http://blogcritics.org/ A sinister cabal of superior bloggers on music, books, film, popular culture, politics, and technology - updated continuously. en Copyright 2005-2007 by the authors Thu, 2 Jun 2005 14:52:36 EDT http://backend.userland.com/rss Blogcritics.org custom software http://blogcritics.org/ Phillip WinnSunday, August 26, 2007, marks the switch of all Blogcritics.org article feeds from full-content to short-content. This is the result of several converging factors, and is unfortunately a permanent decision (as permanent as any decision can be on the web, that is). We are aware of all of the reasons that this is a Bad Idea, and we are aware that some of you will be quite upset about having to click on something to read the free content, and we're sorry. Unfortunately, despite great effort, full-content feeds are not currently economically viable. Two other factors are involved: full-content feeds have resulted in an unprecedented level of content theft, with BC content appearing on many websites, usually spam sites, without attribution or permission. This duplicate content causes a cascading set of problems, not the least of which is that search engines generally aren't favorable to duplicate content, and don't always guess correctly. Finally, our RSS advertising partner is strongly in favor of short-content feeds. We hope that you'll continue to subscribe to BC via RSS, and when an article grabs your eye, it's only a click away, still free on the BC website. Thank you for your understanding. Administration0@blogcritics.org Sun, 26 Aug 2007 12:00:00 EDT http://blogcritics.org/archives/2005/06/02/145236.php Patrick Vu Grade: A+ | Genre: Hip Hop/Progressive Rock Summary: Demon Days, "side project" or not, takes risks and is able to present a work of incomparable brilliance. In this reviewer's eyes, the pressure is definitely off the Gorillaz to produce an album capable of changing ones fortunes. Four years ago, you couldn't escape the Gorillaz' infectious hit, "Clint Eastwood," from their self-titled debut. It was the slacker jam of Summer 2001, and you can still hear its meandering piano chords while Del tha Funkee Homosapien took you for a ride you've never before been on. Conceived as the first "virtual hip-hop group," the quirky bunch of cartoon MC's are back with their latest, Demon Days, and continue to push the limits of Hip Hop and Prog Rock. With the blended contributions of De La Soul, Shaun Ryder, Debbie Harry, Dennis Hopper, and Martina Topley-Bird, Demon Days spotlights the Gorillaz' out-the-box thinking and genre blurring talents. The Gorillaz' debut was an unexpected worldwide hit for something originally deemed a "side project" by the brain trusts of illustrator Jamie Hewlett and Blur frontman Damon Albarn. They took a small seed and grew it into a vast landscape of sounds and b-boy beats that continue to resonate on Demon Days. With DJ Danger Mouse (responsible for the infamously effective Grey Album, a turn-table mixing of The Beatles' The White Album and Jay Z's The Black Album) now steering the ship, the Gorillaz' formula is increasingly potent and a must have for music officionados.Demon Days begins with a murky intro that has you questioning which direction they intend to take you. The "Last Living Souls" eases you into the album's progressively increasing upbeat tempos and doesn't let go of your curiosity. There are always contrasting sounds waiting around the corner and you are filled with beats and melodies that pull and twist music you think you've heard before."Kids With Guns" coats a socially disturbing commentary of youth violence with their trademark slacker beats heard throughout Demon Days. It's not overpowering but yet very thought provoking.The "Clint Eastwood" of the album is the current single "Feel Good Inc." which is also featured in an Apple iPod/iTunes commercial. The blending of disco and techno beats wrapped around De La Soul's MC skillz keeps the party going. Just in time for the Summer, "Feel Good Inc." is a jam you won't be able to get out of your head and will probably hum in your sleep. Remember "Hey Ya" from Outkast?The most surprising track is the William Shatner/Baz Lurhmann-like contribution of Dennis Hopper on "Fire Coming out of the Monkey's Head." It's a strange but yet profound spoken word piece about tranquility disturbed by the forces unknown. Is it an observation of American greed or just a means of pointing out the impending doom that surrounds us in the shadows? Whatever it is, the Gorillaz are our self-appointed profits, and we can either listen seriously or shrug it off with a smirk.Demon Days is a daring album that get's better with each spin. I'll admit that I wasn't too impressed upon first listen, but after several sessions, I definitely began to hear why they have become such a huge success. Demon Days, "side project" or not, takes risks and is able to present a work of incomparable brilliance. It's like an indie movie where the film-makers work to create a labor of love without the pressures of the major production studios. We can't forget though, that pressure is actually on the Gorillaz, as well as Coldplay, with great expectations hinging on their respective releases. Click here for more details.In this reviewer's eyes, the pressure is definitely off the Gorillaz to produce an album capable of changing one's fortunes. Be sure to pick this one up!For more critiques from this reviewer, please visit PM Media Review. Music30476@blogcritics.org