Artist Spotlight: Super Mash Bros

According to the DJ/mashup crew known as the Super Mash Bros, their music specializes in "ways scientifically proven to make you shake your ass."  They couldn't have put it any better.  This duo is awesome at mashing up hits by artists such as Lil Wayne, MGMT, Blink-182, and Eminem.  They have already put out two awesome albums, the first entitled "Fuck Bitches, Get Euros,"and their latest one, "All About the Scrillions."

Here is their website, where you can download their two albums for free:
http://www.lazerwolf.com/

My personal favorites from the two albums:

Fuck Bitches Get Euros-
Monsieur Fischel, La Tour Eiffel
I Fucking Bleed Purple and Gold (BEST ON ALBUM)
Stop that Booty (Here We Come)
Future Dads (Platinum Edition)
D.G.A.F.L.Y.F

All About the Scrillions- (Not sure what the best song is on this one... a bunch of really good songs)
From Honor Roll to Out of Control
NPH FTW
Adler Girl Pt 2
Kisses & Thugs
Livin the Dream (I'm on a Float)
Bruce Willis Was Dead the Whole Time


Check out both of their albums... you won't regret it.

Music Review - Broken Social Scene: "Forgiveness Rock Record"

BROKEN SOCIAL SCENE

"FORGIVENESS ROCK RECORD"

EARLY REVIEW - OUT 5/4

A note to all fans of Broken Social Scene: forget them. Forget everything you know about them. Forget their sound, forget their style. Because their 4th studio effort, "Forgiveness Rock Record", is NOT a Broken Social scene album. Well, technically it is. But if someone never told you it was them, you wouldn't believe it. Back in the beginning of the year when they announced their new creation, "Forgiveness Rock Record", they admitted that they were changing their sound quite a bit. I didn't think it'd change THIS much.

I got my hands on the record a few days ago, and the reason that it's taken me so long to write a review is just that. It's different. Broken Social Scene's second album, the brilliantly titled "You Forgot It In People", is my personal favorite album of all time, and BSS is one of my favorite musical groups. So when I first listened to FRR, I was...disappointed. Not because it wasn't a good record, but because it was not at all what I'd been waiting for for such a long time. 

So I knew I had to think it over. I couldn't let myself sit down and write a biased review because that just wouldn't be fair. It wouldn't be fair because once I DID sit down to reevaluate, once I did listen to it unburdened with preconceptions of the band's past efforts, I realized something thrilling: "Forgiveness Rock Record" definitely rocks.

So, how is it different? Well, the title says it itself: this is a rock album. And sure, BSS has done some rocky stuff in the past, but most of their music is more categorized in experimental pop. With FRR, forget the frequent use of strings. Forget the haunting instrumental ballads. This is edgy, indie rock - at it's very best, too. Because BSS has done something interesting with this album: they had...fun.

The Breakdown:

The album opens with a track that all BSS fans are familiar with: the single "World Sick". This epic, at almost 7 minutes, fades in with a gentle riff and slowly builds up to its explosive chorus. This is as close to a classic Broken Social Scene anthem as you'll find on the whole album, and it's awesome. We then tread into unfamiliar territory with track 2: "Chase Scene". There couldn't be a better title; the song sounds like an old 70's techno theme for a cheesy spy TV show. This one was the hardest for me to get used to just because it was the first song I heard that sounded so unlike classic BSS. But after a few listens, the songs eery vibe and break-it-down chorus are totally rad. Track 3 is one of my favorites on the album: Texico Bitches, a seemingly light-hearted guitar riff undertones a brilliantly executed chorus, with grizzly base and leaping "woo!"s from the background singers. Tracks 4 and 5 are two more that may be familiar to BSS fans, as they were released as singles along with World Sick. Number 4, Forced to Love, starts with a sassy verse that beautifully leads into a melancholy chorus with noodling synth. Number 5, All to All, doesn't work quite as well; while Leslie Feist's guest vocals are great as usual, length kills the song, as it's almost five minutes, and other than an interesting bi-vocal chorus, the rest dies off in a repetitive synth twang. But don't worry, if you're getting bored with this last track, the best song on the album is here to cheer you up: track 6, Art House Director, is a fun, upbeat, all too short pop anthem complete with trumpets and an irresistible verse. Remember when I said they were having more fun with this album? Well this is the best example you'll find. 

I'll go ahead and skip a bit so I can end on a good note: because Forgiveness Rock Record is lengthy at 14 songs long, it falls into the same trap of its predecessor, the band's self-titled. Tracks 7, 8, and 11 all fall into that category of "interesting to listen to, but...wouldn't these songs be better off as experimental bonuses on an EP?" Number 7, Highway Slipper Jam, starts off with a weird scat opening that I'd like to forget was ever recorded. What follows is a good enough little acoustic jam, but it's not something you'll return to a few months from now. Track 8, "Ungrateful Little Father", has a pretty great beat, and is definitely an interesting listen, but again, nobody's going to remember this song come the end of the year. Track 11, Sweetest Kill, has its heart in the right place, with its electric grunge pop, but it's very unfocused and feels way too overkill for this generally more upbeat feeling album.

Now back to the good stuff: track 9, Meet Me In the Basement, is the only instrumental track on the album, and it is absolutely fantastic. Separating itself from other mellow BSS instrumental pieces, Basement is definitely a rock song - just without words. And it proves that this can be a great combination. It's followed up by Sentimental X's, a much more chill song for this album than what's been displayed, but saves itself from the trap that Sweetest Kill falls into by remaining quick-pased and maintaining a jumpy feminine spirt through Feist's vocals once more and a twangy guitar riff. Track 12, Romance to the Grave's fast paced electric feel is gently coated with a chorus of female vocals, joined by over-recordings of the lead singer's voice. Track 13, Water In Hell, is one last upbeat, fun, rocky anthem, sounding straight out of an old Velvet Underground album, before leading into its finale, Me and My Hand. A perverted reference or not, I have no idea. But this quiet, short track about love is quietly coated with a guitar, some vocals, and a light siren in the background. A very nice, pretty, and even in a completely different record than normal, traditional outro.

