BLUE RUIN - Review

Written and Directed By: Jeremy Saulnier

Rated R for strong bloody violence, and language

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

Review By: Sean Kayden

           

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

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

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

Grade: 4 out of 5

FUTURE ISLANDS - "SINGLES"

Artist: Future Islands

Album: Singles

Label: 4AD

Release Date: March 25^th, 2014

Review By: Sean Kayden

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

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

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

Grade: 8.3 out of 10

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

SPRING PLAYLIST

Review By: Sean Kayden

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

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

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

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

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

SHE SIR - "GO GUITARS"

Artist: She Sir

Album: Go Guitars

Label: Shelf Life

Release Date: February 25^th, 2014

Review By: Sean Kayden

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

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

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

Grade: 9 out of 10

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

REAL ESTATE - "ATLAS"

Artist: Real Estate

Album: Atlas

Label: Domino

Release Date: March 4^th, 2014

Review By: Sean Kayden

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

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

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

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

SNOWMINE - "DIALECTS"

Artist: Snowmine  

Album: Dialects

Label: Mystery Buildings (Self-released)

Release Date: February 24^th, 2014

Review By: Sean Kayden

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

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

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

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

Grade: 7.2 out of 10

FEBRUARY’S PLAYLIST

Review by: Sean Kayden

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

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

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

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

THAT AWKWARD MOMENT - Review

Written and Directed By: Tom Gormican

Rated: R for sexual content and language throughout

Release Date: January 31^st, 2014

Review By: Sean Kayden

Am I surprised I didn’t really care for a ‘romcom’ starring Zac Efron? Not really. Efron, Miles Teller and Michael B. Jordon are best buddies who make a pact to stay single, but secretly fall in love with the girls they’re talking to in “That Awkward Moment.” It’s one cliché after another in this mildly humorous tale of young men not wanting to fall in love, but really they do all along. This is supposed to be the opposite of a chick flick because it’s coming from the male perspective. However, the film offers little to no insight on the male mind. This formulaic relationship themed film doesn’t hold a candle to the earlier films it desperately tries to emulate. The film has a few laughs, mostly from up and coming actor Miles Teller, but that alone doesn’t save this witless male driven romantic comedy.

Basically, the movie is about these three best friends who want to hang out more once Michael B. Jordan’s character’s wife files for divorce. Efron and Teller are already trying to play the field or add to the “roster” as Efron comfortably states in the movie. There’s nothing special or unique going on here. All the characters are one-dimensional and there is literally no character development on any of them. Efron falls for a girl but doesn’t want to admit to it. Teller has his best girl friend helping him with random girls at the bar, but what do you know? They actually like each other. Jordan is going through a divorce, but his ex-wife starts to hook up with him again. It really doesn’t make much sense if she wants a divorce. All three guys keep it secret from one another because they said they wouldn’t get involved with any girls on a serious level. Of course all is revealed, the guys have a mini tantrum and seemingly everything is forgotten a few scenes later.

The only thing outside their pursuit of getting laid is what they do for a living. Efron and Teller work at company that design book covers and Jordan is a doctor. Even that seems forced and not at all relevant. Efron produced this script as a starring vehicle for himself. I guess he had the power to have someone want to invest in this, but it offers nothing special for him as an actor. Light on laughs, insight, heart and real romance, the film barely touches mediocrity. “That Awkward Moment” feels like it’s in a dead zone during its second half. There’s little significance to be found and much of the film just becomes tedious. A lot of the scenes were filmed in the same locations over and over. No variety, no surprises, all filler, no killer. It’s everything you’ve seen before in other movies, but done extremely better in them. In the end, there’s little to recommend. If this film is geared for women to finally see the male’s point of view, no discoveries will be made. As for guys seeing this, there’s nothing this film will tell you that you didn’t know already. Therefore, it’s a stalemate for both sides.

