 out of 10
Key Tracks: “Out of Time,” Memorial Fields,” “Middle Sea,” “Rebirth”

Published by Mountain Views News on September 28th, 2013
http://mtnviewsnews.com/v07/htm/n39/p09.htm

Volcano Choir - "Repave"

Artist: Volcano Choir

Album: Repave

Label: Jagjaguwar

Release Date: September 3rd, 2013

Review by: Sean Kayden

Justin Vernon, better known as the mastermind behind Bon Iver, is a part of another experimental band called Volcano Choir. The group consists of Vernon on vocals and members of Wisconsin post-rock act Collections of Colonies of Bees. The sextet indie folk rockers have collaborated once again for the release of their sophomore record, “Repave.” This is not another Bon Iver album or Bon Iver revisited, but a few similarities do cross over. “Repave” is a lot more expansive than the music crafted in Bon Iver or Collections of Colonies of Bees. For only eight tracks, it runs short but despite inscrutable lyrics, the record shines most of the way. The record wavers between understated beauty and explosive stadium rock arena tracks. “Repave” doesn’t abandoned its experimental roots found on their debut record, but navigates through a more accessible listen than one may have been anticipating.

 There’s a feeling of hope and loss that surrounds the album. Where this is dark, light comes shining on. In “Alaskans,” the album’s half waypoint, this meditative song is pure storytelling. It’s a slow burn track and while not the best song off the record, it’s the most spiritual. Soft, tender, and sensitive, there are chills to be had. One of my favorite tracks is, “Dancepack,” the thundering, powerful, and hypnotic style of it is marvelously crafted. With the combination of Vernon’s incomparable vocal range (falsetto singing at its best) and the experience Collection of Colonies of Bees has in post-rock, the two together works majestically. In the track, “Comrade,” Vernon’s vocals glimmer with the tight and beautifully developed arrangements permitting the song to float on with uncompromising ease.

“Unmap,” the debut album, was dense and difficult to really get involved with. It took a lot more patience and several listens to sink into it. That’s not the case with “Repave.” There’s plenty to enjoy this time around that hits both somber and uplifting notes. About half way into the closing track, “Almanac,” Vernon just pulls you in tighter and closer than ever before. I’m not entirely sure what he always means with his skewed lyrics, but he can sure sell it with strong conviction. Volcano Choir seemingly started off as Vernon and company producing experimental tracks for the sake of being experimental. What once was merely a footnote in the Bon Iver era has now turned into a full-fledged band with equal passion and commitment. “Repave,” isn’t perfect but where it shines is something to marvel at least until the next Bon Iver record.  

Grade: 7.5 out of 10 Key Tracks: "Acetate," "Comrade," "Dancepak," "Almanac"

Published by Mountain Views News on September 21st, 2013
http://mtnviewsnews.com/v07/htm/n38/p14.htm 

SHORT TERM 12 - Review

Written and Directed by: Destin Cretton

Rated R for language and brief sexuality

Release Date: August 23^rd, 2013 (limited)
Review by: Sean Kayden

“Short Term 12” is a moving drama about Grace (Brie Larson), a fierce yet fragile twenty-something year-old supervisor at a foster-care facility for at-risk teenagers. In addition to navigating through the trouble waters at the group home, she is dealing with her own personal issues and difficult past. However, by her side is her long-term boyfriend and co-worker, Mason (John Gallagher Jr.). When a problematic teenage girl enters the facility, Grace is reminded of her past that she’s tried to put behind her. This leads to an electric connection between the two girls. With a subject matter that is often ominous and multifarious, “Short Term 12” easily finds the balance of drama and humor in the most unexpected scenarios. Destin Daniel Cretton’s second feature film (adapted from his own short film) supplies superb performances, razor-sharp writing, and stunning direction. “Short Term 12” is sincerely poignant and an exceptional movie going experience that should not be missed by film lovers of all ages.

Brie Larson is going to be the next big star. Her portrayal of Grace, the leader at the group home, is simply marvelous. I hate to even call it a “performance” because she basically sinks so deep into this character that it feels overwhelmingly real. The entire film doesn’t seem like a work of fiction, but as if we’re watching the lives of real people as the cameras shoot their daily lives. Larson is a revelation and this breakthrough accomplishment will undoubtedly put her on everyone’s radar in Hollywood. As for the film itself, “Short Term 12” is nothing short of extraordinary. Deeply emotional, severely emphatic, and dashes of authentic humor mixed in for good measure, “Short Term 12” quite possibly may just be a masterpiece. All the supporting players are terrific as they are uniformly convincing in their given roles. “Short Term 12” packs every kind of punch possible and each one is a knockout.