Please, please, PLEASE do yourself a favor: if you feel like I did upon first listen, which I'm sure many of you BSS fans will, keep listening. By completely changing their sound, they group has taken a big risk, and one that will turn away previous fans and garner new ones. Yes, it is a little disappointing to not REALLY have a traditional new set of BSS classics. But don't be fooled. There is greatness here. Despite a few boring tracks, nothing here is bad, and the stuff that works will rock your socks off. As I said earlier, this is indie rock at its best. So forgive them for changing, because you know what? The new Broken Social scene may be different, but it rocks. And with an ironic title to go with it.

A-

Music Review: B.o.B. - The Adventures of Bobby Ray

One hit wonder. Radio music. Andre 3000 knockoff. What do these terms have in common? They're all labels that have been associated with upcoming hip-hop artist B.o.B. at one point in his early career. I'll be honest. I used to hate B.o.B. - I thought he was lame, unoriginal, and he sounds just like Andre 3000. Then I heard "Haterz Everywhere" in 2007. I was impressed. Truly. So I called him a One hit wonder. Then I heard "I'll Be in the Sky" in 2008. It was a great song. Truly. So I called his music Radio music.

Then I remembered driving in my car, when a song came on the radio. It was "Nothing on You" by B.o.B. featuring Bruno Mars. I downloaded it. It wasn't bad. Then it turned into a a radio SMASH. Now, as it sits at number 1 on the iTunes Top 100 songs, I wonder if I was wrong. I can't turn on my radio for more than 10 minutes without hearing that song somewhere on a station. I'm happy for B.o.B. But has he changed my opinion of him? Is his album any good?

I don't like admitting I'm wrong. It's just not something I do often. You often have to torture an apology out of me. But I was wrong this time. It almost gives me carpal tunnel to type that, but it's the truth. B.o.B.'s album is my favorite rap album of the year so far. What he's created here is different from a lot of the rap out there. He incorporates strings, synths, a piano, and a guitar into a song, and it works. It works WELL. The album begins with "Don't Let Me Fall", a slow song that accelerates thanks to a great set of swirling guitar work. It's one of the standouts, and a song that plays to B.o.B.'s great voice. The next song is "Nothin' on You", a song I'm sure you've all heard if you have any type of radio or computer. It's a great song, one of the best of the year. Bruno Mars is the standout on this song, with his great sung vocals being the catchiest part, along with B.o.B. rapping "Nuh nuh nuh nothing on you, baby". It's catchy, it's fun, and it's sweet. Everything a smash song should be, and they've created one here. "Past My Shades" is the next song, and it features underground sensation Lupe Fiasco, a rapper who has made a name for himself through 2 amazing albums thanks to his clever wordplay and differential subject matter. Lupe and B.o.B. have matching styles, it just took Mr. Bobby Ray, as he so quaintly calls himself, a little longer to get out of the starting gate. We haven't heard much out of Lupe in awhile, and now that he's poised to deliver his 3rd album, Lasers, he seems to be reentering the game. In his verse we have karate, sunglass, and throwing chains in the crowd references. It's refreshing to hear him. The song itself has a funk like groove, with a thumping bass line and a grinding background guitar that compliment an almost jazz like beat.

The next song is one of my two favorites, it's called "Airplanes" and it features Hayley Williams of Paramore. What begins with a piano intro and handclaps turns into a guitar filled song that features one of my favorite lines of the year sung by Williams in the chorus, as she sings "Can we pretend that airplanes in the night sky are like shooting stars? I could really use a wish right now, wish right now, wish right now". As I write this, the song is number 2 on the iTunes Top 100 song chart. It's a heartfelt song about disappointment yet optimism, and the mix of piano and guitar are touching and depressing at the same time. This is the first time Williams has been on a rap song, and it's a great debut. Her vocals are strong, and it's not the first time that a contemporary rock artist is featured in a song here. Following Airplanes is a song called "Bet I" which features T.I. and Playboy Tre. T.I., fresh out of jail for gun possession, is hungry, and it shows in this song. B.o.B. is his most arrogant here and it's great to see him act cocky because so far he deserves it. The chorus goes "Matter fact, give me 15 minutes and a pack of bud and I bet I buzz" . I'm sure that it's not a coincidence that this song was released on 4/20, the national Smoke Pot holiday. Playboy Tre is only decent in this song, and he doesn't have much to brag about in a song that's about to be about bragging about what you have. The next song is "Ghost in the Machine". First thing I thought of was "Is this an outtake on the Kid Cudi album that got thrown to B.o.B.?". And trust me, that's not a bad thing. A different style for Bobby Ray here, this song is weird and eccentric, yet amusing and somewhat catching. However, it comes off as somewhat forgettable. The next song is one of the ones that stoodout the most to me, it's a song called "The Kids" and it features Janelle Monae on backing vocals. It directly samples "The Kids Don't Stand a Chance" by indie sensation Vampire Weekend. From the beat to the lyrics in the chorus, this song has Vampire Weekend written all over it. Check out the original if you haven't, and B.o.B.'s version is also pretty good. It's obvious that Bobby Ray knows his stuff when it comes to knowing Indie music, as the next song is called "Magic" and it features Weezer frontman Rivers Cuomo who sings the chorus "I've got the magic in me" and it's one of the best vocal performances on the album. This is my other favorite song on the album, and it incorporates a Weezer feel along with B.o.B.'s take. The chorus is backed by a nice synth that would make MGMT proud, and it helps give the song an almost rock n' roll flavor.

As we get to the third part of the album, I keep thinking "I'm waiting to be disappointed". I don't know, maybe I'm just pessimistic in general, or maybe it was my earlier sentiment coming out that I thought he was just taking Andre 3000's vocal style and making it his own. But I wasn't disappointed yet, so I was waiting. The next song is "Fame", a B.o.B. solo song that addresses how others want fame and Bobby Ray doesn't, and he doesn't understand why others do crazy things such as plastic surgery or drugs to get famous. It's a good sense of realism, and it has a nice R&B feel to it. B.o.B. is signed to Grand Hustle Records, which is T.I.'s record label. The reason I say that is because I never would have guessed if he didn't shout out "Pimp Squad on Deck" in this song near the end. I never would have guessed. The next song is called "Lovelier Than You" which finds B.o.B. reminiscing on a past girlfriend, and he wishes he good "turn back the hands of time" and go back to her. It's touching, yet also sad that he's lost her. His voice sounds great here, and works well with the sentiment of the track.