Grade: 2 out of 5

GARDENS & VILLA - "DUNES"

Artist: Gardens & Villa

Album: Dunes

Label: Secretly Canadian

Release Date: February 4^th, 2013

Review By: Sean Kayden

Gardens & Villa, a band from Santa Barbara, CA, is poised to release their sophomore record, “Dunes.” With this specific endeavor, the California five-piece indie rock act headed to Michigan for a bleak winter experience to record. It was a far different living situation than the boys ever could have imagined. The results were far from a sunny, breezy tone that the band was already accustomed to in California. What was formed ended up being a record consisting of nine dark synth-pop tracks embedded with pulsating snyth lines, effervescent rhythms, and shimmering vocals. The influences of 80s snyth rock bands gloss over the tracks, but the band is far from being imitators. Introspective songwriting, dance jam tunes, and fluttering melodies makes “Dunes” the first great album of the year.

“Colony Glen” covers every 80s sound possible and is down right intoxicating. In “Bullet Train” Chris Lynch hits the notes sky high with “The young die young, if they work too hard / Palm silhouettes, magnetic rails though the heart young silhouettes, we were doomed from the start.” The band’s first self-titled record was a lot more experimental and a bit all over the place. It still had some good songs, but it showed a band somewhat green on their first outing. With “Dunes,” Gardens & Villa come back like seasoned pros with a remarkable accomplishment of producing nine utterly enthralling and superlative songs. Sonically, the two albums are far different, but “Dunes” is leaps and bounds ahead of its predecessor. “Echosassy” puts the listener in a trance with a heavy snyth tempo. “Purple Masses,” best track off the record, is a completely beautiful, downtempo affair. Lynch’s vocals are intimate and stimulating and when paired with striking melodies, there’s no going wrong.

“Avalanche,” another solid entry that will have you dancing in no time and if not, something is terribly wrong with you. “Minnesota” is a slow burn tune that shows Lynch painstakingly singing over a piano. It’s heartfelt and pensive. It’s a departure from the rest of the album, but nothing to shun. “Chrysanthemums” is another slightly slower track from the other offerings, but no less beautiful and warm.  It also feature female vocals that go hand in hand with Lynch’s soft tones. “Thunder Glove” closes out the record and it reminds me a lot of a Fleetwood Mac tune. Ironically, the band covered their song “Gypsy” a few years ago for a compilation record. At just under forty minutes, “Dunes” is one great listening experience. It has tremendous replay value. It’s dark, deep, romantic and filled with insight. The second album from Gardens & Villa surpasses all expectations I had going in. Their travels have served them well and what lies beyond is anyone’s guess. For the moment, “Dunes” will serve as the album to bring in light where winter’s darkness occupies.

Grade: 8.6 out of 10

Key Tracks: “Chrysanthemums,” “Purple Masses,” “Avalanche,” “Thunder Glove”

YOUNG THE GIANT - "MIND OVER MATTER"

Artist: Young The Giant

Album: Mind Over Matter

Label: Fueled By Ramen

Release Date: January 21^st, 2014

Review by: Sean Kayden

Young The Giant’s second album “Mind Over Matter” has the band evolving from their previous melodic instrumental layered resonance. With the sophomore release coming out three years after their self-titled album, Young The Giant went with a louder, more rock driven record. They throw in a little electronics into the mix as well. Sometimes it can be a distraction to Sameer Gadhia’s beautiful vocals, but perhaps this approach was necessary to differentiate from their first album.  The first half of the record is both high energy and explosive. When the band decides to slow down the tempo, it doesn’t do them any favors. While the track, “Fireflight” is reminiscent of something off their first album, it feels mistakenly out of place here. However, despite any mishaps, most of the record is thoroughly enjoyable. “Mind Over Matter” is an admirable effort, but the transformation from album one to two wasn’t as compelling as I would have liked it to be.

Opening track, “Anagram” wanders into danceable terrain. With a catchy beat and chorus, the band starts off things on the right foot. “It’s About Time,” the band’s first single is a gritty rock tune. They try new things with this one, but ultimately it’s rather uninspiring. It’s simply too generic to be a standout track. I can see why it’s radio friendly because it sounds like too many other bands put together. Luckily, we’re saved by the alluring “Crystallized.” Easily the best song here, it’s both an empowering and a game-changing track for a band known for pleasant, easy going songs. The band’s previous laidback tunes really didn’t distinguish them from the indie rock bunch. The title track, “Mind Over Matter,” is another similar gem. It packs an emotional strike and Gadhia’s vocals are fully on display. The following track, “Daydreamer” doesn’t disappoint. It’s undeniably memorable and just simply pulls you in every time. Replay value at full force with this stunning track. By track seven, the record slows down and figuratively takes one out of the party into their own dark lonely room. I’m all for the emotional whimpers, but not when you’re clearly having such a good time through the first five or six tracks.

