Fuzzy Tunes of the Week: October 21, 2005

Albeit in shortened form, after the original proved to be relatively successful, I thought I would follow up with a new list of songs that you probably haven't heard of that are well worth listening to...

The Black Keys Work
Erlend Øye
The Black Keys Work EP
2004

For those that haven't heard of Erlend Øye, he's one half of the up-and-coming indie pop duo Kings of Convenience (the one with the glasses), and while not necessarily known for his independent work here in the states, it certainly has not gone unnoticed overseas. This track in particular exemplifies Øye's knack for crafting radio-friendly catchy tunes, which are also personal and slightly introspective. Between the synthesizers, piano, addicting baseline and Øye's soothing vocals, it's an engrossing and particularly beautiful song. For those that like this song and want to hear more be sure to check out his full length released entitled Unrest, particularly the single "Every Party (Has a Winner and a Loser)," and also his work with Kings of Convenience.

Is It Okay If I Call You Mine?
Sondre Lerche
Unreleased

This wonderful cover from the relatively unknown song by Paul McCrane from the movie Fame showcases Sondre's wonderful ability to make any song he performs personal, as it reads as an almost childish plea. Completely acoustic, this is a great song to add to your collection if you can find it.

A Cure
Blonde Redhead
Melody of Certain Damaged Lemons
2000

Dense, dark, yet strangely beautiful, while not necessarily Blonde Redhead's best song, it's certainly captivating. The interplay between Kazu Makino and Amedeo Pace on vocals exemplifies Blonde Redhead's sound, as the two usually split time on vocals for their albums. Combine that with simplistic yet incredibly effective guitars and percussion and it's hard not to want to hear more, which is a good thing, because you hear a lot more in not only this song but with all of theirs in general after the first listen.

Juicebox
The Strokes
Juicebox- Single
2005

The single from their up and coming release The First Impressions of Earth is interesting to say the least. I'm not quite sure what the hell happened to them, but it seems as if they're doing everything they can to shed their poster-boy garage rock revival image, even if it means starting the song with a bass and guitar lick that only Slash would bother coming up with. Besides that, Julian Casablancas' vocals are much more urgent than ever before, like he's actually trying to tell us something rather than just kicking back. This song is definitely worth checking out, particularly if you're a Strokes fan (well, if you hate the Strokes it's probably well worth a listen to), because it'll certainly knock your socks off--whether or not it's in a good way, you'll just have to see for yourself. While I have to admit that the song has grown on me quite a bit, I'm almost afraid to hear what the rest of the album sounds like.

Red Dust
Iron & Wine and Calexico
In The Reins EP
2005

This delta blues-influenced track is actually very well executed by what would appear to be an awkward collaboration. While it doesn't capitalize on either's songwriting prowess, it's impressive just to hear Calexico's groove influence on Iron & Wine and how well he's able to go along with it without missing a step. It's a fun, three and a half minute romp, that's very well worth checking out.

Clap Your Hands Say Yeah Clap Your Hands Say Yeah

How these guys still don't have a record deal is beyond me

In a music world filled with machine-pressed rock outfits, carefully molded down to the proper amount of shagginess of the lead singers hair, it's bands like these that are careful reminders that there is still such a thing as indie rock in the most literal sense. Out of Brooklyn, these guys have essentially been selling their albums themselves, and more recently have only been making it available online, and now on iTunes. A great amount of hype has been built however, based on glowing reviews (and you can add this one to that list), as well as constant touring. Now these guys just need to find a home on a record label. After hearing only bits and pieces of the album, I finally got my hands on a copy, and really, let me save you time in just saying go buy this album now. Need convincing? Okay, fair enough. The carnival like opening of "Clap Your Hands!" draws you into the world of Clap Your Hands Say Yeah, it's a tad quirky, but also incredibly endearing. Then listening to tracks like "The Skin of my Yellow Country Teeth," "Heavy Metal" and the astonishing "Is This Home On Ice" you'll find that these guys have a great aptitude for combining the elements of traditional indie rock, atmospheric rock, and even some elements of shoegaze/dream pop. They manage to accomplish all of this without losing their identity, or sounding like they're playing a game of "guess our influences and which one we're trying to sound like now." Even on their most outright pop song, the lovely "Over and Over Again (Lost and Found)" there is still no loss of identity, and the band sounds so comfortable that it almost appears that the whole album making process was relatively effortless, and that's a definite good thing. On the primarily drum and bass "Gimme Some Salt," Alec Ounsworth playfully mutters along his lines, and reinforces his prowess, particularly when barking out traditional 80's vocals. You can call them a Talking Heads rip off if you'd like, but while everyone else is drooling over other indie bands like Wolf Parade and Deerhoof, smile and nod while you listen to the best thing that's happened this year in indie rock music.