The last song of the album is "Airplanes Pt. 2". Let me be honest. I used to hate tracks that are labeled with the "Part 2" logo. I thought they were unoriginal, more like a remix of a song than a redoing. So I was automatically biased to hate this song before I heard it. It just doesn't work for rap, and should just be titled "Remix". But this is actually a great song. The chorus is the same as the original Airplanes, and the real surprise here is that this song features EMINEM along with Hayley Williams of Paramore. His verse is welcome, and the whole feel of the song has changed. The original was about looking for change in the present, and the new one is about "wondering if the past was different" and has each artist bring their own feel to each verse. Eminem's verse is brilliant, some of his most touching and honest work since "Beautiful" off of Relapse or even "When I'm Gone" off of his Curtain Call: The Greatest Hits album. It's a great song, and a great close to the album.

So was I wrong? Yes, very wrong. But I had a right to be a skeptic, just like many others did. In a world full of copy cat artists, it's made many skeptical. But instead of attacking the people who doubted him, B.o.B. delivered an early contender for Best Rap Album, or maybe even Album of the Year. The whole album has a diverse feel, and all of the songs work. I haven't had an album, especially a rap album, be this consistent in awhile that I can listen to all the way through and not have the urge to skip any songs. Also, if you can, get the iTunes version of the album. It has a bonus track called "Satellite" which I feel should have been included on the album. It's spacey, dark, yet a great song. It's another song that feels just like a Kid Cudi song. It should have made the cut. So is the album perfect? No, nothing's perfect. But there are those who get close. And this gets close. Trust me, I really wanted Bobby Ray to fail. But he didn't. And I'm happy that he didn't, cause he gave us The Adventures of Bobby Ray. I'll be listening to this for a long time. Recommended tracks: Nothing on You, Airplanes, Magic, Past My Shades, Bet I, and Satellite (iTunes Bonus Track).

Final Grade: A

Music Review: Circa Survive - Blue Sky Noise

Ah, the third album. Refreshing isn't it? Sometimes it means the band has made it, a symbol that the ship is steady and they know what they're doing. However, it might mean that a band is still searching for its sound. Well none of these are true for the new Circa Survive album. The follow-up to 2007s fantastic On Letting Go, Blue Sky Noise is difficult to put a tag on.

But that's not a bad thing. Hell, it's a GOOD thing. High-pitched vocalist Anthony Green, former singer of Saosin, hasn't changed. He's still angry and confused and he wants to tell you about it. That's what I've come to expect from a Circa Survive record. However, the structure of the instrumentation is different. Many previous Circa Survive songs had the same sound, with the major diversity being the structure of Green's vocals. Both take a step forward here. The album begins with "Strange Terrain" a song that seems to be a cry for help from Green, where he sings "Where've all the signs gone, I don't know where I am". It's typical Circa Survive, and this song rocks through and through. It immediately leads into "Get Out", the first song released from the album back in February. You finally get Anthony Green's first screaming vocals, and he doesn't disappoint. Also, a mini guitar solo is continued with another guitar solo. That's two guitar solos people! This song rocks, through and through. The next song is "Glass Arrows". This song sounds like it belonged on Juturna, the debut album, as it has higher pitched vocals from Green and the repeating guitar riff that made their debut album so desirable. "This appeared from heavenly places, never seen again, how long has it been, how long has it been?" sings Green. One of the few songs that hasn't taken much progression of the bands sound, this song is typical Circa Survive. The next song is the first ballad on the album, titled "I Felt Free". It's really the only song I could envision on the radio, complete with piano and a very focused lyrics, as Green sings "I fell apart in your arms for the last time, and I felt free to do what I want because of the things you told me, you told me, I felt free". It's quiet but certainly not soft. It's still a song that rocks, but just not as loud as the others. The next song is one of my two favorites on the album, titled "Imaginary Enemy". Anthony Green has some of his meanest lyrics on this song, and the guitar work is great. Green sings "I tried so hard to be what you needed, your imaginary enemy. I tried for so long, to make you believe it that I am not the enemy". It's sad, but angry in a retrospective reminiscent way. The next song "Through the Desert Alone" begins with a riff that sounds like Iron Maiden or Metallica helped Circa Survive write a song. With the guitar is a piano that brings a sense of calm to the track. More of the same here though, and it's not a real standout song. However, the chorus is great. Not catchy but you have dual vocals here. It's great to see one of the other members have a crack at the microphone with Green. That's not common at all for Circa Survive, and the last time I remember hearing it is on the standout track from On Letting Go "Your Friends Are Gone". The second part of the song has great drums. This song is nothing different but there are minor changes that just stand out. Next comes my other favorite song, "Frozen Creek". This song may be my favorite Circa Survive song ever. It's quiet, and sad. The chorus is almost nonexistant, with Green just singing "On top a frozen creek, I would love to take you there. It's where it froze through me". It's the quietest song on the album, but my surefire favorite. It just seems so sad. Definite recommendation. The next song, "Fever Dreams", contains vocals from Green that sound distant, as if he's singing far away from the rest of the band, but he's still prominent. His voice is what makes this band stand out, and they know that. They play to his ability to sound masculine, angry, yet shrill and high-pitched at the same time. This song is really more of the same. The only thing that I loved in this song was a bass solo that occurs for over a minute in the middle of the song that is great. Some of the best basswork this band has ever put to disc. "Spirit of the Stairwell" starts out with almost angelic crooning from Green and company, with just an acoustic guitar. This is the closest you'll get to an acoustic ballad from Circa Survive and it's one of the saddest songs on the album. "I won't be angry if you have to leave, but I won't be waiting for that day, so don't say you're sorry, cause I won't believe, I won't believe you" sings Green. This man has been hurt, and you can tell. The next song "The Longest Mile" is more of the same Circa Survive. Again, dual vocals though! That's twice in the album. That's progression. Other than that, the lyrics and instrumentation are more of the same. Second to last track "Compendium" is stricly instrumental, and it's not bad, just nothing different. It's a song that you listen to a couple of times through, then skip over it the next time. Forgettable, but it leads into the album closer "Dyed in the Wool". The guitar in the beginning sounds hopeful, but the lyrics suggest otherwise. This song features a full backing choir in the chorus, chanting "I know, I know". It's a fitting closer and sums up the sentiment of the album as Green sings "Nothing's gonna change, I know I know". The end of the song is great, and not a disappointment at all.