Thu, 2 Jun 2005 14:52:36 EDT http://blogcritics.org/archives/2005/05/23/105227.php Patrick Vu Grade: A+ | Genre: Brit Rock Summary: So what's the "Truth" anyway? Is it that Oasis is washed up and beyond their prime as some may have believed? Maybe the real truth is that Don't Believe The Truth might be the album that's remembered in 2005 over the much delayed X&Y from Coldplay. The Big Brit Rock Monster (try saying that 10 times) has reared it's progressive head and has its sights set on the musically dry US soil. This is turning out to be its year to shine with recent hit releases from Doves and Bloc Party. However, as great as Some Cities and Silent Alarm were/are, they are mere warm-ups to eminent blockbusters coming from the likes of Coldplay and today's top focus, Oasis. The time is ripe for music lovers as these big bands are rewarding loyal fans with their even bigger albums. It's been three years since the moderately successful, Heathen Chemistry (did it even chart stateside?), and the Gallagher brothers are back and quick to tell anyone who get in their faces that they haven't lost a f*cking step. The egocentric and self-loving wankers still have the fire to knock us on our arse with their high swagger and pompous egos. They don't do much to win us over, nor do they care, but damn if they don't make great music. Don't Believe the Truth is a wake up call for all those critics who accused them of "losing it" and aims to splash water on Coldplay's over hyped pre-release campaign. I'll admit that I still haven't gotten over a cancelled show in Atlanta 5+ years ago, where I had 5th row center seats (5th ROW CENTER!). Instead, a couple years later I had to settle for an over crowded outdoor music festival to see the feuding brothers finally settle their differences and march together on stage to give fans a taste of what they missed. It was a brilliant show still overshadowed by family squabbles that just couldn't make up for the lost opportunities. Noel, if you're reading this, here's your chance to make an Atlanta fan for life.Don't Believe the Truth is Oasis back at their highest standards and probably their best effort since (What's The Story) Morning Glory? and Definitely Maybe. Noel has given more creative license to the rest of his mates including l'il brother, Liam, and the results speak for themselves. You get the original flavors that made their earlier work so memorable compounded with updated sounds reminiscent of the experimental, "F*cking In the Bushes" off the Snatch Soundtrack.The album kicks off with "Turn up the Sun" that begins like any other Brit Pop song. The sweeping guitars blare with unexpected softness, but then, as if to spit in your face and say "we're better than this" they pick things up with raw and aggressive emotion. Lyrics like, "I carry madness, everywhere I go" make sure you know where they coming from and which way they're heading.The current single, "Lyla," continues their firm stance and is a rockin' serenade to a girl they've been "[waiting] for a thousand years...to come and blow [them] off [their] mind." It's a surprising single to help usher in the new era because the other 13 tracks are so much stronger.Of course, you can't have an Oasis album that doesn't reek of the fab four that was The Beatles. They don't shy away from professing love for their biggest influence and do so on tracks such as "Love like a Bomb" and "The Importance of Being Idle, " which sound like flashbacks to Sgt. Pepper and Revolver. Ordinarily, "throwbacks" aren't fit to carry the torch that Oasis has ignited for themselves, but they do it with such originality that the label just doesn't stick.One thought that always crosses my mind is "why doesn't Noel take mic duties away from Liam more often than not?" The emotionally charging "Part of the Queue" would never have been as great if Liam were out in front, and I bet Noel would be the first to tell you this. A great example of why the elder brother should take control more often is on "Let there me Love." Don't get me wrong, Liam's scratchy pipes work just fine, but when Noel steps in half way through, the song takes on a whole new personality. You really have to question why the man behind the band won't take the lead as often as he doesn't.So what's the "Truth" anyway? Is it that Oasis is washed up and beyond their prime as some may have believed? Maybe the real truth is that Don't Believe might be the album that's remembered in 2005 over the much delayed X&Y from Coldplay. Oasis has made a strong argument with their latest work and has defined themselves once again as a leader of the Brit Rock movement. Check it out for yourself.For more critiques from this reviewer, check out PM Media Review. Music29977@blogcritics.org Mon, 23 May 2005 10:52:27 EDT http://blogcritics.org/archives/2005/05/09/153438.php Patrick Vu Grade: A- | Genre: Comedy Summary: It's "J-Lo vs J-Fo" in a heavy weight bout where only the stronger can survive. The extremes that the two take against each other are slap-stick entertainment, and you're laughing your arse off. Gasp...an A- rating?! For a film I originally had no interest in seeing, I must admit that I had a great time and still find myself playing gut busting scenes back in my head. Jennifer Lopez may have received top billing, but the real star of the show was Jane Fonda who played the title character with such natural ability, you wonder if life imitates art. Also notable was Wanda Sykes who, like a