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

Review By: Sean Kayden

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

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

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

Grade: 9.5 out of 10

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

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

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

Motorama - "Calendar"

Artist: Motorama

Album: Calendar

Label: Talitres

Release Date: November 6^th, 2012

Review by: Sean Kayden

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

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

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

Grade: 9.7 out of 10

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

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

Chad Valley - "Young Hunger"

Artist: Chad Valley

Album: Young Hunger

Label: Cascine

Release Date: October 30^th, 2012

Review by: Sean Kayden

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

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

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

7.4 out of 10

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

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

"Smashed" - Review

Directed by: James Ponsoldt

Written by: Susan Burke and James Ponsoldt

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

Release Date: October 12^th, 2012

Review by: Sean Kayden

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

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

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

Grade: 3.5 out of 5

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