If there’s anything wrong with “Short Term 12,” I couldn’t find it. The whole film works like magic. It’s a prime example of not only what independent filmmaking is truly all about, but also all cinema alike. It will move you, send chills down through your body, and may even have you shedding a tear or two. At the same token, it’ll toss a few laughs your way, inspire you, and have you leaving the theater with a smile. If that’s not a rare experience these days, I don’t know what it is. “Short Term 12” is the best American film of 2013 so far.

Grade: 5 out of 5

Published by Mountain Views News on September 14th, 2013
http://mtnviewsnews.com/v07/htm/n37/p16.htm

The Kissaway Trail - "Breach" Review

Artist: The Kissaway Trail

Album: Breach

Label: Yep Roc Records
Release Date: August 20^th, 2013

Review by: Sean Kayden

Denmark indie rock group The Kissaway Trail’s existence in the states is comparatively unknown, but with their third album, “Breach,” they hope to change all that. After the departure of two founding band members in 2012, the internal discord could have imploded the band all together. Instead, the group ultimately decided to stay together as a trio. However, their sound is tighter and more cohesive than ever before. With material of theirs played at a Google Glass conference earlier this year, they may be heading out of obscurity. Nonetheless, the real test comes with the reformed band and their latest release. “Breach,” The Kissaway Trail’s first album in over three years touches greatness. Back are the huge crescendos and anthem driven songs found on previous affairs. Rather than completely treading the same ground, the band has pushed their limits into new heights. They may look and sound familiar, but this is a brand new frontier they’re embarking on. After hearing the first track, “Telly The Truth (The Breach),” I was fully on board to follow them into the unknown.

I’ve always found this band to be criminally underrated. I love the vocals of Thomas L. Fagerlund especially when you can make out what he’s singing. With the combination of dreamy rock and minimalistic synthesizers, “Breach” dabbles in both 90s indie rock and 80s snyth-pop. The record is more in your face at times than, their debut self-titled album and sophomore release “Sleep Mountain.” “Breach” bleeds with a youthful and anthemic resonance. The record settles on an ethereal vibe most of the way through. It’s painfully romantic at times with tracks like, “Beauty Still Rebels” and “Sarah Jevo.” The production values seem to be higher than previous efforts because The Kissaway Trail has created an enormous sound with their third LP. “So Sorry, I’m Not” dabbles with darker snyths this time around. This is the track that kicks off the second half album where the band takes a bit of a  detour. However, as it may be, it was a diversion worth taking. The Kissaway Trail may share some comparisons with better-known acts such as Arcade Fire. Don’t think for a second this is second-rate material. In fact, “Breach” proves to be an outstanding record that will be disappointing if it doesn’t launch the band from anonymity to celebrated indie rock act.

I must say the single, “Nørrebro,” which is awesome in its own right felt slightly out of place. It sounds more like a modern day rock track, with the rest of the album wearing its influences on their sleeves. There is nothing wrong with that.  Still, for “Breach,” it tilts the album just a bit from smooth sailing. However, with the exception of the two instrumental songs that don’t provide too much thrill, I was hard pressed to find a flawed song on the compilation. In the end, I was completely enamored by “Breach.” It’s usage of prior sounds of generations before them really shows, but never overshadows the bands artistic intentions. The influences merely add an element to the record, but it’s the way The Kissaway Trail puts together the pieces that demonstrates their pure talent. “Breach” may be the ticket The Kissaway Trail has always needed, but regardless of gaining popularity, the record shines with or without a new fan base. Those willing not to take a chance on these guys will miss out on the incredible and pure emotive experience that “Breach” effortlessly guides you along on.

Grade: 9.3 out of 10

Key Tracks: “Telly The Truth (The Breach),” “Cuts Of Youth (Razor Love),” “The Springsteen Implosion,” “Sarah Jevo,” and "The Sinking”

Published by Mountain Views News on September 7th, 2013
http://mtnviewsnews.com/v07/htm/n36/p13.htm 

Washed Out - "Paracosm" Review

Artist: Washed Out

Album: Paracosm

Label: Sub Pop Records

Release Date: August 13^th, 2013

Review by: Sean Kayden

“Paracosm” is the sophomore album from solo artist Ernest Greene who performs under the moniker, Washed Out. His 2010 album, “Within and Without,” received generally favorable reviews as it made him a well-known figure in the rising chillwave scene. While I was never a fan of his earlier work, it wasn’t until this release that I found myself completely enthralled by his latest material. The songs off the debut record never impressed as they merely played as background tunes. Nothing jumped out and I was quite underwhelmed by the project. As for now, Greene has written and crafted songs that are more free, open and expansive. The nine ornate tracks off “Paracosm” possess more texture than his previous outing. A deeper resonance is at play with “Paracosm” without the artist compromising his initial sound. If anything, Greene has artistically grown and ventured out rather than simply being pigeonholed as a one-note chillwave performer. “Paracosm,” true to its meaning, places you on a fantasy island to run freely and wildly.

