Favorite Album 1999: AFI - Black Sails In The Sunset

This is a weird choice for me. I don't usually like punk or hardcore punk or horror punk or whatever you'd like to call it; that's why this record it's so weird that I really like this record. What's worse, I don't really like anything else AFI has put out.
Anyway, aside from all the punk hate, I've got to say something positive about this record. It's fast, it's got that punk drum beat (bass-snare-bass-snare-bass-snare-bassbass-snare, repeat ad infinitum), and it's got Davey Havoc's funky scream-y, yell-y, nasally vocals. For some reason it strikes a chord with me, especially the closer, which is just awesome. Maybe it's Havoc's inflection or the way his words trail off at the end of every line. Maybe it's the overabundant power chords. Maybe it's the fact that this record was before they made decemberunderground. I don't know. But what I do know is that I dig this record, punk or not. The whole record is strong throughout, all the way up until the end where it slows down and shows you the creepier side of an already creepy band. Then the hidden track hits and you remember why you put this record in. Fast, loud, distorted as fuck music for doing whatever the hell you please to.

Favorite Album 1998: Neutral Milk Hotel - In The Aeroplane Over The Sea

Weird. Adorable. Weird. Catchy. Folky. Weird. Loud. Off-beat. Weird.
Just a few words to describe Jeff Magnum's...opus. It's definitely not for everyone. Hell, it's probably not for most people. At least, not at first. Even the most avant-garde kid these days would have to listen a few times to appreciate this record fully. Once one does begin to realize how to enjoy this record, though, it's a veritable treasure trove of indie gold. Magnum's songs paint oddly vivid (and vividly odd) portraits of a dreamscape so rarely exhibited in the modern world; a world lush with oddities and weirdos, all pasted onto melodies that range from shimmering acoustic riffs to horn-laden punk diddies. This is an album which, regardless of opinion, should not--and cannot--be missed.

EDIT: Listening again, I rediscovered how amazing this record is. Jeff Magnum's voice is haunting and resounding, proving that true vocal talent is the ability to convey emotion. I can't say enough. The closing track is as somber as it is beautiful, giving a nod to the tragic plight of Anne Frank (which heavily influenced this record's creation). This is defninitely among the greatest records ever written.

It's the simple things, really.

Just the little bits of things that make life worth living. Little things; nothing but a kind thought, a CD, and a message to the world. With one act my entire week has been justified. Brian Bohan sent me a copy of his band,His Hideous Heart's debut LP It's a Weird Time To Be Alive, and that simple gesture reminded me why we live. It was six words on a pink post-it note that brought joy to my heart.

Much gratitude. Support free music. Support love. -hhh

Simple. Yet within it was a message to the entire world. Life's about love, people. Spreading and giving are the purest forms of goodness and to give it out is to have it grow.
Like I said, it was just the gesture and the act of friendship that brought a smile to my face. This is why we live. We live for each other, and it seems all too often everyone forgets that. Love is everything.



Now let's talk about the actual CD. This is a fantastic work from six young folk from various midwest places, but centered in Cleveland, Ohio. Their debut LP, It's A Weird Time To Be Alive is both epic and minimalist, both deep and accessible. It's honest, moving post-rock/indie with beautifully arranged instrumentation and execution. Keep in mind that these are college kids who're all around 20 years old. I'm expecting a lot from this band in the future.

ps. <3 you, brian.

Favorite Album 1997: The Get Up Kids - Four Minute Mile

Man, I had a good post for this album but it got baleeted because my internet decides to shit on me every other day.

I can't really say much right now because I have writer's block, but it's a great emo/pop-punk record that was both accessible and deep. Plus, it gave us James DeWees, whom without we couldn't have Reggie and the Full Effect.

This Too Shall Pass

we dance like this matters
we dirty our hands with their lives
press on, press on, lives unwashed and clean
the world of the living becomes the world of the dead
their books and bones, their paper thrones
never burn our hearts and stones
we stain the stained, we wake the deceased
yet still the choir sings to their crooked priest
to a god of filth and wretched bones
who feeds on their faith and wrecks their homes
our words reach deaf ears
though the fire we hold
melts the heart
and breaks the soul
a pile of hopes and our bag of dreams
amid dead hands and shackled freedoms
this underfed season and dreary weather
have fed our bones and left us together




a work in progress...

Influence.

"This place is built of men
People who crush your hope and the things
that make you different
and my art is no art at all
my art is just bought and sold
and it makes no difference what you believe
if you don't stand up and make the difference"

Thanks.

Oh No! Kryptonite Paper!

Favorite Album 1996: Tool - Ænima

This album is a real gem. From a band whose frontman runs around onstage often garbed in a dress and womens' hairpieces, you don't expect it, but they manage to pull it off. Both lyrically and musically, this album is a powerful tour-de-force of progressive hard rock. Frontman Maynard James Keenan's voice is heavy and strong, while the post-grunge, hard-rock guitars dredge on ahead of drummer Danny Carey's tight beats. Of course, lyrically, it's not always completely work safe, in fact, it often borders on grotesque (Stinkfist, the opener, is a metaphor that refers to the act of fisting, using it as a springboard to discuss desensitization...and of course, there's the wonderfully titled Hooker With A Penis, great for kids). If you can get past that, the lyrics transcend the vulgar and the essence therein is powerful and deep. It's consistently fantastic in its songwriting and the shifts from hard to soft, heavy to airy, and low bass to full band. This is Tool's best effort, and it's one of the best hard-rock albums ever penned.