Things pick up momentum with “In My Home,” “Eros,” and “Teachers.” “Waves” is so promising until it comes into the final ninety seconds or so. Too many layers added to the song and it’s literally just stripped away from all the greatness it had going for it. Young The Giant is a band I can’t figure out. They have some really superb tracks, but when they fail it’s nearly disastrous. I like the effort with “Mind Over Matter” in an overall sense. The band has some of the most infectious choruses in any album I’ve heard in quite some time. This sophomore endeavor definitely improves upon their eponymous first album. Despite some mishaps along the way, “Mind Over Matter” is a solid entry in the ever so crowded indie rock arena. But like most solid entries in this spectrum, it’ll be forgotten by summer time.

Grade: 7.3 out of 10
Key Tracks: “Crystallized, ”Mind Over Matter,” “Daydreamer,” “Teachers”

TRUE DETECTIVE

Pilot: “The Long Bright Dark”

Created by: Nic Pizzolatto

Written by: Nic Pizzolatto (All 8 Episodes)

Directed by: Cary Joji Fukunaga (All 8 Episodes)

Premiered on HBO on January 12, 2014

Review by: Sean Kayden

The long awaited new series from HBO called “True Detective” debuted this past Sunday night. With expectations through the roof, did the show live up to all its potential? Matthew McConaughey and Woody Harrelson both star in this dark police drama that takes place in South Louisiana. The two men are two Louisiana State Police homicide detectives who hunt a serial killer in 1995. The show spans across seventeen years, showing flashbacks of the investigation leading into 2012 where both men are interviewed separately by current detectives about their relationship as well as the murder that occurred during their time as partners. “True Detective” is a slow burn miniseries that’s intense, morbid, and richly textured.  The dialogue is provocative and lively that brings an ominous tone to the show. With two solid performances by lead actors who have come into their own as of late, “True Detective’s” pilot episode pulls you into its world. This is not a happy place to be, but one that’s too damn gripping to turn away from.

Matthew McConaughey stars Det. Rust Cohle. He’s mysterious and haunted. He’s battling an alcohol addiction, coping with a deceased daughter and a philosophical pessimist. He doesn’t have any furniture in his apartment and there are several crime novels stacked against a wall. With seemingly no friends or family, Cohle seems to just live for his job. The first episode was mostly about revealing who these characters are and the way they perceive one another. Woody Harrelson stars Det. Martin Hart who is the opposite of Cohle. He has a beautiful family and doesn’t believe in the same ideologies about life as his distressed partner. However, their scenes together are the most powerful in the episode. The relationship is dynamic and multifaceted. These two actors really switched it up these past few years with more dramatic roles. McConaughey, once a guy who did silly rom-com and action pictures is now one of the most dramatic actors on screen. His presence is dominating, convincing, and down right alluring.  In “True Detective,” Harrelson keeps up though with each step and each punch thrown at him. At the very least, “True Detective” already has some of the best acting to be found on television.

In the pilot episode, it seems very few things actually happen. We have the investigation of a murdered girl found by a tree in the cane fields. She was naked, tied to the tree, and had antlers coming out of her head. Cohle believes this isn’t the murder’s first time, but Hart is skeptical. A missing girl from several years ago is brought to attention and the two men pay a visit to the girl’s uncle. This all leads up to an ending with a picture being shown to Cohle, seventeen years later (no longer belonging to the police department) that will have you craving the next episode, if not all of the remaining seven. It may be too early to predict, but “True Detective” appears to have best new series written all over it thus far.

Songs To Kick Off The New Year

Review By: Sean Kayden

Young The Giant – "Crystallized" – After three years, Southern California natives Young The Giant are returning with their sophomore effort, “Mind Over Matter.” The album will be released on January 21^st via Fueled By Ramen. One of the first singles is “Crystallized.” It packs delicate vocals, fervent melodies and huge hooks. The love song is the ideal summer night jam that just happens to be coming out in the winter. No matter what season it is, “Crystallized,” is sure to comfort anyone feeling lovesick.