Ultimately, “Paracosm” is a peaceful and serene record. The delicate and somewhat psychedelic arrangements unfurl slowly on many of the songs, particularly on the title track. The song “Paracosm” really has a way of mending one who’s feeling down and out. Lyrically speaking, it’s pretty straightforward. When listening to Washed Out, it’s more of a feeling one gets with the multilayered sounds that drives the songs rather than the lyrics. The experience from listening to “Paracosm” is definitely a memorable one. The tranquility at hand is blissful and escapism permeates throughout. Danceable tunes are still present within this album, but it’s on a different playing field from before. More idyllic than ever, “Paracosm” has Greene at his best—a place where he accentuates his strengths and dips into a much broader soundscape.

The record’s carefree vibe is soothing and satisfying. With the abundant amount of instruments at his helm, Greene isn’t tied down to just synthesizers. He flourishes with the layered sounds that make for an effervescent aura. “Don’t Give Up” is quite the jam. One of the more upbeat tracks, “Don’t Give Up,” segues into R&B territory. No doubt about it, the song will put you in a trance. Ultimately you wish it never comes to an end. In conclusion, the nine (more like 8 complete) songs won’t change you in anyway, but perhaps become the soundtrack to the moments in your life that seek you out rather then you seeking them out. “Paracosm” is a fully layered, escapism record that demonstrates a musician growing creatively. The world created here is definitely a place we’d all like to be, even if the trip is short-lived.

Grade: 8.3 out of 10

Key Tracks: ”Don’t Give Up,” ”Weightless,” ”Great Escape,” “Paracosm”

Published by Mountain Views News on August 24th, 2013
http://mtnviewsnews.com/v07/htm/n34/p14.htm

THE SPECTACULAR NOW - Review

Directed by: Jason Ponsoldt

Written by: Scott Neustadter and Michael H. Weber
Based on the novel by Tim Tharp

Released Date: August 2^nd, 2013

Review by: Sean Kayden

As we’ve endured a plentiful amount of effects-laden blockbusters this summer season, it’s utterly refreshing to come across a small film that possesses real special effects, beautiful acting and superb storytelling. In the film, “The Spectacular Now,” writers Scott Neustadter and Michael H. Weber crafted a joyously heartfelt, wryly humorous, endearingly sweet coming of age tale that embodies the teenage human spirit. Director James Ponsoldt, who’s coming off his critically acclaimed 2012 Sundance hit “Smashed,” once again brings a deep sensitivity to the film. “The Spectacular Now” on the surface appears to be another coming of age, puppy love story, but it’s so much deeper than merely just that. In fact, it tackles a considerably darker theme that enfolds greatly in the third act. The film is a rare depiction on screen of two 18 year-old high school seniors that look and feel like real human beings. Sutter and Aimee’s relationship doesn’t seem manufactured. The mistakes they make feel authentic and they’re hell of a lot more confident on the outside than on the inside.

The charming and self-possessed Sutter Keely (Miles Teller) lives in the now. He’s the life of every party and rarely takes anything seriously. This also may contribute to the fact that he’s always loaded. Sutter’s either drinking out of his flask or a big gulp cup mixed with hard alcohol. He isn’t a mean alcoholic, but a guy always looking to have a good time. When his girlfriend, Cassidy (the luminous Brie Larson) breaks things off, Sutter gets wasted and wakes up the following morning in the front yard of Aimee Finecky’s (the effervescent Shailene Woodley) house. Aimee is a typical nice girl. She’s intelligent, innocent, and different. Aimee has grand dreams of the future, and Sutter lives in a delusional fantasy known as the spectacular now. However, somehow, they’re drawn together. As their relationship begins to bloom, at first as a deep friendship than more so as it continues on, Aimee falls hard for Sutter. When we get into the third act, Sutter seeks out his estranged father played by the terrific Kyle Chandler. Sutter sees a spitting image of himself within his dad. This realization greatly haunts him. Without getting to deep in rehashing the story, I must say that both the writing and acting are top notch. Miles Teller is a star in the making. This breakout performance is one of the best of the year. Shailene Woodley is equally as good. Both actors are destined for a bright future.