★★★★★

Fiona Apple Extraordinary Machine

Gasp! She's back!

After a seemingly eternal break (which in actuality was six years), Fiona Apple has finally returned with her release Extraordinary Machine, an album that had garnered much controversy before it was even released. The original version of the CD was finished around a year or so ago and was produced by Jon Brion (who has worked with her on most of her previous projects). However, her record label, Epic, found that the album was completely unmarketable and thus shelved it. It would turn out that Fiona herself was admittedly unhappy with the final result of the album, and after her fans pressed for the records release, Fiona returned to the studio to retool the album this time with producer Mike Elizondo (who has previously worked with Eminem, 50 Cent, Gwen Stefani and others). The completed final version of that album is what has finally been released as of a couple weeks ago; having only two holdovers from the Jon Brion produced version, the title track and "Waltz (Better Than Fine)." Outside of those two tracks, Jon Brion's dark and edgy orchestral-led productions are all but gone, replaced with a much cleaner and less opaque instrumentals. Which album is better is certainly going to depend on your point of view, but even as a dedicated Fiona Apple fan, it seems that the Jon Brion version was essentially too dense for it's own good, but I think a retooling with the original producer Jon Brion would've been slightly more beneficial than trying to take the songs and refocusing them with a new producer. I say this only because there are moments where the production doesn't really seem to fit Fiona Apple's style, such as the percussive happy "Tymps (The Sick in the Head Song)." There are really solid moments on this cd though, such as the track "Get Him Back," which far exceeds the original version, and lyrically Fiona Apple hasn't lost a step, from her playful musings on the aforementioned opening title track, and the solemn and passionate "Parting Gift." While overall this isn't a bad album by any means, it appears to be missing something, as this album doesn't have the consistently engaging musicianship that her previous albums featured. So, die-hard Fiona fans be warned, although given it's been half a dozen years since she's done anything at all, you'll probably just be satisfied that she's released an album at all.

★★★★

Jamie Cullum Catching Tales

Now if we could just get this guy the right producer...

Jamie Cullum has a bit of a problem. While incredibly talented and savvy (his appreciation for music of all genres is readily apparent on just about every song he's done), he has got to find a way to drive all of these ideas into a singular focus. This is when the producer steps in, to help Cullum straighten things out, so we don't have to be bombarded with an inconsistent album such as this one. The opening "Get Your Way," produced by Dan The Automator, despite it's overt exaggeration in its approach to big band jazz music, gives Cullum a bit of a swagger very rarely shown on any of his other songs, and it works. So, you're thinking, this is a new direction right? Well, yes and no. All the tracks that immediately follow the opener are exceptionally mellow, and in the case of "London Skies" and the absolutely terrible cover of "I Only Have Eyes For You," also mind-numbingly dull. Sandwiched in between these tracks is "Photograph," hands down one of the best songs, despite the occasional lyrical shortcomings. What makes it work is that it showcases Cullum's great storytelling ability. It's not necessarily pretty-- though his piano playing surely is-- but it is almost always heartfelt and as such, there is a connection that is made that's, in truth, very hard to come by these days. Other solid tracks are the R&B infused "Mind Tricks," which comes complete with obligatory sing along party outro (yes it's kinda cheesy, but it works anyway), the gorgeous cover of "I'm Glad There Is You," and the somewhat funky "Back To The Ground." When Jamie Cullum is good, he's really, really, good, he just can't seem to figure out what he wants to be just yet. If you are looking at this as a Jazz cd, you're almost guaranteed to be sorely disappointed, as I was at first, but when you look at it simply as a pop album, then you'll find yourself enjoying every bit more and more. Cullum's already accomplished when it comes to his songwriting ability, he just needs to hone in on what sounds work best for him.