Like the last lyrics, not much has changed in this album. Juturna pronounced the band's sound, and they got more confident with that sound in On Letting Go. This album sounds like On Letting Go, Part 2. Not a bad thing at all though. The progression is noticeable, but not so different to drive away fans of the band's previous work. Green's vocals and lyrics are some of his best, although the subject matter is still dreary and sad. If you liked any previous albums of Circa Survive, this album is for you. One of the best alternative rock records of the year so far, this album doesn't disappoint. It's full of great songs, and some forgettable ones. But not too many to take away from a great album. They've done it again.

Final Grade: B+

Movie Review - "Kick-Ass"

KICK-ASS

Directed by Matthew Vaughn (Stardust, Layer Cake)

Starring: Aaron Johnson, Christopher Mintz-Plasse (McLovin from Superbad), Chloe Moretz, and Nicholas Cage

From comic book to cult favorite to movie in hardly any time at all, Kick-Ass has laid down huge expectations. For those of you that live in a cave and have no idea what Kick-Ass is, I'll bring you up to speed: Dave Lizewski is your average nobody: not enough of a loser to get any attention, and not good enough at anything in particular to be a member of a clique. He just simply exists. One day Dave has a crazy thought: why hasn't anyone ever decided to become a superhero before? "Because it's f***ing impossible," his friend tells him. But that doesn't stop Dave - fueled by what he refers to as optimistic naivety, Dave orders a wetsuit and decides to don the alter ego "Kick-Ass". So a loser goes from zero to hero in a daring attempt to be something, right? Wrong. Kick-ass gets his ass kicked.

This dark comedy from the director of the British crime thriller "Layer Cake" stretches reality in every possible way - but that doesn't mean it's not based in it. Dave eventually becomes such a hit on YouTube and internet blogging that he becomes famous - grabbing the attention of two other local crimefighters, Big Daddy (played by Nicholas Cage in his best role since Adaptation) and his 11-year-old ass-kicking daughter, Hit Girl, in a star making performance from Chloe Moretz (some of you may recognize her as the little sister from (500) Days of Summer). Along with this dynamic duo, Kick-Ass also garners the attention of local crime boss Frank D'Amico, and his son/soon-to-be arch-nemesis of Kick-Ass, Chris, a.k.a. Red Mist. The great thing about Kick-Ass is that while the movie, as I said before, delves into a completely fantastical state of mind, there's always that cynical undertone buried beneath: these people don't have superpowers. They bleed miserably. They can't fly. They can't read your mind. But they can definitely kick your ass, as the posters say.

Now before I go on, I would like to address something: the character Hit Girl, an 11-year-old female, has pulled the movie into much controversy. A lot of people consider it inappropriate for a child to be brutally beating the crap out of and killing people in the way that Hit Girl so frequently does in this movie. One critic I read even called it sadistic. I can understand why a lot of people would feel that way, and I have nothing against that. But if you are one of those people, and can't accept that fiction is fiction, and that in ludicrous dark comedies those kinds of ridiculous events DO occur, then stop reading this review right now. Stop reading it, and don't go see Kick-Ass. Because you know it's there, so it's pointless for you to waste your time seeing it and our time complaining about it.

Still reading? Good. Because - and I really hate being this cheesy, but there's no way to say it better - Kick-Ass...KICKS ASS. Think teen comedy meets Spider-Man directed by Quentin Tarantino, and you just might get a feeling for how over-the-top, ludicrous, hilarious, original and entertaining this movie is. You will cringe and the comically fake ultra-violence, you will laugh at the dark, witty humor of the characters, and you will root your butt off for the protagonists in what ends up being a thrilling tale of revenge. That's one thing that really threw me off - don't expect jokes every other minute all the way through, because completely to my surprise, Kick-Ass takes off down a dark path in its second half, setting it up for a climax of redemption. That's not to say humor is thrown out the door, a comic undertone is constant, but it was very unexpected to see such a serious turn of events inspire a truly edge-of-your-seat finale.

Kick-Ass is a pretty kick-ass name for a movie, but honestly, the better title would be Hit Girl. While Nick Cage does an excellent job playing the looney Big Daddy, Mitz-Plasse is hilarious as the arch-nemesis Red Mist, and Aaron Johnson is perfect for the anxious protagonist himself, this movie truly belongs to Chloe Moretz. Her performance as the controversial, awesome, and violent yet absolutely adorable Hit Girl is one that will put her on the top of any child actor list. She nails every line, pulls off every expression, and while the young actress is a few years older than her 11-year-old character, Moretz blows you so far away that you will forget you're watching a child (in a similar way that Max Records did in Where the Wild Things Are, just in a completely different movie).

This movie ranks as a cult classic in the spirit of Tarantino: it will divide its audiences into the lovers and the haters, which shows that it actually means something. Unless you're one of the people I've already mentioned and are bothered by the content (which is handled in such an over the top and comic way that even though I understand some people's uncomfortability I still think it's a major overreaction) you would be absolutely insane not to go see this movie immediately. I like a lot of movies, but I rarely give away an "A"-grade to a film unless I feel it truly deserves it. Last year, even though there were so many fantastic movies, only 7 of them earned a full A. No such movie has arrived yet this year. No such movie usually does, since the spring is a wasteland for movies, recovering from the Oscar excitement and getting ready to explode in summer blockbusters. But I'm happy to say that 2010 is doing something right.

I give Kick-Ass a round of applause. Two thumbs up. Four stars. Ten out of Ten. Whatever. Again, I hate to be this cheesy. But it's a special occasion. Wannabe superheroes, unite. Because Kick-Ass really, truly, absolutely, kicks some serious ass.

A

Movie Review - "Death At A Funeral"

DEATH AT A FUNERAL

Directed by: Neil LaBute

Starring: Chris Rock, Tracy Morgan, Martin Lawrence, James Marsden, Luke Wilson, Danny Glover, Zoe Saldana

Every now and then, a movie will try to nail the very thin ice of dark humor without breaking it. Nine times out of ten, the ice shatters explosively. But when that 10% works, it can rock your socks off. Chris Rock's "Death At A Funeral", a remake of the 2007 original which I have not seen so I have no bias in reviewing this, may leave a crack; but it's star-studded cast packs so much energy and off the wall humor that despite its shortcomings, Funeral was, for me at least, a blast.