bandit, stole the scene every chance she could get. The two make for an interesting pairing that totally works and is the latest incarnation of the "The Odd Couple." Tonight was an opportunity to attend a red-carpet premiere of Monster-in-Law to benefit G-CAPP (Georgia Campaign For Adolescent Pregnancy Prevention), a charity spearheaded by Fonda and a worthy cause that has educated and given so many young mothers an opportunity for a more fulfilling life. All of the film's primary stars were in attendance (minus Michael Vartan due to the filming of Alias), which had the star struck crowd happy and in good spirits going into Atlanta's Fox theatre. Charlie (Lopez) is a carefree spirit and a woman of multiple professions. From a morning dog walker to afternoon gigs as a medical clinic temp to a bashful artist in her free time, she has yet to conquer the romance department. On one normal morning of dog walking, while reading a fortune cookie prophesying that love is right in front of her, she locks eyes with a jogging Kevin (Vartan) but is too love stricken to say anything. After chance meetings thereafter the two finally meet and life is good...that is, until Kevin's mother steps into the picture. Confucius didn't see that one coming.Meet Viola Fields, a powerful veteran talk show host who has just been told she will be replaced by a younger peppier version of her yester-youth. Always the proud and dignified professional, or so she believes, Viola concedes to finish the season on her own terms and to move on. In one unforgettable scene, she interviews a ditsy Britney look-a-like, who has no clue of the world around her. When asked what she likes to do in her free time, the Britney clone gushes over her love for "old movies." However, she's not talking about Casablanca or Gone with the Wind. Her classic films collection includes Grease 1 and 2, Benji, and of course the eternal feel good film, Free Willy. Reminded of how old and replaceable she has become, Viola snaps, and the next thing you see is her screaming and lunging for Britney. It's the result of her emotional balloon filled beyond capacity with rejection and betrayal, and you don't want to be within reaching distance when it finally pops.After 3 months in a mental institution, Viola is finally released and has plans to start over and spend the summer in Africa with her son, Kevin. What she doesn't know is that Kevin, by now, is engaged to Charlie and that the woman whom he will spend the rest of his life with is not her, but in fact Charlie. When she learns of the news, those feelings of rejection and insecurity come rushing back, and Viola is desperate to keep the one thing that makes her life whole, her only son, Kevin. What's a loving mother to do but anything she can to keep the two apart. Viola, with the help of her assistant and cohort, Ruby (Sykes), researches Charlie hoping to find anything she can to use against her but to no avail. Her last resort is to fake an illness requiring the personal care and attention of relatives. Viola is able to worm her way into Charlie and Kevin's new home where she spreads her seeds of destruction. From invasions of privacy to excessive emotional baggage, Charlie is in over her head and can't seem to climb out from under the Louis Vuitton baggage Viola has dumped on her. It becomes "J-Lo vs J-Fo" in a heavy weight bout where only the stronger can survive. The extremes that the two take against each other are slap-stick entertainment, and you're laughing your arse off.Monster-in-Law definitely delivers and will surely serve at least one week as box office king (don't forget Episode 3 comes out the following week). J-Lo is good as Charlie, though she tried too hard to be too cute. It wasn't distracting but was noticeable. Michael Varaton, though a solid actor, was basically an ornament that comes between the feuding women and gives those in the audience something pretty to look at. Jane Fonda gives it her all for her first film in 15 years (Stanley & Iris was her last) and is the reason MIL is as good as it is. She and Sykes are the heart and soul of the film that get most, if not all, of the laughs and together carry the movie far beyond what Lopez could have. Dare I rank it up there with Meet the Parents? For now, I'll just liken it to Meet The Fockers. Whatever the case, this is a crowd pleasure and one you can't go wrong with.Note: The spirit of the night was guided by G-CAPP, and if you haven't had a chance to hear of the work that they do, please visit their website at www.gcapp.org.For reviews from this critic, please check out PM Media Review. Video29226@blogcritics.org Mon, 9 May 2005 15:34:38 EDT http://blogcritics.org/archives/2005/05/04/094016.php Patrick Vu Grade: B+ | Genre: RockSummary: Spoon returns to rock a more mature and confident sound while still injecting their flair for catchy tunes on their fifth full-length album, Gimme Fiction One of the best Brit Bands to not even be British has got to be the Austin, Texas Trio, Spoon. Long time band mates, Britt (what a coincidence) Daniel and Jim Eno, along with an assortment of bass players, have developed their infectious alt-pop sound since 1994, and remain a favorite of indie aficionados. They continue to fly under the radar while building a stronger fan base with each release.Spoon returns to rock a more mature and confident sound while still injecting their flair for catchy tunes on their fifth full-length album, Gimme Fiction. These Texans have