Bad Suns – "Cardiac Arrest" – Another SoCal band making the list are Bad Suns. The group is preparing to release their first EP, “Transpose” later this month. “Cardiac Arrest” is pure fun from this new pop-rock bursting onto the scene. Frontman Christo Bowman sings with conviction and fervor. While “Cardiac Arrest” isn’t reinventing any genre, the song is incredibly catchy and infectiously addicting to keep on repeat. With bands like Capital Cities and Youngblood Hawke increasingly becoming popular, Bad Suns and their similar sound should be able to find much success with their 4-song EP. “Cardiac Arrest” is simply fun pop rock and sometimes simple and straightforward isn’t half bad. “Transpose EP” will be released on January 21^st through Vagrant Records.

New Desert Blues – "Zachary" – New Desert Blues is another newcomer hailing from the county of Whiteley located in Hampshire. The indie band evokes an American folk resonance. New Desert Blues actually dubbed themselves “noir Americana.” Whatever you want to call it, it’s great stuff.  “Zachary” is a subtle, alternative-rock-country track that is invigorating from a band from England. While most bands hailing from there these days sound exactly the same, New Desert Blues seemed to be more influenced with the western civilization. Their guitars soar, the harmonies are ethereal and the vocals shine throughout. Despite only releasing a 4-track EP entitled “Devil’s Rope” on January 21^st through Whiteley Records, the band’s potential will have everyone anticipating their full-length record.

The War on Drugs – "Red Eyes" – The most seasoned group on the list, The War On Drugs should have a huge year. Their fourth record, “Lost In the Dream” features “Red Eyes” a rolling rock gem that ignites the likes of Springsteen and company. This is good old fashion rock without the gimmicky electronics and tweaked vocals that’s all the rage these days.  It’s raw and serious. “Red Eyes” is just shy of five minutes, but it could have been longer and I wouldn’t have mind. It’s dreamy rock with the signature sound from The War On Drugs that I can stand behind. The band is one of the more original bands out there playing today. If “Red Eyes” is any indication of how the entire record may sound, we just might have an early contender for album of the year. “Lost In The Dream” hits shelves March 18^th via Secretly Canadian.

My Five Favorite Films of 2013

Review By: Sean Kayden

5. Fruitvale Station - 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 gives a subtle yet stirring performance as Oscar. The film follows Grant as he tries to navigate through his laborious day. 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. Oscar is genuinely trying to improve himself for those who continually lift him up. “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 one of the most important films of 2013.

4. Dallas Buyers Club - McConaughey stars as Ron Woodruff, an electrician by day, a rodeo riding, drug taking, and woman loving homophobic man by night. Bigoted and selfish, Ron’s life takes a dark turn after he collapses one evening at home. Shocked to hear he’s been diagnosed with HIV and has a mere 30 days left to live, Ron doesn’t come to terms that he actually has the disease.  After a night of binge drinking and drug use, Ron doesn’t feel the same. He starts to look into the causes of HIV and discovers you can contract it from other things aside from homosexuality. His world turns upside. McConaughey, weighing in at 135lbs, gives what should be hailed as not only his finest performance, but also one of the best of the year. While the film could have easily been an utter downer, director Jean-Marc Vallée finds dynamic wit and humor in the grimmest situations. McConaughey gives a fearless performance and Jared Leto’s presentation, while subtle, is intriguing and delicate. “Dallas Buyers Club” hits you hard in some scenes, but it never desperately tries to tug on the strings of one’s heart. However, you will feel something though Woodruff’s plight. It’s refreshingly straightforward with a pair of brave, unconventional performances that place them among the very best of the year. What “Dallas Buyers Club” is sellin’ is worth buyin’.

3. 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 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. Their 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.