★★★★

DangerdoomThe Mouse and the Mask

Hip Hop hasn't been this fun since the 80's

In a time where everyone's, particularly in the world of hip hop, so concerned about "keeping it real" it's refreshing to have such an amazing collaborative effort from producer Danger Mouse (who also worked on the Gorillaz album Demon Days which was released earlier this year) and mastermind rapper MF Doom, with help from the cast of the Adult Swim from Cartoon Network. From the moment you play the cd you realize that it's really just all about having fun, from the opening line of "Why did you buy this album? I don't know why you bought this album, you're stupid" to the absolutely hilarious track "Sofa King," which revolves around the age old joke of "I am Sofa King We Todd Did." Both Danger and Doom are in top form on nearly all of these tracks as well; as Doom effortlessly raps playfully matching the happy go lucky nature of Danger Mouse's production on each track. The guest artists that appear also do their share, as Ghostface does a solid job in backing Doom on "The Mask," and Cee-Lo chimes in on the funkified "Benzie Box." The best guest effort, however, is that of Talib Kweli who provides surprisingly playful yet exceptionally strong lyrics on the track "Old School" which provides a nostalgic look at the cartoons of years past. Another hilarious moment is on the track "A.T.H.F" which features Meatwad doing his best to freestyle before being interrupted by Carl who would rather listen to "something badass, like REO Speedwagon." After the skit, MF Doom chimes in as he raps about each character in the Aqua Teen Hunger Force show, over the relatively subdued bass. The two following tracks, "No Names" and "Crosshairs" also shine, Doom plays off the espionage feeling bass line of "No Names" with his now-accustomed witty wordplay. "Crosshairs" on the other hand, while being the first track to feel somewhat serious with it's looped guitar, shows the impressive ability of both Danger Mouse and MF Doom to go from one end of the spectrum to the either without breaking a sweat. All in all, this is an outstanding album and easily ties (and possibly even beats) Kanye's Late Registration for best Rap album of the year, a definite must have.

★★★★★

My Morning Jacket Z

Pure and simple, this album is perfect

On the heels of It Still Moves, one of the best albums to come out in 2003, My Morning Jacket has released Z, a culmination of every nuance of creative genius they've shown in their short but prosporous career. From the beginning with the super "Wordless Chorus," you immediately recognize that the band can no longer be characterized as your typical jam-band country rock band, as they have now infused reggae, new wave, and even some electronica into their sound. Incredibly dynamic, My Morning Jacket goes all over the place without alienating, but instead gets us to enjoy the ride, and more importantly, always want more. A perfect example is the wonderful "Off the Record," which despite its seemingly ripped surfer rock intro actually turns out to be quite the treat, particularly when it turns into a chillout jam in the final minutes. Another major difference between this album and all of their previous is that for once you feel the band's presence. No longer do they feel distant or subdued, but instead engaged, having fun, and completely energized. This is by far the most focused album they've ever released, and consequently, among the top as far as album of the year is concerned. Another superb song is the track "Lay Low," which is the most country-oriented of all of their other tracks, but is still a completely different approach from what they typically take. Instead of emphasis on guitars, the piano serves as a more prominent instrument, while Jim James' vocals soars above the wonderful arrangement. Also worth praise is the lovely "Knot Comes Lose" which is also similar to their previous sound, except it sounds so incredibly mature and confident, that their overall sound is much more elevated than anything they'd done previously. If there is a bad thing to be said about this album, it would have to be that eventually it has to end. This is one of those few albums that lives up to its critical acclaim and praise, and is a definitive best buy for truly just about anyone. So really, what are you waiting for?

★★★★★

Fuzzy Five: October 9, 2005

Editor's Note: To make up for the lack of updates recently, I decided to present two Fuzzy Fives this week. As my schedule begins to finally subside as far as workload is concerned, I'll be able to provide more regular updates.