A lot of people think that because of the mostly African American cast, this was just going to be a cheap rip-off, and just another "Tyler Perry" movie. Well I am glad to tell all of those people, whether you like the movie or not, you're flat out wrong.

Try and stay with me: Chris Rock's dad recently passed. He's coping with that on top of his wife pressuring him for a baby, and his narcissistic brother, played by Martin Lawrence, is in town and trying to steal the spotlight once again. His cousin, played by Zoe Saldana, is eager for her boyfriend (James Marsden) to make a better impression on her father than he has in the past, but that backfires when her brother, meaning to give him Valium to calm him down, gives him some kind of LCD substitute and sends him on an acid trip. Luke Wilson, a family friend and ex-boyfriend of Zoe Saldana is eager to win her back. Tracy Morgan plays another family friend who must keep watch over the nutty uncle, played by Danny Glover. Throw in a neurotic mother and you have Death At A Funeral. Oh, yeah, and a white midget shows up claiming to be Rock's father's lover and is threatening with blackmail.

So, how in the hell does this all go down? You'll have to see for yourself, and I strongly urge that you do. Because the ride is a wild one that will leave you breathless from laughing.

Now, the film is not perfect. It does have some jokes that fall short, and not necessarily every scene works as the director may have intended it to, with many of the scenes being over or underdone. It's extremely dark and emotionally blunt tone will leave many audiences bored and/or offended. But as I said before, the cast brings such a pleasurable, ecstatic force to the story, that even in the most ridiculous of events (and this movie really gets ridiculous), they make everything seem perfectly plausible in the weird world these characters live in. This funeral is shockingly alive.

B+

They Said A Storm Was Coming

Alright. We get it. As usual, just like in the NHL with the star-studded bout between Alex Ovechkin and the Sidney Crosby, seemingly numerous talks of the possibility of the one matchup "everyone and their sister" wants to see arise with the welcoming of the 2010 NBA Playoffs: a Kobe-Lebron NBA Finale. Unlike hockey however, NBA fans are blessed with the gift of these two teams being in opposing conferences, meaning their battle of epic proportions can only happen on one stage: the Finals. As awe-inspiring as this seems, an unfortunate problem arises: both the Cavs and the Lakers have to fight through a flurry of difficult opponents (all looking for their chance to knock-off the number one seed) as they make their run for the Finals; and one team may run into trouble a little earlier than they had expected to.

Entering the playoffs looking to defend their title (15th all-time), the L.A. Lakers are set to square off against a franchise that (technically) has never made the playoffs: The Oklahoma City Thunder. If, at the start of the year, a top NBA analyst had said to me that these two teams were playing each other in the opening round of the playoffs, I would have bluntly greeted him with a "WTF?!" (and then proceed to drug-test him on account of his outlandish claims). The Ex-Seattle SuperSonics started with an abysmal 3-29 record last year in their inaugural season in Oklahoma City (basically as bad as the New Jersey Nets). It was a franchise that was clearly destined for failure, until a youngster by the name of Kevin Durant decided to put the struggling team on his back and lead an unbelievable turnaround season for the franchise and make the Playoffs.

. . . Back to the matchup. As surprising as this may seem, the Thunder actually have a legitimate chance at giving the defending champs a run-for-their-money! And the key to their success is momentum (which is leaning heavily in their favor). The Lakers have uncharacteristically had a disappointing April, posting a rather average 2-4 record with three of their four losses coming against playoff-caliber teams (the other one was an embarrassing loss to a suffering L.A. Clippers franchise by 16 points), and the only two wins coming against far below-.500 teams! I know I'm going to be greeted with the usual banter of "But Kobe wasn't playing!" Yeah, well that's still no excuse for the Lakers team to get absolutely raped by the Spurs by 19 points, and lose to the Nuggets and Trailblazers: two teams the Lakers will most likely have to beat in their run to the Title Game. Kobe himself, being severely banged up as he ages, hasn't been playing up to par in his last few games either, only averaging 30% shooting and not dropping 40 points in a Laker win since December 22nd!

The Thunder, on the other hand, come into their first playoff series as a team riding the momentum of the NBA scoring champ Kevin Durant looking for something to prove: that they belong here. With a roster riddled with rookie and sophmore players including the always-versatile Russell Westbrook, the Thunder can surprisingly create a a series of matchup problems as they look for their chance to accomplish something that's only been done three times in NBA history, upset the number one seed as a number eight seeded team. The Thunder also (although losing the series 3-1 against the Lakers with Kobe hitting pivotal late jumpers in two of the three losses) managed to dominate the Lakers in their last game by winning in blowout fashion by sixteen points in a game that Kobe DID play in (only scoring 11 points).

While the odds are still obviously in the Lakers favor, look for the Thunder to show the Lakers what they're made of as Durant attempts to knock-off an NBA legend and establish his place as a rising all-star when the series tips off at 3:00 P.M. Eastern Time on Sunday afternoon.

Music Review: Two Door Cinema Club - Tourist History

Who would have thought that my early contender for Best New Artist would have been discovered through a remix? Yes, I discovered this band after one listen of the song Lasso (Two Door Cinema Club Remix) off the re-release of Phoenix's breakout album Wolfgang Amadeus Phoenix. While a remix album is usually the place for DJ's to add their take on a song, Phoenix instead chose to let burgeoning bands remix their songs, with the likes of Chairlift, Friendly Fires, and Passion Pit being among those to tap their creative flow into Phoenix's DNA. After one listen, I rushed to Wikipedia to research this band. One thing led to another, and soon I found myself at the Myspace of Two Door Cinema Club. The band didn't have much hype before this remix, but I began to see their name pop up around me. I knew they had made a miniscule mark when I saw their name smack dab in the middle of BBC's Sound of 2010 Poll, a annual list made by so called English "music professionals and tastemakers".

But I knew only one thing could speak for Two Door Cinema Club: the debut album. Yes, after 1 EP and 4 singles, Two Door Cinema Club had yet to release a full-length. But the album is finally here. Released March 1st in the UK and April 13th in the U.S., Two Door Cinema Club's Tourist History had high expecations in their home of Ireland, as well as the UK. But does that mean it's any good?