Favorite Album 1995: Smashing Pumpkins - Mellon Collie and the Infinite Sadness

Can't say much because I'm tired, but this is just a great album in general. I'll let the sales speak for it: it's 9.8x platinum. That's 9.8x 1,000,000 records (note: since it was a double disc, that makes about 4.9 million packages actually sold). Other than financially, this loose concept record really gave everything else from the year a run for their money (in actuality, not very much else was released, but that's irrelevant). The record signaled a change in production for the band (for the better)-- each member found writing so much easier and more fluid, and it's evident in the quality of this record. Clocking in at 121:50, this powerhouse alt-rock record still stands as one of the pillars of 90's rock music.

Favorite Album 1994: Sunny Day Real Estate - Diary

My favorite Sunny Day Real Estate record, Diary was one of the first albums to bring "emo" to the mainstream. By blending the D.C. hardcore sound with more "emo" tendencies and dropping in a large portion of indie rock, SDRE made a debut record that was openly accessible to both the underground and the popular media. Sub Pop Records, already on a winning streak with both Nirvana and Soundgarden, struck musical gold when they signed and released this record. Without it, there'd be no Saves The Day, no Taking Back Sunday, and no Dashboard Confessional, to name a few. That said, it's phenomenal in its sincerity, intensity, and melody. Though I obviously didn't get into it around it's release (I was three), in recent years I've learned to love it. The melody and the dischord are all planned and perfectly orchestrated, leaving an album both true to its roots in D.C. hardcore and with its nose forward to embrace indie and melody.

Favorite Album 1993: Snoop Dogg - Doggystyle

Alright, this is a great record (albeit a bit inconsistent), but it mainly got on the list because aside from Nirvana's In Utero and The Wu's Enter The Wu-Tang, there wasn't much else released this year. I've got to say that I dig this record more than I do Wu-Tang, mainly because I've listened to it a lot longer and, well, I'm representing West Coats. That said, this is one of the most influential records ever released, as it brought both West Coast hip-hop and G-Funk to the spotlight. This and The Chronic helped propel West Coast gangsta hip-hop to the forefront. The record's full of laid-back beats and chill samples, with a slower tempo and a focus on street life. Snoop and Dre's beats are some of the best you'll hear, and Snoops' signature flow shines. Of course, there's also guest appearances by vets Dre, Nate Dogg, and Warren G. Then you can't forget one of the best gangsta rap tracks out there-Gin and Juice. Even me, white as I can be, feel like I'm riding shotgun in an old DeVille down through South Central.

Favorite Album 1992: The Tragically Hip - Fully Completely

The Tragically Hip's third full-length takes 1992 on my list thanks to its soulful Canadian rock sound and deep, introspective lyrics. To be honest, I first got into this band because I heard Gordon Downie's guest vocals on Dallas Green's track "Sleeping Sickness," which is a fantastic cut in its own respect. This is my favorite Tragically Hip album, because it wanders into the soulful side of rock and roll and Downie's voice resounds with an oddly enjoyable wavering timbre, almost as though he used his voice as more of an instrument than normal. Certified diamond in Canada (1,000,000 records sold), this is a quintessential record in any Canadian rock collection; not to mention any rock collection period. It's driving rock and roll with a huge lump of soul and authentic Canadian yeti juice, making a record that's oh-so-enjoyable and easy to swallow. Oh, and it's hairy, too.

REVIEW: Dance Gavin Dance - Untitled/Self-Titled/"The Death Star Album"

