NMT: July 11, 2006 (John Mayer, Muse, Thom Yorke, and Sufjan Stevens)

Well, haven't done one of these in a while, but yes, good things come for those who wait indeed. John Mayer has resurfaced once again (although for all this time you'd think he'd do a bit better), and there are some very intriguing releases from Thom Yorke, Muse and Sufjan Stevens. Easily the most exciting week in music in a while, here's a look at new music Tuesday on July 11, 2006.

John Mayer releases "Waiting on the World to Change"

The single which is slated to be on the album Continuum (which is still coming out sometime before Sufjan Stevens finishes all 50 states albums-- or 50 Illinois albums, take your pick) was released today. After first listening to it, it sounded too familiar for its own good yet still strangely addicting in its own clichéd way, much like Lenny Kravitz at his best moments. That's a backhanded compliment, sure, but so is making a song that sounds so much like Curtis Mayfield and The Impressions's "People Get Ready." If you don't believe me, I dare you to download both and not notice a striking similarity. Besides that, this is a touching song, and while it seems like it might've been written way before the release date, it's still very much appropriate. I can see this single as being a late-summer bloomer as far as radio airplay is concerned, and hopefully Continuum will show the same kind of maturity (without the ripoffs). One final question, why name this single as being by John Mayer when the album Try! was John Mayer Trio? It still has Dino Palladino on bass and Steve Jordan on drums. Plus it seems like it'd be a better way of showing progression and maturity on Mayer's part. Either way, it'd be so much easier on everyone to just stick on one name Mr. Mayer.

Muse Black Holes and Revelations

During one of my moments of deep inner monologue-- if I remember correctly it was during my writing about Coheed and Cambria-- I thought to myself, playing devil's advocate if you will, "How could you possibly have such a strong dislike for Coheed and Cambria, a band that you find pretentious and self-indulgent (not to mention tacky and annoying), when you listen to Muse?" I remember smiling to myself, and beginning to retract my comments about C&C (and after looking at them now, I can see I did stifle myself somewhat), before I said to myself "Well, I'd much rather be a band that is accused of self-indulgently ripping off a band like Radiohead-- well regarded as one of the best rock bands around-- than sound like a mash up of the Trans Siberian Orchestra and Fred Durst with his nuts kicked in." The relation to this story and the review of this album (and I assure you, there is some sense of relevancy here), is that Muse, as much as everyone hates to admit it, is good at what they do-- almost too good. They know when to throw in the strings, when to play loud, and when to be delicate. Everything is timed so perfectly that it feels calculated and, on the occasion that the song fails, you feel yourself chuckle a bit. That's the double-edged sword involved with doing music like Muse-- you want to pull the heart-strings like Coldplay while at the same time have the urgency of Radiohead while also maintaining the massive dynamics of both bands. Where Black Holes and Revelations fits in all of this is that this is perhaps the first time where Muse has finally come into their own. They've integrated a heavy undercurrent of techno-rock (as noted when their single "Supermassive Black Hole" was released) that had yet to be seen this consistently, and have also drawn back on the heavier and apocalyptic arrangements that were evidenced on Absolution. What's been replaced is just, well, supremely well-done music. Songs like the aforementioned single, "Map of the Problematique," "Assassin," "Knights of Cydonia" and others are so consistently good, that you'd begin to wonder if this is really a Muse album. Of course, what would Muse be without a ballad on their album? The one that's on this release, "Soldier's Poem," is easily the best they've ever done, as it's just as haunting as it is incredibly beautiful. Never have they sounded so focused, so consistent, and so mature. Most importantly, they seem to really be enjoying themselves here. If they keep this up, the only people chuckling will be Muse at all the critics that have spent the better half of their career dogging these guys.

Overall Rating: 100

Thom Yorke The Eraser

The way Radiohead's been going lately, it's a good day if you hear about them even working on new music, let alone making something that is actually released. Rather than this being a Radiohead album though, this is instead a solo album by frontman Thom Yorke, which makes this a curious release indeed. Seeing Yorke's influence on Radiohead's sound, it almost seems as bizarre as when Dave Matthews decided to release his own solo album. Truth be told, I do think that there's a similar reason for it happening, that being that Yorke (much like Dave) saw Radiohead moving in a different direction while he was still interested in toddling around with Kid A/Amnesiac-like landscapes. As such, rather than risk compromising the entire band, it sounds a heck of a lot better to say that you're going to do this on your own as a solo project. Fans will go out to buy it to see what their favorite frontman has been up to, while others will simply buy it out of curiosity. That being said, The Eraser really is a bit like a sparse cousin of the Kid A/Amnesiac duo. The bizarre sonic landscapes are still in tact, but there's hardly any guitar, nor the same all-encompassing soundstage. While all of the songs are relatively solid, there are only a few true stand-outs, that being the opening title track, "Black Swan," "Atoms for Peace," and the closing "Cymbal Rush." Overall, this is a surprisingly good album (especially as far as solo projects are concerned), just not much of a departure for anyone that's been listening to Radiohead for the past five or so years. On the other hand, it certainly goes down well and is, at worst, good from beginning to end.