Yes. It's good. It's really good. The album begins with "Cigarettes in the Theatres", which starts off with a repeating guitar riff and eventually turns into a complex full band jam. It's melodic, it's fun, and catchy, as lead singer Alex Trimble sings "Tell me your favorite things, tell me your favorite things". As the song fades out with a horn outro, the next song "Come Back Home" contrasts the first as this song is built around a repeating bass line. The band builds off this, first accompanying a synth and then spiky guitars. It's hard to believe this band is a 3 piece, as their music features many layers. Next comes the second single "Undercover Martyn" which starts off with a handclap before leading into one of the catchier guitar melodies on the album. This one is more vocal based than any other song, but that's not at all a bad thing. Trimble has a smooth flow and a strong foundation, and he has a confidence rarely found on debut albums. It's a rare thing these days to find a band that has such swagger on a debut. If possible, listen to the Passion Pit remix of Undercover Martyn. It adds a new feel to an already great song. The album continues with "Do You Want It All" where we first see Two Door Cinema Club slow things down, as this song builds into the peaceful repetition of "Do you want it, do you want it, do you want it all?" which, while simple, comes off as incredibly catchy. 2/3 through the track, however, the song changes pace and finally has the spiky guitars I first fell in love with. While maintaining the simple vocal repetition, this song finishes fast before drawing to a stop as the last word is rung out slowly by Trimble. Next comes one of my two favorite songs on the album, "This is the Life". A feel good song if there ever was one, Trimble finds himself singing "If this is the life, this is the life, this is the life, then who'd argue?". It's a downright catchy, feel-good song, something I've come to expect from this band, and so far there album hasn't let me down in that aspect. The next song, "Something Good Can Work" begins with what sounds like a drum machine, before turning into a song that sounds just like something Phoenix would make in the Never Been Like That era. It's a song that comes off as forgettable, and features the sound of party noises, which is obvious filler. This band has too much ability to have to rely on filler in a song, especially in a song that clocks in at 2 minutes and 44 seconds. It's not needed, and my first real disappointment on the album. I began to think things would continue in the realm of weird when the robotic chant of "Ah oh ah ah oh" rang in at the beginning of "I Can Talk". However, this song soon turns into one of the catchier songs on the album. A rising guitar riff reminiscent of early pre-electronic Bloc Party is culminated with the line "Now I can talk, no one gets off, I know how you like to". Again, strong vocal display from Alex Trimble who hasn't disappointed yet as he continues to show strong signs as a man with many capabilities, as his guitar playing is also one of the records strongest points. The next song, "What You Know", features one of the weirdest backing instrumentals I've heard in sometime. This song is full of great instrumentation, yet sadly comes off as forgettable. The lyrics in this song, however, are actually some of the strongest on the album, yet are outdone by an instrumentation that, while clever, doesn't necessarily mesh well. It's a good attempt, and there's only room for improvement. As the album reaches it's final two songs, I wonder if the album will feature any slow songs. The album is full of nothing but midtempo songs filled with a thumping bass, sharp vocal delivery and spiky guitar work. It would be interesting for them to change things up, slow them down. I would even like to hear a strictly instrumental song, because I felt like some of the musicality of the instruments was overshadowed by their vocal counterparts. However the ninth song will be more of the same, as the song "Eat That Up, It's Good for You" builds on everything that made Two Door Cinema Club interesting for me. The vocals are great and the instrumentation is more of the same but nothing really stands out to me. The band slow the song down near the end and it's shows a band filled with promise of making slow ballads as well as the uptempo songs they've become comfortable with. As the album reaches it's apex with "You're Not Stubborn", I'm immediatelly sensed with a feeling of disappointment that this song doesn't slow things down for me. It's more of the same, but that's not a bad thing.

This is a great album, but one thing seems to bug me. Two Door Cinema Club played it save. This is an band that found a used an already great formula (see Phoenix, Bloc Party, Clap Your Hands and Say Yeah) and put their own flavor in it. It's not bad at all. In fact, it's one of the better albums I've heard so far this year, behind Vampire Weekend and LCD Soundsystem. The songs are all catchy, and I could listen to the album for hours. It's short, at only 32 minutes long and 10 songs, although Alex Trimble and band pull a lot of different instruments into the album that it seems longer. My only complaint is that the album doesn't show a lot of diversity at all, as all of the songs keep the same formula and flow throughout them. For a band with seemingly so much confidence and swagger, Two Door Cinema Club almost seem scared to try anything different. I only hope this band break out, and as I'm finishing this up, I've noticed that their new single "Something Good Can Work" is available for free on iTunes. So check that out if you want a taste of what I'm talking about.

Final Grade: B+

Music Review - LCD Soundsystem: "This Is Happening"

LCD SOUNDSYSTEM

"THIS IS HAPPENING"

EARLY REVIEW - OUT 5/17

By Hunter Christian

Hype hype hype. It's surrounding the music industry right now, with long awaited new albums coming out within the next few months from bands such as Kate Nash, Broken Social Scene, The National, Jack Johnson, Kanye West, and many more. Now that MGMT's good-but-didn't-live-up-to-the-hype sophomore slump is out of the way, arguably the most anticipated album of the summer will be here in just under 5 weeks: LCD Soundsystem's long awaited 3rd studio effort, "This Is Happening." The band's elaborate music has many players on stage, but the credit can really be attributed to James Murphy, the creator of the tunes themselves. After two hit albums, the self-titled debut and successful follow up "Sound of Silver", the band continues its classic techno dance punk feel. Does it do it well? There's been a lot of hype. And I may be making a mistake, but...I'm just gonna continue that hype. Because LCD Soundsystem has not just created a great third album. They've created their best yet.

