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