Fuzzy Five: Five Songs That You Should Listen To
Like most music freaks, I find that during any given week I'm addicted to at least five different songs that I listen to repeatedly (or at least a lot more than others). In honor of that, for those of you that are like me, I give you five songs (divided up by genre), that you should listen to and/or buy, and if you are really ambitious you can take these and make them into your own Fuzzy Mix. Some of them are older, while some are relatively new, and none of these songs are ranked, so no song is rated more highly than another. Enjoy!

Rock
Cigarettes and Chocolate Milk
Rufus Wainwright
Poses
2001

From the beginning of the track, you realize that there's something very special about this song. A song dedicated to each one of our vices, for better or for worse, Rufus Wainwright playfully muses while using metaphors to describe his own particular cravings, as he sings "Everything it seems I like is a little bit stronger, a little bit thicker, a little bit harmful for me." As the song develops it becomes increasingly musical, until by the very end it develops into a sweeping melodic and theatrical piece as Wainwright pleads "So please be kind, if I'm a mess." An overtly honest, wonderfully engaging and confessional piece, it's hard not to listen to this song just once.

Sister Jack
Spoon
Gimme Fiction
2005

I reviewed this album a little while ago, and I still find myself completely enamored with this song. While not groundbreaking, the incredibly infectious guitar matched with an upbeat tempo complete with handclaps makes this an exceptionally fun 3:30 minute piece. Another interesting twist is thrown in with the continuous key changes at the end of the song. Definitely worth checking out.

Baby Britain
Elliott Smith
XO
2002

Easily one of the best songwriters of the past 15 years, this song is pretty much as close as Elliott Smith ever got to making a "pop" song. While often compared to the Beatles' "Getting Better," there are still the typical dark undertones lingering as Smith sings "For someone half as smart/You'd be a work of art/You put yourself a part/And I can't help until you start," and the more carefully you listen to the lyrics you connect with Smith's story of self-destruction and struggling to realize that they're perhaps something more than what they see. Very beautifully crafted and an excellent introduction to anyone who isn't familiar with Smith's work.

Kate
Ben Folds Five
Whatever And Ever Amen
1997

Probably one of the lesser known (but just as good) Ben Folds songs, this song is done ever so sweetly that you'd be hard pressed to listen to it without smiling. Including clever and characteristically offbeat lyrics, such as "Everyday she wears the same thing/I think she smokes pot," Ben Folds also provides an excellent piano solo to boot. Funny, clever, and insanely appealing, this song is definitely a good one to play to brighten up those dreary fall/winter days.

Beautiful (I Guess)
Erin McKeown
We Will Become Like Birds
2005

With the dynamic drum loop and gentle guitar, this sounds like a female take on a David Gray song. Erin McKeown's beautifully hushed vocals allows the piece to develop wonderfully on its own in this bittersweet story of a struggling relationship. The lyrics are great in the way that they are both figurative and literal, not giving away every detail of the story, but giving you enough direction to feel a connection to the story as the chorus goes "We are such a lovely mess/hearts have left a wreck/it's beautiful I guess." Very touching song that's just one of many from this outstanding album.

Hip Hop/R&B
Seen It All Before
Amos Lee
Amos Lee
2005

One of the hidden gems on this solid debut album from folk/soul singer Amos Lee, this is one of the best tracks because it combines the talent displayed on all of the other tracks in his ability to create thoughtful lyrics and his knack for creating powerful compositions, but on this track in particular there's a heavier influence of classic soul, which makes for a very welcome surprise. The highlight of the track is the final minute of the song, as the layered vocals matched with the fading instrumentals almost send chills through the body.

Ooh Wee (feat. Ghostface Killah, Nate Dogg, Trife & Saigon)
Mark Ronson
Here Comes The Fuzz
2005

Mark Ronson is one of the better DJs around, and while this album wasn't necessarily the best showcase of those talents, on the track "Ooh Wee," Ronson provides a great disco-funk foundation for Ghostface Killah, Trife, and Saigon (who should be a lot more popular than he is right now) who add on relatively good lines with Nate Dogg's vocals to match. All in all, this is a great party song, and surprisingly underrated.