The Breakdown:

The album begins with "Dance Yrself Clean", a soft techno jam that begins slow, as with Sound of Silver's intro "Get Innocuous!". The band continues their witty talk over irresistible beats (Talking like a jerk / Except you are an actual jerk / And living proof / Sometimes friends are mean). It then ventures into the funky dance rock jam "Drunk Girls", the first single released for the album. It's just as funny, obnoxious, energetic, and rockin' as it was the first time you heard it. Then we venture into "One Touch", an edgy, 8-minute techno beat with hormonal angst (One touch / Is never enough) - just the kind you'd feel on the dance floor LCDS is so good at putting you in. "All I Want" is led by a scratchy electric riff with a melancholy tone but just enough pep to fit yet another great beat. Track 5, "I Can Change", is a love song disguised as a dance floor funk jam, with heartbreaking lyrics (I can change / If it helps you fall in love). It's a tough call, but it may be the best song on the record. The next two tracks, "You Wanted A Hit" and "Pow Pow" express exotic-sounding twangs with energy and hip-hop personalities. Track 8, "Somebody's Calling Me", is a Spoon-esque groove with a quiet drowsiness drowning the edgy slam of electronics. The 9-track record closes with "Home", which begins with a funky display of percussion followed by a noodling synth riff that leads us into a groovy closing filled with guitar flings and techno wonder.

Talking it up a bit, am I? Good. Because this album needs to be heard, although if you're already a fan, there's no doubt that's needless to say. If the rest of this summer's anticipated records can live up to their hype the way this one does, it's going to be one hell of a summer for music. And even if they don't, at least we were started off right with "This Is Happening". This shit IS happening. It really, really is.

A

Movie Review - "Hot Tub Time Machine"

HOT TUB TIME MACHINE

DIRECTED BY: Steve Pink (Accepted)

STARRING: John Cusack (Say Anything), Craig Robinson (The Office), Chevy Chase (Caddyshack)

The title itself, "Hot Tub Time Machine", should imply something ludicrous, wild, and stupidly hilarious. Well, the movie is and it isn't. The plot surrounds three old friends, who've been distant for some time. Adam (Cusack) is a lonely and depressed chap just dumped by his girlfriend. His 20-year-old nephew, Jacob (played in a completely forgettable performance by Clark Duke), lives with him and is the definition of a technology nerd, almost never leaving the house. Nick (Robinson) is a bored loser who works at an upscale animal hospital. And finally there's the wild Lou, who recently attempted suicide and is taken by the three boys to an old ski resort that left them with many fond memories from the 80's. They're expecting to find the glorious place they left behind so many years ago, but are shocked to find a deadbeat lodge barely filled with old people and rugged construction. But low and behold, out swings their back door to reveal a sparkling hot tub that of course, transports the 4 protagonists back to 1986. "It must be some kinda...hot tub time machine," says Robinson, followed by a serious stare at the camera. It's THIS kind of line, and the glowy, fantasy-like revealing of the hot tub, that I was expecting. If only it lasted.

We eventually meet Chevy Chase's character who was thrown in because the writer couldn't find a better way to explain the whole you-have-to-be-back-by-this-time-don't-change-anything scenario, and the boys are off to replicate history before returning to the tub. I'm going to be honest: this. Does. Not. Work. Watching the guys go around trying to duplicate previous acts just...isn't fun. These are the 80's, man! This is a movie about a friggin' hot tub time machine! So why aren't there more than just a few scattered laughs? Why did the writer choose such a boring filler? I don't know. But it's disappointing.

There's one more problem I had with the film: the 4 central characters. They're not interesting. At all. It's obvious they're trying to recreate the chemistry and personalities of the characters from last summer's hilarious hit "The Hangover", and they just don't. Cusack plays the straight man of course, but how does the straight man work if his comic relief aren't that funny? Clark Duke plays the nephew, one of the most annoying movie characters to date. Rob Corddry plays the Zach Galifanakis (Alan from The Hangover) member of the crew, a wild weirdo spitting out lines like "It's called male-bonding...haven't you even seen Wild Hogs?" If only he was that funny. He's not BAD, he's just...mediocre. The only funny one of the group is The Office's Craig Robinson, walking the fine line of absurdity without going to far over. If only he had better material to work with.

Now, I sound like I'm bashing this film, which is not what I intended to do. Because believe it or not from my previous comments, but I actually did enjoy watching it, as much of a letdown as it may be. Yes, the characters are, for the most part, boring. Yes, the script does take a lot of wrong turns when it could so easily have made right ones. And these things are unfortunate. But you can't deny the occasional sparkle; there are definitely moments where the movie takes off, such as Craig Robinson taking the stage to perform a Black Eyed Peas song, and the resolution of the film is as good as it could be. But for a movie called "Hot Tub Time Machine", it should have delivered much more ridiculous implausibility and fun; instead we get a series of gags that are merely amusing. It's worth sitting down with some friends to enjoy for 2 hours, but just barely. Time is money, and these guys especially should have known that.

C+

Lupe Fiasco: Best Rapper Alive?

When most people think of the best rapper in the game today, they usually think of somebody like Lil Wayne, Drake, Kid Cudi, or 50 Cent.  It seems as if everyone always forgets Wasalu Muhammad Jaco, AKA "Lupe Fiasco." While he hasn't been as active as a lot of other rappers, Lupe more than makes up for it. When he does release something, it is as good or better than anything else being released.

Let's look at Lupe's first two albums. "Food and Liquor," his first album, is arguably the best debut album of the 2000's. What makes Lupe so good is not only his deep and thoughtful lyrics but also his superb flow. Think of a faster, more fluid Talib Kweli or Mos Def. Despite its superstar quality, "Food and Liquor" did not produce any radio hits, which is probably the major reason why Lupe doesn't get the respect he deserves. Lupe's next album, "The Cool". was released in December of 2007 and somehow managed to top his previous album. Lupe also enjoyed alot more success in terms of sales, including a top 10 hit with "Superstar," featuring Matthew Santos. More recently, Lupe has released a very good mixtape entitled "Enemy of the State." (Link to Download Mixtape... Your Welcome)

It's actually pretty easy to see why Lupe Fiasco is so underrated.  He doesn't produce music very often, and when he does, its not the type of music that's going to rocket up the billboard charts.  Nevertheless, his great lyrics and sick flow should put him in conversations about the best rapper in the game today.  Hopefully he continue the upward trend on his next album entitled "Lazers."  I'd still be pretty happy if he stayed at the same level, though.