August 19th, 2008 - Rise Records

Alright, so this is really late. Like, really late. But that's irrelevant.
So anyways, this is Dance Gavin Dance's last record with original vocalist Jon Mess and bassist Eric Lodge. Following the loss of Jonny Craig and the subsequent apprehension of Kurt Travis to fill his shoes, the band subtly changed their style, toning down the disorder and sporadic song structure, rolling back the grittiness, and throwing the ambience on overdrive. That's not to say that this is a completely new band, but while they retain a lot of what made them unique to the scene before, the band--in no small part thanks to the versatility of Travis--have refined their sound into a tighter, more cohesive package.
Compared to the previous two releases, this record is slightly less chaotic in terms of song structure, with each part of each song seeming to have more purpose with regard to its position amongst the other verses, choruses, and bridges. The production seems to reflect this as well, as each of the individual instrument tracks seem to pop more than before. Travis' vocals also shine as he demonstrates his vocal range and versatility, often in the form of harmonized parts. Mess' vocals, however, seem to have lost their edge. It seems as though with each record, his vocals have become less gutteral and raspy, culminating with this record's hoarse yells (perhaps due to his duo of diseases- acid reflux and Lyme's disease). The change is welcomed though, as this record would not have mixed well with the screams from Whatever I Say Is Royal Ocean. The band also features guest vocalists, a noteworthy addition. Among the guests (alright, there are only three) are Chino Moreno from Deftones (featured on Caviar) and Matt Geise of Lower Definition (Rock Solid). The guests, though fantastic in their own endeavors, are underutilised on this record. Underutilised, except, of course, for Nic Newsham. Newsham (formerly of Gatsbys American Dream), no stranger to guest vocals, wrote and performed on Uneasy Hearts Weigh The Most, perhaps the best track on the record. It's a fantastic cut that showcases the band's somewhat newfound ability to shift styles while retaining a common musical theme, and it's funny as hell without being over-the-top, like some of the other lyrics.
With all this talk of change, it might be safe to assume that this is a whole new band entirely. Fortunately, this isn't the case, as fans of the old records will find familiarity in many a place on this record. The lyrics are similarly styled, specifically Mess' portions, where he shovels out lyric after lyric with little to no apparent cohesion, but somehow it works. Will Swan (lead guitars) still pumps out the insane lead riffs, and the drumming from Matt Mingus is stil top-notch. The musicianship overall is still crisp and tight, and the final product is still notably Dance Gavin Dance. This is one of the best of '08 from a band that can roll with change and still put out top-notch records time and time again.
Verdict: A

Favorite Album 1991: Pearl Jam - Ten

Two posts in one day?!
Anyway.
Alright, since RJ and Drew and Drunky were doing this, I meant to hop in when RJ and/or Drew hit 1991, but things happened and I didn't. So I'm gonna double time it and probably post 1991-1996 today. Intermittently, of course.
Without further ado...


Formed in the aftermath of bassist Jeff Ament and guitarist Stone Gossard's band Mother Love Bone, Pearl Jam's debut album took groovy tunes with grunge-y distortion and the air of 70's arena rock and stuck 'em together with introspective and often dark lyrics, forming the album that would help Alternative music skyrocket to popularity in the 90's. This is by far the band's greatest record, with nearly every song being so heartfelt you can feel the chest hair. Eddie Vedder's smooth rasp and the very funk-inspired bass and guitar riffs set this record apart from everything, even those who took precedence in '91 for being bigger (ahem, Nirvana), because none of them had the groove Pearl Jam did.

Key tracks: Jeremy, Even Flow, Oceans

REVIEW: Traitor

Starring Don Cheadle, Guy Pearce, Saïd Taghmaoui
Released by Overture Films.


At first, I didn't know what to expect. Going into this film, I had heard relatively nothing about it (due to my relative deprivation of most nationalized media for the past two weeks), and all I knew was that Don Cheadle, who I loved in Hotel Rwanda, was starring (thanks, IMDb). In any case, I had free movie tickets and thought it would be worth the trip. Oh, what an understatement.
The movie begins with in the heart of Africa in the late 70's. It's a peaceful scene, but that's short lived, as about three and a half minutes in, a car bomb kills Samir Horn's father and the rest of the movie the pace doesn't slow down until the final fleeting moments. Horn (Cheadle) is an ex-army staff sargeant closely tied with major terrorist organizations, responsible for trafficking explosives and supplying homemade detonators and do-it-yourself matryr kits to would-be jihadists and radical terrorists. He's also a devout Muslim, creating tension throughout the film as we see inside his character from the outside. From there a web of chases and espionage meld with thrilling suspense and some surprising twists.
It's gripping, intense, and definitely maintains the edge-of-your-seat feeling throughout most of the film. The cinematography is top-notch, especially during the most suspenseful scenes. All the photography, the lighting, the intelligent play of light and shadow, all meld into a surprisingly gripping experience. The acting is top-notch, with believable characters with motives you'll actually believe. Cheadle's performance is angsty and driven, and his performance (and the movie as a whole) ponder the nature of any sort of devoted cause. When is it that the means cease to justify the ends?
Unfortunately, although the movie is chock-full of strong action and gripping suspense, it does tend to drag on, especially when some of the twists aren't particularly difficult to predict. This isn't to say, however, that all the twists are predictable--just some, but knowing them seems to drag out the slow segments in between. The movie sometimes falls into typical espionage thriller patterns, but luckily the overarching theme saves it from completely falling into that trench.
Overall, Cheadle's powerful performance and Guy Pearce's white knight (with a few dark spots) allow the viewer to stay engrossed for the entire film, and the action and suspense are enough to keep everyone waiting for the next scene. It's well written and well acted, but just a smidgeon too long and predictable.

Verdict: A-

Yet another contentless post...with a video.

(permalink: http://www.youtube.com/watch?v=4Eiq8z4cxLo)

Clip from Cheech & Chong's Next Movie. Features the songs "Mexican Americans" and "Beaners," two classics from the Mexican American community. Singing these will definitely increase your street cred (or the capacity for you to get your ass kicked by anybody in South Central, Los Angeles). Enjoy!

Coming soon....more top tens...this time featuring Optimus Prime.