Starchild
Jamiroquai
Dynamite
2005

Simply put, this is Jamiroquai at their best. From the infectiously funky guitar riffs and baselines to Jay Kay's soulful vocals, the band has an incredible understanding for the 70's funk/soul movement. This is one of the few songs in Jamiroquai's history that also doesn't rely so heavily on disco (except for it's rhythmic pattern), but rather has more pure funk and rock foundations, in the same vein as Earth, Wind & Fire. Another very fun, solid, party song.

Saliva
MF Doom (Viktor Vaughn)
Vaudeville Villain
2003

Featuring RJD2 who provides exceptional production to one of the highlights on this critcally acclaimed album, MF Doom makes the most of this relatively short (it clocks in at a mere 2:30) track. For those that don't know much about MF Doom, this gives you a great look at his lyrical talent, as his humor and wit make his lyrical ability one of the best around right now.

Dust
Van Hunt
Van Hunt
2004

From the beginning of the song, with it's infectious groove, you can tell that this isn't any ordinary R&B song. Van Hunt, a relative newcomer, tackles the genre from a different angle than many of his contemporaries, who tend to integrate more of a hip-hop sound into their songs. Instead, Van Hunt sound is more of a contemporary take on Stevie Wonder's earlier work, and more directly on this song, there seems to be a slight Commodores influence. The best thing about Van Hunt, and particularly with this song, is the crossover appeal, as this is easily a song that can be liked by anyone no matter where your musical tastes lie. Give it a listen!

Electronica/Dance
Eple
Röyksopp
Melody A.M.
2001

A great downtepo track, Eple glides along with its beautiful baseline and easy-going guitar that hides behind a high-pitched synth piano. Breezy and fun, after one listen, it's easy to see how this single would be the one to exemplify Röyksopp's career. A definitive must listen.

I Wish
Benjamin Diamond
Out of Myself
2005

For those of you that aren't familiar with Benjamin Diamond, he is the vocalist who guest apperead on the hit single "Music Sounds Better With You" from Stardust back in 1998. As this song should prove, he's got some great pop sense of his own, with the beautifully flowing, though repetitive, chorus of "I wish I could be much better." With the schoolboy charm exemplified on Daft Punk's "Digital Love" and the urgent pop-smarts often exemplified in Phoenix's singles, "I Wish" is a song that despite its certain cheesiness is still very listenable.

Michelle
DJ Logic
Project Anomaly
2001

DJ Logic, who is often associated with Medeski, Martin & Wood (they often collaborate with one another), is one of the best when it comes to integrating jazz and dance music. Using guest musicians (including MMW) to add their skills to DJ Logic's beats and compositoins, it's very difficult to tell which aspect of the song is being looped and what's being played by the guest musicians. "Michelle" is no exception, with its exceptionally funky bass and jazz flute rollicking along as Logic playfully scratches alongside. A great introduction to DJ Logic's unique musical talents (it's nothing like listening to St. Germain), this is worth checking out.

Changes
Nostalgia 77
The Garden
2005

Much like DJ Logic, Nostalgia 77 is the work of producer Ben Landin who has an eight-piece band backing him up. The benifit of having a band is that especially when compared to artists such as St. Germain or the previously mentioned DJ Logic, there's a much fuller and engrossing sound. The horn section soothingly carries over the meticulous drum loop and heavy (and at times bloated) bass, and features a great solo half-way through the song.

Hands of Time
Groove Armada
Lovebox
2003

Featuring Richie Havens as guest vocalist, this song was vastly underrated until it appeared on the soundtrack of Collateral, which caused a second wave of popularity. This incredibly mellow and bittersweet song feels like a forgotten 70's soul song, rather than a collaborative effort by an Electronica duo, but the effect is spellbinding nonetheless.