2. The Wolf of Wall Street – Leonardo DiCaprio and Martin Scorsese once again team up to make the most entertaining and high-energy film of the year. DiCaprio stars as real life stockbroker, Jordan Belfort, who ultimately throws away everything for his obsession with money, drugs, and power. The film, which is definitely a black comedy, is three hours of pure adrenaline. With a copious amount of drugs, sex, and money being thrown at you on screen, you almost need an intermission to catch your breath. Every second of this movie was spectacular. “The Wolf of Wall Street” has more energy and liveliness than other film released this year and it comes from a director who’s 71 years old. DiCaprio gives a brilliant, over-the-top performance and if this doesn’t earn him the Oscar this year, something just isn’t right. The film has a running time of 179 minutes, but never is there a monotonous moment to be found. It was one of the few films this year to have by undivided attention from beginning to an end. It’s riotously funny, wildly audacious, and undoubtedly the most fun you could have at the theater all year. This one actually deserves all the buzz and attention over the unwarranted acclaimed “American Hustle.”

1. Short Term 12 - “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. 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 throughout 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.

*Note: At the time of writing this, I haven’t seen the following possible contenders from 2013: “Blue Jasmine,” “Gravity,” “Her,” “All is Lost,” “Nebraska,” and “Inside Lleywn Davis.”

AMERICAN HUSTLE - Review

Directed By: David O. Russell

Written By: Eric Singer and David O. Russell

Rated R for pervasive language, some sexual content and brief violence

Release Date: December 20^th, 2013

Review By: Sean Kayden

“American Hustle” has one of the best ensembles of the year. It has great acting, terrific wardrobe changes, and a spectacular soundtrack. It was all there, but just like any great con, in the end you’re left without all that much. That’s how I felt after viewing “American Hustle.” For a movie with such high caliber in front and behind the camera, I was left catastrophically disappointed with the end results. I wouldn’t however consider the film egregious by any stretch, but the film always seemed to be stuck in neutral. The first act is rather slow as we get to meet Irving Rosenfeld (Christian Bale) and his own back-story in becoming the two-bit con artist he is in the present. Soon after navigating through his life, we find out how he meets his lover/con partner, Sydney Prosser (Amy Adams). She poses as a British aristocrat named "Lady Edith Greensly" as a way to attract investors, whose money Irving embezzles. Their little enterprise works flawlessly up until Irving meets Edith’s latest potential client Richard "Richie" DiMaso (Bradley Cooper) posing undercover as a prospective investor. In order for Edith to get out of jail Irving must work with DiMaso to take down a few more con artists. However, DiMaso starts to like Edith and therefore a love triangle between the three begins. To add to it, Irving’s first wife (still legally married to), Rosalyn Rosenfeld (Jennifer Lawrence) is crazy and manipulative in her own twisted ways.

All of the actors are terrific. Amy Adams pulls off what might be her best performance yet despite being from a movie that won’t be considered her best. “American Hustle” catches some heat in the second act once we get more into the relationships between the four characters. When the mayor Carmine Polito (Jeremy Renner), comes into play there is some build up in the film, but it’s short lived. It feels as if there was so much emphasis on the characters and the way they looked than a much of a way of a coherent plot. The movie is widely sprawled out and some questionable filmmaking decisions were made that has “American Hustle” trying to con the viewer into thinking it’s smarter than what it actually appears to be. While I’m a fan of all the actors in the film, I never felt excited or enthralled by the film. It seemed rather consistent throughout and when I say consistent, I really mean utterly flat.

I don’t want to divulge into specific plot details, but the film closes out almost too neatly (and arguably unconvincingly). As it treads along at a moderate but sometimes brisk pace, I never found myself captivated by what was going on. It plugged along neither being surprisingly fascinating or down right engrossing. David O. Russell is however one of the best directors behind the camera. He keeps the camera alive with swift movements, close-ups, and panning shots. His last two films, “The Fighter” and “Silver Linings Playbook” were my favorites in each year they came out. However, with “American Hustle,” Russell paid too much attention to detail with characters and music choices rather than a rational, logical plot. In “American Hustle,” you get a little “Boogie Nights,” mixed with “Goodfellas” light. However, it can never match up to the mastery of those two classics and instead falling victim of being just a decent film rather one that should have been something much more.