Overall Rating: 90

Sufjan Stevens The Avalanche- Outtakes and Extras from the Illinois Album

First of all, only Stevens would have the audacity to take a 21-track album and try to pass it off as an "outtakes and extras" record. I guess he doesn't want to admit to the fact that he's given preferential treatment to Illinois versus his home state of Michigan. Either way, there's really not much new to be had on this Illinois part two album. Stevens spends most of the album living by the old adage "If it ain't broke, don't fix it," as he manages to pull off three different variations on the song "Chicago," and otherwise uses the same lush arrangements that made both Illinois and Greetings from Michigan famous. That's not to say that this is a wasted effort-- though it's definitely calculated-- songs like the title song, "Adlai Stevenson," "The Henney Buggy Band," and "The Mistress Witch from McClure" are way too charming to dislike, and Sufjan Stevens still presents each of the songs with such magnificent flair that it's just as fun as his previous efforts as well. The only creeping question that enters my mind is, can he really keep this going? I know all of these elements are working now, but he's already beginning to wear thin for many listeners, and if he doesn't start to change up, he might have a hard time just getting through the rest of the midwestern states. For the time being however, Sufjan Stevens is white-hot right now and can really do no wrong. His songs are about as unoffending as they get, not to mention incredibly spirited. That being said, I'd only recommend this album for die-hard Sufjan and Illinois fans, everyone else need not apply. It's not that it's a bad album, it's actually quite good, it just certainly won't make anyone change the way they see Sufjan Stevens' music.

Overall Rating: 85

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Fuzzy Thoughts: Lollapalooza Day Two

Well, day one was fun, but day two looks even better. As the lineups get better though, the choices get even more complicated, and one glance at the day two or three schedule should confirm that. Of course, that's where I come in, and without further adieu I give you my picks for day two:

From Opening until 2:30

First off, for those that care, The winner of the Last Band Standing contest will be playing at 11:15. I'd like to say that I'd be out there, but more than likely, I'll just be waiting for Sa-Ra's lean 30 minute set at noon. After that warm-up, I think the show that everyone will be talking about (for the non-mainstream acts anyway) is Wolfmother at 12:30. I've seen these guys live on a couple of TV spots, not to mention some of the iTunes teasers they've released, and they've definitely got the energy level kicked up a few notches when it comes to live performances, so they should be really fun to see. Immediately following that show at 1:30 will be The Go! Team, and given what their album sounds like I can only imagine what they're like live (they're supposedly very entertaining as you can imagine). Feist would be a good back-up plan, especially if you don't think The Go! Team's cheerleaders gone indie rock antics are going to be for you.

From 2:30 until 6:30

If you're looking for a good time to take a break (and if last year didn't prove anything else, it proved that breaks are indeed good-- especially at 100+ degrees), I'd definitely look at doing one sometime between the 1:30-3:30 time period. Personally, I can live without seeing Coheed and Cambria (I don't see how even a mother could love Claudio Sanchez's voice), and if I get the chance I'd probably look to catch the last half of Built To Spill. After that, the highlights look to be nothing but hip hop acts, as there's no way anyone should pass up on Lyrics Born at 3:30 (unless your going to see Calexico, then I'd understand), and everyone should see Gnarls Barkley just to see what movie characters they'll be dressed up as this time around (not to mention they've been consistently outstanding in all their live performances). Instead of heading over to one of the 5:30 shows (Dresden Dolls and Smoking Popes oh my!) I'll keep the energy going by seeing the underrated Blackalicious.

From 6:30 until Close

This 6:30 time slot is what really gets tricky for me. Flaming Lips or Common. Yes, one is hip hop and the other rock, but at the same time you're talking about two of the top (and most creative for that matter) talents in either genre. This one is pretty much a coin flip, but if pressed, I'd more than likely check out the Flaming Lips because I've never seen them live before (and out of hope that Common will pop on stage and perform with Kanye West later on). I'm mad that Lollapalooza had to set it up that way, but one conflict out of a few dozen possibilities really isn't too shabby. After that, there are probably going to be the people that decide they're going to camp out to see Kanye or Manu Chao for that matter, and the people willing to risk not being up close and personal so they can see The New Pornographers and Thievery Corporation. I really could care less whether or not I'm in reach of Kanye's backpack so I'll more than likely be checking out Thievery Corporation. Now it's 8:30, and there really should be no question about who to see. Yes, I know, Manu Chao hardly performs in America, but think about it: Kanye West in his hometown of Chicago, performing in front of tens of thousands of fans in the largest musical festival that Chicago has to offer... what's not to like?

Aftersets?

Two really interesting prospects here: The Frames, Nada Surf, and Elvis Perkins will be playing an 18+ show at the Metro at 9pm, and Blues Traveler and Particle will be playing at the House of Blues at 10pm (18+ show).