Remixes & Covers
She Don't Use Jelly
Ben Folds Five
Whatever and Ever Amen (Re-Issue with Bonus Tracks)
2005

While this is originally from the Lounge-A-Palooza compilation CD, it was also just recently added to the aforementioned re-issue of Whatever and Ever Amen, which was Ben Folds Five's breakthrough album. A cover of the popular Flaming Lips song, this is a great take on the original as it fits perfectly within the lounge setting, with its expansive orchestration and synchopated rhythms. It's also appropriate for a quirky group like Ben Folds Five to perform a cover by an equally quirky group, as they really inject the same fun energy that was in the original, and just dropped the punk-like guitars in favor of the lounge theme. Definitely check this out, particularly if you're a fan of the original.

Lay Lady Lay
Magnet
On Your Side
2004

Featuring Gemma Hayes on vocals, this cover, while adding little to the original version done by Bob Dylan, is a very sweet rendition. This is particularly true with the arrangement of horns and strings that do a great job in complementing the piece. The song also benefits from having Gemma Hayes voice to offset the somewhat harsh vocals of Magnet lead singer Even Johansen. This song, which also appeared on the Mr. and Mrs. Smith soundtrack, is a dreamy song that makes for a great listen.

Public Pervert (Carlos D Remix)
Interpol
C'Mere EP
2005

Interpol has some of the best remixes for their songs in recent memory, and this outstanding remix by Carlos D proves as a prime example. Though lengthy (it clocks in at an epic 8:08), it's never repetitive and actually with its exaggerated industrialized drums and looped snythesizers it's in some ways more intriguing than the original version. The full version of the originating song doesn't really kick in until half-way through the song, so it's hardly just a rehash of the original. Very highly recommended.

I Want You Back (DJ Z-Trip Remix)
Jackson 5
Motown Remixed
2005

The only redeeming track in an otherwise awful remix album, DJ Z-Trip's remix of "I Want You Back" succeeds in that it remains true to the original, as it starts out with the famous guitar and bass lines before counting off into the song, making it feel as if you're in the studio listening to one of their takes. Z-Trip does just enough to make things interesting as he takes out much of the filler, and simply adds additional beats, making it almost impossible to dislike, as it doesn't feel as if the original has been shredded and plagued by overproduction. Sometimes the best remixes are the simplest ones, and that's truly the case with this amazing remix done by Z-Trip.

This Charming Man
Stars
Nightsongs
2001

This cover of the Smiths' song works well for the most part because of Amy Millan's wonderful vocals, and to make it that much better, the instrumentals are superb as well. The overall subdued sound is pristine, and this is just one of many songs where Stars is among their best. Very fun and catchy cover song that's highly recommended.

Ryan Adams & The Cardinals Jacksonville City Nights

Despite it's rather hokey moments, this is still a very solid album and noteworthy accomplishment

In the follow-up to the release of Cold Roses, Jacksonville City Nights finds Ryan Adams & The Cardinals humbly settled in the barroom country setting, contrasting the more introspective and intimate previous release. One of the weak points of the albums is noticeable almost immediately, particularly on "The End," and that is the lackluster and clumsy lyrics. The lyrics of "Now the diner in the morning for a plate of eggs/The waitress tries to give me change I say, 'Nah, it's cool. Just keep it'" are so sloppy that you almost cringe while listening, and for someone as talented as Ryan Adams, it feels very rushed and amateurish. Where the album picks up is on the very beautiful "Dear John," a duet between Adams and Norah Jones, who compliments him very nicely. The most surprising aspect of the track is how Adams almost willingly takes a backseat to Jones' piano and vocals, rather than overpowering them, so while it definitely has more of a Norah Jones flavor than Ryan Adams, it doesn't in any way feel out of place on the album. From this point on, with the single "The Hardest Part," the swooning "Games," and the beautiful piano ballad of "Silver Bullets" there is a complete metamorphosis from the hokey country bar feel from the first few tracks, to now a more sincere and passionate country album, a sound that is much more effective. When you get rid of the opening two tracks (and the inconsistent closer) you find that Ryan Adams has reached an extremely high point and comfort level in his career of which glimpses had been seen in all of his previous albums (Cold Roses included). The latter part of the album also provides a sense of consistency that has also rarely been seen previously. Other highlights are the traditional "My Heart Is Broken," and the upbeat rocker of "Trains." This album proves once again that when Ryan Adams is on, he's really on, and as one of the streakiest artists in music, Adams showcases his best moments on the majority of his tracks, unfortunately some of the inconsistencies in the album set the album as a whole back slightly more than his previous effort Cold Roses. All in all, this is a thoroughly enjoyable album, that may appeal to fans more than casual listeners, but is well worth at least hearing out.