“The Spectacular Now” just does everything right. The characters in the movie feel like people you and I would know. There are no false moves here. Nothing seems forced or modified. The story unfolds naturally and there’s so much beauty on display. It doesn’t rely on nostalgia or any artificial beats. This is a truly stunning portrait of what it’s like to be the youngest you’ll ever be. When you’re on the cusp of a new chapter in life, filled with both promise and uncertainty. “The Spectacular Now” will have you remembering what it was like to be young, free, and carrying much needed momentum. It also reassures you that all that can be gone in a heartbeat. Wherever you are in life, don’t forget that living in the now will prepare you in living for tomorrow, for better or worse that is.

Grade: 5 out of 5

Published by Mountain Views News on August 17th, 2013
http://mtnviewsnews.com/v07/htm/n33/p15.htm

Minks - "Tides End" Review

Artist: Minks

Album: Tides End

Label: Captured Tracks
Release Date: August 6, 2013

Review By: Sean Kayden

Minks, which once started as an indie-synth pop band, is now a one-man act fronted by Shaun "Sonny" Kilfoyle. Debut album “By The Hedge” was a collection of dark-pop tracks that channeled new wave bands of the 80s. The vocals were indiscernible at times and the arrangements quite ethereal. With “Tides End,” Minks’ sophomore album delves into brighter pop territory. It may be running on chart topping 80s fumes, but the record still has plenty of gas left over to burn. Regardless of the similarities, Minks second full-length endeavor sheds both beauty and nostalgia. It’s not perfect, but “Tides End” evokes a summer feeling for those seemingly restless and searching for something not quite apparent. 

“Doomed and Cool,” while boasting some trite lyrics has New Order written all over it. It’s a fine pop tune, but it’s quite expendable. “Ark of Life,” one of the better tracks off the album is silky smooth. With the combination of jangly guitars, darkly romantic lyrics, and Kilfoyle’s dreamy vocals, “Ark of Life” is superb. The closing title track, “Tides End,” is a breath of fresh air. It’s the ideal song to conclude the record.  It’s as calm as ocean waters while carrying you away to nirvana. A definite highlight to a record filled with solid tracks. “Weekenders” starts off like a Radio Dept. song, but quickly finds it’s own footing as a Minks’ original. The track displays cool vibes, laidback arrangements, and simplistic lyrics. Perhaps the best song here is “Painted Indian,” the single released a few months ago. This effervescent tune is the most upbeat song on “Tides End.” It simply has this don’t care disposition about it that makes it feel edgy and dangerous. It induces a sort of chaotic feeling that allows for the song to be both utterly addictive and fresh. Opening track “Romans” is almost too bright and cheery. If one track could be thrown out for me this would be it. It’s unfortunate that it kicks off the album because if you get through this one, you’re in for an excellent journey of 80s persuasion tunes.

“Tides End” may not have the sharpest or most thought-provoking lyrics. However, Kilfoyle’s vocals are magic. He can turn an ordinary line (and there are quite a few here) into something memorable. While his music ventures into crowded terrain, his voice is one of the few that truly stands out from the rest. After two years and eight months, Minks’ second album is a clear winner. They may be one of the lesser-known acts on the Captured Tracks (Wild Nothing, DIIV, Beach Fossils) label, but they are equally as good as any other band on their growing roster. “Tides End” exemplifies warm vibes, intoxicating beauty, and a feeling you rather not shake loose. With a well balance of fast and slow tempo songs, “Tides End” is one of the most complete records of the year. It may not hit the mark 100% of the time, but when it does, there’s not a lot out there that can match up with it. 

Grade: 8.5 out of 10

Key Tracks: “Margot,” Painted Indian,” “Ark of Life,” “Tides End”

Published by Mountain Views News on August 10th, 2013
http://mtnviewsnews.com/v07/htm/n32/p15.htm

FRUITVALE STATION - Review

Written and Directed by: Ryan Coogler

Rated R for some violence, language throughout and some drug use

Release Date: July 12^th, 2013 (limited); July 26^th, 2013 (wide)

Review by: Sean Kayden

On Jan 1^st, 2009, in the wee hours of the night, tragedy struck Oakland that would forever change a city. Oscar Grant, 22 year-old African American, was shamelessly shot and killed by a transit police officer at the BART train station.  “Fruitvale Station” is the film based on the last day of Grant’s life. You already know the outcome, but “Fruitvale Station’s" retelling of an ordinary man trying to do well will move you and ultimately, leave you shattered.