The 10 Best Films of 2009

We're now 4 months into 2010 - hard to believe. And unfortunately, the beginning half of the year is a wasteland for movies; the dead time before summer blockbusters is filled with horrible trash such as Remember Me, The Last Song, Cop Out, and all that other garbage you American moviegoers just eat right up. For all you REAL movie fans who've already seen the few good movies in theaters right now like Shutter Island or The Ghost Writer, have no fear - the best of the best of 2009 are now out on DVD. Here are my top ten movies of 2009 that are just waiting to sit in your Netflix queue.

10. DISTRICT 9

District 9 works more as an experiment than as an actual film, beginning very slowly and having an overlong climax, but this inventive, documentary-style allegory to Apartheid is an absolute rush and a must-see film.

Original grade: 8.8

9. AN EDUCATION

An Education is a classic coming of age story about a 16 year old girl who develops a relationship with a much older man.

Original grade: 8.9

8. (500) DAYS OF SUMMER

As the narrator says, this tale of boy meets girl is "NOT a love story". What it is, is a quirky and inventive comedy that is brilliantly written and executed.

Original grade: 9.3

7. UP

The marriage sequence. That alone makes Pixar's latest classic something of beauty.

Original grade: 9.4

6. FANTASTIC MR. FOX

While Pixar of course succeeded in creating yet another classic, it was Wes Anderson who brought to the table the most surprising, pleasurable, and entertaining animated film of the year.

Original grade: 9.4

5. THE HURT LOCKER

This year's winner of the Best Picture Oscar. It's the story of a bomb squad in Iraq that focuses on the fear, rush, madness, and loss associated with warfare.

Original grade: 9.4

4. A SERIOUS MAN

It's filled with bleak, bleak humor. The narrative doesn't go many places. The ending will leave many scratching their heads. Yet all of these things, with the guidance of Joel & Ethan Coen, morph to become the richest, most poetic, darkly funny movie of the year.

Original grade: 9.6

3. WHERE THE WILD THINGS ARE

Spike Jonze, one of the best directors in Hollywood, has turned the celebrated children's book into an inventive and tragic classic about love and loneliness.

Original grade: 9.7

2. UP IN THE AIR

Jason Reitman, who directed Juno and Thank You For Smoking, has upped his game yet again with a film that is light and dark, funny and tragic, uplifting and bleak, all at the same time.

Original grade: 9.8

1. INGLOURIOUS BASTERDS

"Say auf weiderson to your Nazi balls." That's all I have to say.

Original grade: 10

Music Review - MGMT: "Congratulations"

MGMT - "CONGRATULATIONS" 

EARLY REVIEW - OUT 4/13

Chances are, if you know anything about music, you are well aware of the current success of the New York based band MGMT. Consisting of only two members, Ben Goldwasser and Andrew VanWyngarden, they managed to create a wildly successful debut, Oracular Spectacular, and created themselves a nice niche next to Vampire Weekend in the huge mess that is "hype". The pressure must be excruciating.

With their debut, MGMT created something that was a bit boring at the end, sure, but shone with enough ambition and catchy wonder in such songs as "Kids" and "Electric Feel" that it was a constant brainstorm as to what they'd be doing next. And the answer is, they'd be getting a lot...weirder. And the result is just not as good. But that's not to say there aren't some great tracks on this record. MGMT are definitely a major talent that I predict will heavily bounce back after the somewhat downturn this album will lead to.

The Breakdown:

1. It's Working - the good news is, the album starts off with a bang. Leaving no time for buildups or fade-in's, the boys kick off Congratulations with a splitting guitar riff and digitalized vocals that somewhat remind me of the second half of Spectacular's "Weekend Wars". The final half of the song is even better; it fluidly transforms into a repeating verse that sounds almost like an electrified version of a 70's TV theme. Congrats is so good...so far.

2. Song For Dan Treacy - another one of the best on the album, SFTD kicks off immediately with a light-headed dazzle of soft vocals and great tune. The song would be much better if it didn't have such an annoying chorus.

3. Someone's Missing - may be the high point of the album. The very short tune, clocking in at 2:29, fades in with VanWyngarden's soft vocals over a slow stoner-daze, while slowly building to to the explosion of a final minute of what sounds like a Michael Jackson record: a weird mix of pop/disco/electro-pop that will echo in your head for hours.

4. Flash Delerium - Second only to it's preceding track, Flash Delirium is true MGMT: weird, but not too weird, and catchy enough to be a great pop track. The song starts off weak but evolves into an electric buzz combining a plethora of instruments to create one bat-shit finale.

5. I Found A Whistle - aaaaand here's where things get bad. The insanely boring "I Found A Whistle" is the first track that will make you scratch your head. It may be the worst on the album, but you won't be totally let down yet, until you realize it's not the only weak track.

6. Siberian Breaks - when I heard MGMT was making a 12+ minute song, I was ecstatic. When epic songs are good, they're EPIC. But then there are epic songs that are duds. And unfortunately, oh so unfortunately, Siberian Breaks is one of those. It's not BAD, but it's not worth 12 minutes. The song starts off slow, and then picks up the pace - a great sign - but it never truly evolves out of it's slow overtone. So close...but it just doesn't work.

7. Brian Eno - maybe this song works as a good tribute, I don't know, I'm not a Brian Eno fan. But it doesn't work on this album. As with Siberian Breaks, it's definitely not BAD, but it's too messy and weird to really work fully. You won't be returning to this one multiple times.

8. Lady Dada's Nightmare - the band members reported in an interview that this song, completely instrumental, was about having sex with Lady Gaga. Sound weird? It is. Another weird and boring track that is even more weird and boring without lyrics, "Nightmare" is yet another misstep on this disappointing record.

9. Congratulations - finally we arrive at Congratulations, which is a very nice surprise - after 4 straight tracks of almost, we finally get a nice finale tune that isn't quite what you'd expect from MGMT, but hey, it works.

As the album comes to a close, it fades out with clapping, a neat touch to an album called Congratulations. Hopefully, with their third record, MGMT will have created a finely tuned pop record to be remembered for ages. They already show more promise then the French pop group Phoenix, and it wasn't until their classic "Wolfgang Amadeus Phoenix" that those guys were even very good. So while this is a bit of a letdown, don't cross MGMT of your list. They've got a bright future. Hopefully next time those final claps will be in praise of a tremendous success. But for now, they'll just have to say, "Good try guys. I'm sure you'll do better next time."

B-