★★★★¼

Fuzzy Five: October 6, 2005

Chungking Express is easily one of the most underrated movies, from the great director Wong Kar-Wai

Fuzzy Five: Five Movies That You May Not Have Heard Of (Or Just Haven't Seen) But Are Well Worth Buying

1. Chungking Express Released: 1994
Directed by: Wong Kar-Wai
Starring Bridgette Lin, Tony Leung, and famous pop star Faye Wong, this movie features two interrelated stories of love, loss, and has carries time as a predominant motif. Not only a significant movie in terms of Hong Kong's history, but also in that it serves as a milestone in Wong Kar-Wai's career, garnering much critical acclaim and even a few awards. Another great aspect of the film is it's incredible depth in not only creating a great level of philosophies in love and relationships, but also a heavy dose of political undertones. This film is a must see to be sure.

★★★★★

2. Trainspotting Released: 1996
Directed by: Danny Boyle
A masterful and ruthlessly rough and edgy film, this movie is what would kickstart Ewan McGregor's career, and is also the best film McGregor's been a part of to date. In the same vein of Fight Club in terms of representing the anti-mainstream philosophy and culture, be forewarned that there are some pretty graphic drug scenes in this movie, as the film primarily deals with Renton (McGregor) and his friends all deal with their heroin use, and in the case of Renton, attempting to overcome it. Very, very highly recommended, if nothing else for its stellar storytelling and poignant cinematography.

★★★★★

3. Before Sunset Released: 2004
Directed by: Richard Linklater
In what's probably the best romantic dramedy since When Harry Met Sally, Before Sunset serves as the sequel to Before Sunrise, which came out in 1995. What makes this movie so special is the chemistry between Jesse (Ethan Hawke) and Celine (Julie Delpy) is pure magic, as each one of them struggles to come to terms with their lives and love, and how their philosophies have consequentially changed since they last met. An incredibly touching story, that has probably some of the best screenwriting seen on film for years (try to think of another movie that's successful despite being essentially an 80 minute conversation).

★★★★★

4. Love Me If You Dare Released: 2003
Directed by: Yann Samuell
While not even coming remotely close to replicating the critical acclaim or success that Amelie enjoyed, this was still an thoroughly enjoyable, albeit disturbing and well made film. Essentially a life story following a couple (played by Guillaume Canet and Marion Cotillard) who's relationship revolves around their continuous dares, the game becomes increasingly risky to outrageous points. This movie is much more enjoyable when not taken literally, as you'll otherwise be fearful or merely frustrated by the characters, but in understanding the general message of undying love, this is a very sweet and loving tale.

★★★★¾

5 (tie). Punch-Drunk Love Released: 2002
Directed by: Paul Thomas Anderson
Along the same vein as Love Me If You Dare, Punch-Drunk Love is yet another film that works well in the framework that it is not taken so literally. Essentially a film about "broken love," this movie investigates the relationship of a couple who are both relatively socially inept, with Berry Egan's (Adam Sandler) problems revolving mainly around the stress of having seven verbally abusive sisters, and an equally awkward love interest in Lena Leonard (Emily Watson). An admittedly strange film, but exceptionally beautiful, with a wonderful performance from each of the actors, especially Adam Sandler who shows that he can do a lot more than the shady one-liner comedies. This film also benefits from a brilliant soundtrack provided by Jon Brion, who also did the soundtracks for Eternal Sunshine of a Spotless Mind, Magnolia, and I ♥ Huckabees. Very highly recommended.

★★★★★

Editor's note: The reason why this movie is ranked lower than Love Me If You Dare, despite receiving a higher ranking, is because Love Me... was a much less popular film, while Punch Drunk Love was more accessible.