Actor Michael B. Jordan, best known for TV roles in both “Friday Night Lights” and “The Wire” as well as last year’s superhero film “Chronicle,” gives a subtle yet stirring performance as Oscar. The film follows Grant as he tries to navigate through his laborious day.  We know he’s strayed away from girlfriend (Melonie Diaz) and got caught. However, he loves her dearly and tries to convince her it will never happen again. He lost his job at the supermarket for being late and comes up empty trying to get rehired. His rent is due and he could sell marijuana (something he was busted and charged for a few years prior), but decides he doesn’t want to go down that destructive path again. Grant wants to be there for his young daughter. She’s what drives him to become a better person. The scenes between the two of them are flawless and poignant. But everyone who comes across Oscar’s radiant personality is somehow, some way moved by him. He isn’t a thug. He isn’t a bad human being. He’s made mistakes that he’s paid the price for. Still, Oscar is genuinely trying to improve himself for those who continually lift him up.

Writer-director Ryan Coogler’s debut film is simply stunning. His plan of dramatizing the last day of Oscar’s life is straightforward, but severely affecting. Coogler’s portrait of Oscar as a troubled young man is distressing at times. The style of filmmaking is very raw and never does Coogler glorify the man. It’s a heartbreaking tale that never should have happen. It’s deeply upsetting to see trigger-happy police officers behave in such a despicable way. “Fruitvale Station” never tries to play the race card, but lays it out all for the audience to consider what happened as an accident or something that could have been avoided entirely.  By the time the shooting occurs, we are fully invested in this man’s life. While “Fruitvale Station” started off a bit slow, it quickly turns into a powerful, imperative story that will resonate with one long after the credits. It will make you angry, sad, touched by the turn of events. “Fruitvale Station” is an undeniably small movie that tells a larger story of a man’s life unexpectedly coming to an end for really no good reason other than the misguided intentions of particular police officers’ definition of “protect and serve.”

Since the audience is already aware of what happens in the end, the results are a little less painful, but nonetheless heartrending. While the movie surely isn’t for everyone and doesn’t scream typical summer escapism, “Fruitvale Station” stands tall as the most important film this summer and possibly of all 2013.

Grade: 4.5 out of 5

Published by Mountain Views News on August 3rd, 2013
http://mtnviewsnews.com/v07/htm/n31/p15.htm

Hebronix - "Unreal" Review

Artist: Hebronix

Album: Unreal

Label: ATP Recordings

Release Date: July 9^th, 2013

Review by: Sean Kayden

Hebronix is the latest project from Daniel Blumberg.  He recently departed from his critically acclaimed band Yuck (who are continuing without him) to pursue his solo endeavor. “Unreal” marks Blumberg’s fourth debut record under different names/bands. He was the singer/songwriter for Yuck, had a solo side project in 2011 under the moniker, Oupa and his first band was Cajun Dance Party several years before that. However, with Hebronix, Blumberg has the freedom to do whatever he wants and he surely does just that. With only six songs on the album, it spans over 45 minutes, while most songs averaging over seven minutes in length. For most of the duration something truly reflective and deeply heartfelt is present. With a sudden burst of guitars and keyboards come together for some of the songs, there’s simply something utterly intoxicating and refreshing about Blumberg’s style. The longer song structure and more complex arrangements is a big difference than Yuck’s debut album. With Hebronix, Blumberg is distancing himself from the 90s alternative sound and delving into something more unique, more his own.

No doubt about it, Blumberg has grown as both a songwriter and composer. He’s experimental with much a deeper soundscape that touches upon sounds that are very moving and melodic. Many of the songs here have a rise-and-fall type of sound. There’s a lot dynamic throughout the album that sadly only reaches six tracks. “Viral” one of the singles starts off very slow before it explodes in this swirling yet utterly soothing piece of music. The songs here put you in a dream state, which I’d recommend listening to this lying on your bed. It gets you thinking as it opens up your mind and soul. Often beautiful, if not repetitive, Hebronix almost connects with each and every song. The one I just didn’t care for was the title track, “Unreal.” It kind of reminded me of Yuck or at least one of their weaker tracks that is. Something about “Unreal” didn’t resonate with me. It merely had me zoning out rather than be entirely engaged by it. As for the rest of the songs, they’re all incredible. With the combination of guitars, pianos, snyths, flutes and string instruments, makes for some dreamy, warm, and sleepy music.