Grade: 3 out of 5

OUT OF THE FURNACE - Review

Directed by: Scott Cooper

Written by: Brad Ingelsby, Scott Cooper

Rated R for strong violence, language and drug content

Release Date: December 6^th, 2013

Review by: Sean Kayden

Writer/director Scott Cooper broke out onto the scene with his critically lauded film, “Crazy Heart” a few years ago. He’s returned with his follow-up, “Out of the Furnace,” that has one of the strongest acting ensembles of the year. With a cast of all-stars including, Christian Bale, Woody Harrelson and Casey Affleck with support from Willem Dafoe, Forest Whitaker, Sam Shepard and Zoe Saldana. Bale stars as Russell Baze, a mill worker in small town in Pennsylvania. Grueling hours and making ends meet, Baze hopes to start a family with his girlfriend played by Zoe Saldana. In the meantime, his brother, Rodney (Casey Affleck) returns home from the war looking for anyway to make a quick buck. In a cruel twist of fate, Russell lands himself in prison and Rodney gets involved with a brutal and sadistic crime ring up in the Northeast. Woody Harrelson plays a vicious villain who’s pitiless toward anyone who crosses his path. While it’s difficult to ignore the overwhelming talent on screen, it sort of baffles you how actors of this caliber are drawn to such an empty, hollow script. “Out of the Furnace” doesn’t say a whole lot about really anything. It attempts to be contemporary with a jab to the US military by a disgruntled marine and how the choices you may certainly may have dire circumstances. “Out of the Furnace” simply doesn’t have anything to offer other than feeling like a direct-to-DVD film that just happens to include an all-star cast attached to it.

            I was really hoping and even expecting to see a dynamite film here. However, the film is utterly straightforward in such an old school, traditional way. Often times, the reasons made by characters didn’t hold much merit. Not for a second did I believe Casey Affleck to be some tough guy marine who has served four tours of duty in Iraq. In addition, Bale’s character reasoning behind being locked up (never knowing how long it was for) just seemed derivative. Sam Shepard had no point in the film while Forest Whitaker once again shows up as a cop or some authority figure with little to offer. The only two guys who had anything going for them were Bale and Harrelson, but even their characters were very one-note. Harrelson plays a badass guy better than anyone else, but there wasn’t a whole lot of meat to his character for him to chew on. After Russell gets out of prison is when his brother, Rodney gets into deeper trouble than ever before. What doesn’t make sense is Rodney doing what he said he would do, but paying a price for it. It’s unclear why the fate of his character is met with unwarranted results. Then there’s the ending, which is almost laughable of how it all unfolds. No twists or turns, just baffling uncomplicated.

            Indeed Scott Cooper has suffered the sophomore slump with his second directorial effort. I almost can’t believe this film was released by big names such as Ridley Scott and Leonardo DiCaprio’s Appian Way company. It’s not as if “Out of the Furnace” is complete garbage, but there’s really nothing holding it together. No centerpiece, no message. It has a few good scenes amongst a plethora of scenes lacking any intrigue or interest. There are several faults and ill-conceived story decisions here that easily allow the viewer to pick it apart piece by piece. With a cast like this, a director coming off a big hit, you just have certain expectations that you hope are met. With “Out of the Furnace,” you get almost nothing in return for the price of admission. Perhaps this script should have been sent to the furnace before anyone was dumb enough for giving it the green light.

Grade: 1.5 out of 5

            

ABOUT TIME - Review

Written and Directed By: Richard Curtis

Rated: R for language and some sexual content

Release Date: November 8^th, 2013

Review By: Sean Kayden

“About Time” is the latest feature film from writer/director Richard Curtis (“Love Actually”). This romantic/faux sci-fi tale is about one young man’s desperate pursuit to find love with his newfound ability to travel back into time. Oddly enough, he finds it rather quickly. The movie was advertised as a romantic comedy but is only for the first half at that. It switches gears and is more about this young man and his ability to go back into a certain time of his life. At first glance it was to aid him in finding true love. Then it led to helping others like his sister, who dealt with her own relationship woes. It was also a link between Tim and his father to maintain a strong connection. The movie wants to be so many things and never really decides on which it will ultimately be. It’s a movie where there’s a lot of telling rather than showing. It is also very dialogue driven and the dilemmas never seem all too serious. At first it’s romantic and that sort of fades once love is secured. It has a few lighthearted moments, but a comedy it is not. The third act heads into more drama, but never does it feel utterly dramatic. “About Time” suffers from a gimmicky plot device that becomes more tedious than clever. It has sweet moments scattered throughout and has a trio of fine performances especially from the father character played by Bill Nighy. However, “About Time” is far too long for such a thin plot. It had the potential to be something far more superior with the time traveling element as a key component to the film’s story.           