5 (tie). Secretary Released: 2002
Directed by: Steven Shainberg
This is the movie that appropriately enough put Maggie Gyllenhaal on the map, in her wonderful portrayal of Lee Holloway, a very troubled young woman who, in search of herself, becomes a secretary in a law firm. During the course of working there, she begins to develop interest in her demanding boss, E. Edward Grey (James Spader), which complicates an already existing relatively unsatisfying relationship with someone from her high school. As Lee and Mr. Grey continue to work together, their relationship soon develops into a sadomasochistic one, as Mr. Grey finds that he also has feelings for Lee. Hilarious, yet gripping and smart, this is an outstanding movie just for the sake that it's able to walk the line and never overstep any boundary. Provocative and very well acted by all involved, this movie's graphic nature is surely not for anyone who would feel uncomfortable with the notions presented in the plot of this film. For anyone who can get past that though, this movie is surely a treat.

★★★★¾

Others worth mentioning:
About Schmidt ★★★★¾
Coffee and Cigarettes ★★★★¼
Happiness ★★★★★
I ♥ Huckabees ★★★★½
In The Company of Men ★★★★½
Lock, Stock, and Two Smoking Barrels ★★★★¼
One Hour Photo★★★★¼
Rushmore ★★★★½

Wolf Parade Apologies to the Queen Mary

The Arcade Fire called, they want their album back...

I know I'm certainly not the first (nor will I be the last) to compare this group to The Arcade Fire. Considering they're both from Montreal, and that they opened for them on several occasions, it would be very difficult for any similar sounding band to run away from such a comparison, especially given the huge success that Arcade Fire has had this past year and a half. However, just about anyone that has even heard one Arcade Fire song would be able to say that this album, at least upon first hearing, sounds like a stolen demo album that's been done by replacement artists, a clear example coming from the opening "You Are a Runner and I Am My Father's Son" and "I'll Believe In Anything." Once you get further into the album, after say about the third track, it begins to show that the band is in fact much more than just an Arcade Fire rip-off, with a more full-on rock slant coming through on tracks like "We Built Another World," and the power chamber pop of "Fancy Claps." There's also a hint of punk that makes subtle appearances on and off of the album, and as you go through the rest of the album you can find that this Montreal outfit is really in fact an expansive and well-studied band, they just have to find their sound. There are occasions where the band also vaguely sounds like Modest Mouse, and really, if you had to pick two groups to sound like, you could do much worse, so no complaints here as far as the overall sound that comes from the record. Other highlights include the catchy "Shine a Light," which is a carry over from their EP released a year ago, the very powerful (and probably the best track lyrically) "Dear Sons and Daughters of Hungry Ghosts," and the edgy "It's a Curse." I can't say that they're the greatest thing since sliced bread, but there's surely a lot of promise that can be found within this album, and there's also plenty to like. What I think should be more of interest though is just where these guys go from here.

★★★★¼

The Go! Team Thunder, Lightning, Strike

A ridiculously fun album.

Finally, after a year of waiting, those of us in the states who didn't order the album on iTunes or managed to get their hands on an imported copy can go out and get this critically acclaimed album, which just came out today. Their sound is very much unlike anything else that's out there currently, and probably hasn't truly been touched since The Avalanches' brilliant album Since I Left You. Taking the surfer rock sound of the late 50's and 60's and adding multi-layered drum licks as well as exhuberant vocals (that sometimes make their songs sound more like a cheer), The Go! Team really shine on every track. With such a diverse array of sound, there are times where the experience almost becomes overwhelming, as it sounds like there's a 30-piece band playing or as if it's a mash-up of Quentin Tarantino soundtracks. While picking favorites is next to impossible on an album such as this one, "Junior Kickstart" is a ridiculously fun and engaging three minute listen, as is the soulful rap of "Bottle Rocket." On the slower end there's the feel good piano romp of "Feelgood By Numbers" and also "Everyone's A VIP To Someone." All in all this is a can't miss album, and hopefully these guys won't drop off the face of the Earth like the Avalanches have, because there definitely needs to be more creative talents like this out in the music world.

★★★★★