The closing track, “The Plan,” wanders on for a little too long. It feels like a song written to say goodbye to Yuck. The line, “I can’t just sit around and hold your little hand…I’ve got some things to do.” Indeed Blumberg definitely has things to do and his ideas simply don’t mesh with the direction Yuck was apparently heading. I must admit, I was disappointed to see him depart, but once I heard this album, I’m more than okay with it now. “Unreal” minus the title track is a tender, dream-induced record that will get inside your head. The multifaceted arrangements along with the sheer beauty encompassing these songs are more than I ever imagined. This may be Blumberg’s best debut record from any band he’s been involved with, but I hope he’s just getting started with Hebronix. I definitely like the direction he’s heading and perhaps his fourth debut album, he’s finally found his own way. One could only hope, this marks the last debut for Blumberg.

Key Tracks: “Unliving,” “Viral,” “Garden”
Grade: 8.5 out of 10

Published by Mountain Views News on July 27th, 2013
http://mtnviewsnews.com/v07/htm/n30/p15.htm

"PACIFIC RIM" - Review

Directed by: Guillermo del Toro

Written by: Travis Beacham and Guillermo del Toro

Rated PG-13 for sequences of intense sci-fi action and violence throughout, and brief language

Release Date: July 12^th, 2013

Review by: Sean Kayden

Pacific Rim is big, bold, and incredibly fun to watch. It has an inherently light and airy feel to it as opposed to other summer blockbusters that have been dark, brooding, and cynical. It takes place in the not-so-distant future when Earth is under attack by Kaiju, enormous sea monsters which have emerged from a portal on the ocean floor. To battle the monsters, humanity unites to create the Jaegers, which are gigantic humanoid mechas. Two pilots, whose minds are joined by a neural bridge, control each mecha. One pilot takes over the left hemisphere of the brain and the other pilot, the right hemisphere. The film focuses on Raleigh Becket (Charlie Hunnam) a has-been Jaeger pilot called out of retirement and teamed with rookie pilot Mako Mori in a last resort attempt to defeat the Kaiju. What truly works in Pacific Rim is that it’s a very contained film with one true purpose. Unlike big blockbusters this summer that feel like one part of a trilogy, Pacific Rim is completely stand alone and ultimately a truly satisfying experience. Pacific Rim’s non-super serious approach unlike other summer duds is very refreshing to say the least.

The film begins with everything actively going on with the Kaijus for quite some time. Earth was struck by numerous attacks until they banded together to create the mechas to fight off the monsters. While causalities are inevitable, the robots are still our greatest chance of survival. Charlie Hunnam’s character Becket is one of the best pilots of his time. What attributes to his super abilities is the fact he’s teamed up with his brother. Since the two siblings are minds are joined together to control to the robot, we know they have what is known as “drift compatibility.” This allow for each pilot to link up with the other’s mind. In this process, however, they get to see the other’s memories. When Becket is brought back several years after his botched mission by his commanding officer played by Idris Elba, he must reconnect with another pilot for the first time. However, the other pilot played by Rinko Kikuchi has her own demons to contend with. Now without going too much into a summary of the movie, not only is the film profoundly epic, but deeply human as well. It’s not just about robots and monsters going at it. Inside the robots are humans, just like you and me. And because of that, you feel the urge to cheer them on. The film, in my opinion, is more fascinating when we discover small things about each character. There’s not a whole lot of back-story, but you get a sense for each character as their memories are molded together when they link up with one another. There are a few scenes that are quite moving without being so heavy handed. Great human stories easily triumph pure action and chaos that’s displayed on screen just because it simply looks cool. While Pacific Rim doesn’t get delve too deep and occasionally touches upon cheesiness, it’s still wildly entertaining from start to finish.

Director Guillermo del Toro and co-writer Travis Beacham have created this massive motion picture that not only serves as a entertaining sci-fi action film, but a movie where the humans, no matter who they are, where they come from, unite to take down a common enemy. In a way, Pacific Rim is kind of uplifting and shows that with teamwork, a common goal, and a purpose to accomplish something seemingly out of reach, human beings can achieve great things. With the combination of huge action sequences, a richly told narrative, and the better-than-your-average robot plot, Pacific Rim is a clear winner for summer’s best blockbuster.

Grade: 4 out of 5
Published by Mountain Views News on July 20th, 2013 

http://mtnviewsnews.com/v07/htm/n29/p12.htm