crafted an exhilarating collection of upbeat and toe tapping melodies that are a progression of their artistic merit and musical ambition.When a friend you haven't seen in quite a while re-enters your life, the natural thing is to reacquaint yourselves and catch up on old times. The mid tempos of "The Beast and Dragon, Adored" fill us in on what our dear old pals from Spoon have been up to since the previously released, Kill the Moonlight. They tell stories of how they've "been learnin' their scene" and keep us captivated the whole time."The Two Sides of Monsieur Valenti" makes us feel like they were never gone and picks up where they left off on Moonlight. It's one of many gifts and souvenirs that the band has brought back with them, and you can't wait to see and hear more."I turn my camera on" and "My Mathematical Mind" remind us why we love them so much and how they should never leave us again. They touch on old styles, but with a new energy and soul that only time and casual travels can help nourish."I Summon You" is like a Beatles' anthem of self-discovery and inner personal confessions. Hearing verses like "Remember the weight of the world is the sound that we used to buy / on cassette and 45" has us picturing John and Paul vying for our attention. It's the soundtrack that is a barometer signaling our current lives and mind state. What it all comes down to is simple...we end up going back to what we left behind."They Never Got You" and "Merchants of Soul" round out this album of assured rock-n-roll in Spoon sized servings. Gimme Fiction won't change your life, but you're happy that they're back. Fans have been waiting for a while and will have to continue to wait until it its release on May 10th. However, for those of you savvy enough, I'm sure your resourcefulness on the web will help you get your fix.For more critiques from this reviewer, please check out PM Media Review. Music29019@blogcritics.org Wed, 4 May 2005 09:40:16 EDT http://blogcritics.org/archives/2005/04/21/135020.php Patrick Vu Grade: A- | Genre: RockSummary: The Clarence Greenwood Recordings is a showcase of one man's talent and the broad influences that have helped to shape his sound. It blurs the lines of genre and is a must have for your changer. I guess commercials are good for something after all. These days, those quick 30 second opportunities to run to the bathroom have become a good source of discovering new and obscure music you otherwise would never find our your radio dial. We did it when we stumbled upon Telepopmusik during a Mitsubishi commercial and again when we learned about Dirty Vegas from the same auto company.Last week, before I had a chance to step away for a commercial break during an episode of The Office, I found myself being sold the Pontiac G6. However, its failure to make me want to buy became my gain as the brief little tune used in the commercial attracted all my attention. Forget how much horse-power the G6 delievered, my focus was on finding out more about the music. Thanks to our friends at Google, the name of the song was "Son's Gonna Rise" by little known artist, Citizen Cope.Citizen Cope, aka Clarence Greenwood, was a DJ for D.C.'s Basehead and has since broken away to mix beats for himself and the masses. His previous self-titled effort helped to develop a small but devoted following; however, it was not able to break into the mainstream. Recording company politics forced him to defect from Dreamworks to Arista where he fused together "hip-hop beats with mellow piano melodies and new-school blues with easy-listening pop" on his latest, The Clarence Greenwood Recordings. (Amazon's Jennifer Maerz)This album is pure ear candy. You're doing the head nod on "Pablo Picasso" and don't even notice that it transitions in to the ultra breezy "My Way Home."Of course there's the aforementioned "Son's Gonna Rise," for which you'll hit the repeat button a few times. You may also notice the familiar guitar work of the legendary Carlos Santana who makes a special guest appearance.With some help from Meshell Ndegeocello, the exceptional "Sideways" is the sleeper track on Clarence. Thanks to a little Oscar-worthy film about wine and women of the same name (but unrelated), you can't help but picture Paul Giamatti's depressive character, Miles, drowning himself in a good bottle of Pinot (not "F-ing Merlot!"). If you make the connection like I did, you'll see that it's a hopeless love song that defines the character and one that shines the spotlight on his emotional insecurities and personal feelings for Mya, played by Virginia Madsen.The darker themed "Penitentiary" and "Bullet and A Target" take things very seriously as they veer on a more socially conscience path. Their expressions of civil violence and one's own personal downward slide get you thinking about how good you really have it.em>The Clarence Greenwood Recordings is a showcase of one man's talent and the broad influences that have helped to shape his sound. It blurs the lines of genre and is a must have for your changer. Even though Clarence was released in September of 2004, it's relatively low awareness level and current TV spot make it deserving of some newfound attention. Clarence leaves you wanting more because before you know it, it's over. It's an album that gets stronger with each play and should be a part of your regular rotation.For more critiques from this reviewer, please visit PM Media Review. Music28480@blogcritics.org Thu, 21 Apr 2005 13:50:20 EDT