Lead actor, Domhnall Gleeson is quite likeable as Tim. He’s endearing in a dorky, oblivious sort of way. The problem is how the film puts so much emphasis on how it seems like the end of the year not to find love at 21 years old. Not only does he marry the first girl that loves him, but also had another chance with his first love he hadn’t seen in a number of years. The movie also feels too long with how it’s over the span of many years. Rachel McAdams as the love interest is lovely as usual. However, she doesn’t have a whole lot to work with after the initial setup, eventually leading up to marrying the kind and perceptive Tim. McAdams’ character strangely takes a backseat as Tim focuses on helping his sister with her own complexities and unhealthy relationship (which is never shown only told through dialogue). After that small subplot is quickly resolved, the last part of act three is where Tim and his father connect. It almost feels as if it is a little too late. I wish the film expanded the father-son dynamics more. Don’t get me wrong, it’s still rather sensitive, but the murky plot device makes the film almost feel too phony. Luckily, when you have great actors like Bill Nighy, your material is elevated to greater heights more so than it should be with such shortcomings found in the screenplay.

            In the end, “About Time” is a fine film that’s simply too elongated. There’s quite a bit of filler to make it feel a bit overstuffed. Fine performances, a couple of tender moments and a few scattered laughs make “About Time” merely a Redbox rental/Netflix stream then a must-see love story in theaters. Unfortunately, when it finally ended, the only thing that came to mind was, “about time.”

Grade: 3 out of 5

Three Overlooked Records of 2013

Review by: Sean Kayden

Bear Ceuse – “Don Domestique” - Bear Ceuse is a four-piece indie rock act from NYC. Lead singer Cameron Matthews, originally from St. Louis, provides raspy but attractive vocals along side the whimsical and cacophonous guitar work of Chicago native Adam Horne. There’s definitely a 90s undertone presented on the tracks found on the album “Don Domestique.” The music bears a resemblance to acts like Dinosaur Jr. and Pavement. While Bear Ceuse’s resonance may echo the likes of alternative 90s rock, their signature sound for this decade is revitalizing.  The songs on the band’s debut album are quite disparate. Bear Ceuse is a multi-faceted band that can slow things down and turn it up in a blink of an eye. While they may be virtually unknown in a sea of indie rock bands today, their debut record brims with heartfelt lyrics and sweet melodies. The experience will captivate any listener with a deep uncertainty in the world around them.

Ski Lodge – “Big Heart” - Ski Lodge’s incredibly upbeat approach is simply indelible. With dark lyrics and sugary hooks, the combination is nearly faultless. Andrew Marr from NYC is a multi-instrumentalist. His affinity toward The Smiths is visibly noticeable. His debut record, “Big Heart” is aptly titled. Marr has his heart on his sleeve with his full time project. With lyrics that evoke the pains of isolation, strained father-son dynamics, and love, Ski Lodge is perfectly tender and warm. There is a dichotomy here as some tracks are utterly reflective and others are danceable. Marr is able to pull you in tight with his sensitive vocals, entrancing arrangements, and a deep sense of balance between the likes of sweetness and darkness. No matter which way you lean toward, there’s something here for you.

Young Man – “Beyond Was All Around Me” – The solo project of Chicago’s Colin Caulfield is known as Young Man. After receiving much acclaim a few years back with a plethora of covers of modern indie rock acts and classic rockers, he set forth on creating a trilogy of records. His latest endeavor and finest one to date, “Beyond Was All Around Me,” is dreamy bedroom rock heaven. It’s very ambient driven and his method in attempting to achieve perfection is commendable. While it’s far from the best album of the year, it’s definitely a strong demonstration of an artist evolving. There is an incredible amount of emotion and passion perched on Caulfield’s third record. “In Time” floats on into Pink Floyd territory half way though. It puts you in a complete trance, for better or worse. “Beyond Was All Around Me” is devastatingly personal and completely soulful. Caulfield may be a young man, but he sings and plays music like a hardened veteran.