The days just keep getting better and better, check back tomorrow for a look at the finale of Lollapalooza, and also a list of things to look for and expect out of Lollapalooza 2006. Here's a simplified look at my picks for day two:

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Fuzzy Thoughts: Lollapalooza Day One

Well, with less than a month to go until Lollapalooza, it's time for me to give my picks on who to see, and what to skip. Now after much brain teasing, many sleepless nights, and a few lost brain cells, I've come up with what I think is a suitable schedule. There are definitely some surprise picks mixed in here, but all in all I hope this makes your scheduling a bit easier considering all the choices available. Onto my selections!

From Opening until 2:30

To be honest, the first half of Day One (until at least 2:30) is surprisingly weak. Of course, festivals like these give the little guys a chance to give a breakout performance and make a name for themselves, so it may turn out much better than it looks on paper. That being said, my first band pick is Sound Team at noon. I'm pretty sure more people will be going for deadboy & the Elephantmen, but frankly, I don't find the duo all that appealing, and I'm banking on Sound Team to put out the better set. Following that, I'm going to be skipping out on both The Subways and Blue October to check out Husky Rescue. While there's a good chance that Blue October might be decent live, I'm thinking that the atmospheric Helsinki-based Husky Rescue will probably end up putting the best show out of the bunch.

From 2:30 until 6:30

Staying within the mellow trend, my next pick (and the easiest one by far) is eels. No offense to Panic! At the Disco, but I'd much rather be depressed by Mr. E's songs of sorrow than want to off myself after listening to them for more than five minuets, because at least Mr. E's songs are good. Immediately following that performance is a group of equally compelling performances: Stars, Editors, Jeremy Enigk, and Mute Math all perform at the same time. An interesting predicament if you ask me, as both Stars and Editors are increasingly gaining attention, while Enigk and particularly Mute Math are not necessarily as well known. If you're looking for a sleeper pick of the bunch, it would definitely be Mute Math, and if it weren't for the fact that Stars was playing at the same time, I'd go with that pick. However, since Stars is playing, and I love their music, I have to go with them (perhaps if I get antsy though, I'll head over and check out the end of MM's set). Following Stars at 4:30 is yet another easy pick for me, and should be one for pretty much anyone that's a fan of either group (I don't know if any overlap is possible)-- Ryan Adams over Umphrey's McGee (a pick I would take any day of the week). I'm just hoping that: a) no one pisses Ryan off and b) that he actually puts out for the entire hour. I've heard about his shenanigans, but seeing that this will be the first chance I'll get to see him live (and probably many others as well) I'd like to think he'll do what he's capable of and not go off if someone should call him Brian. At 5:30, both Iron & Wine and The Secret Machines will be performing. As much as I love Sam Beam (the man that is Iron & Wine), I can't imagine him doing well in this venue, so I'm going to go with The Secret Machines and hope that perhaps there will be some kind of Iron & Wine afterset.

From 6:30 until Close

Okay, I get it, everyone loves Jack White and outside of Gnarls Barkley, The Raconteurs is the collaboration of the year. So of course, I'd have to pick them right? Well, in the words of Lee Corso "Not so fast, my friend." While I think that what Jack White is doing is great, unless he's going to bring Meg out on stage and start performing White Stripes songs and then let Brendan Benson do some of his own stuff, there's no way I'm going to pass up My Morning Jacket (yes they're the special guest), a group I consider to be one of the most underrated right now. In my mind, with their release of Z last year, an album that was ranked #1 on my 2005 list (and cracked the top 3 on many others), MMJ has finally broken through and proven that they're not just a fluke. I'm sure that the crowd will be small compared to what The Raconteurs will be getting, but I'm almost 100% certain it'll be worth it regardless. After that set is over, I will be thoroughly enjoying myself as I watch Sleater-Kinney tear it up. While I don't blame anyone, particularly fans, for picking the Violent Femmes, if you're not familiar with SK, you should definitely at least give them a listen as it will be their last performance ever (yep, they're breaking up). Finally, battling certain claustrophobia, I'll be watching Death Cab for Cutie close it out for the second year in a row. They put out too good of a show last year for me not to see them again, and maybe they'll even top the previous performance.

Aftersets?

There's quite a bit to choose from in this department. Of Montreal will be playing at Schuba's (21+ show) at 10pm. Thievery Corporation will be playing along side Govinda and Husky Rescue at the Metro (18+ show) at 9pm, while Blackalicious and Lyrics Born will be performing with Ohmega Watts at the House of Blues (18+ show) at 10pm. Also of note, Lake Trout will be at the Abbey Pub for an 18+ show at 9pm.

Phew, that's quite a lot of music for one day, and we're just getting started! Check back tomorrow for the Fuzzy Thoughts' Day Two overview of Lollapalooza. Just to simplify things a bit, below is a summary table of my picks for Day One:

Dave Matthews Band Live at Alpine Valley 7/1/06

Even without the strongest setlist, DMB still puts out the best performances money can buy.

Say what you'd like about Dave Matthews Band, there are many that love them and many that dislike them, but no matter where you stand there's one thing that should go unquestioned-- DMB is about as good as it gets when it comes to live performances. The opening night setlist suffered from a bit of inconsistency, particularly with the latter half of the set, but yet there were so many great moments during that time that it was hard for even the most discerning Davehead to fault it. The favorite of the new songs were played, that being "Kill The King," "Break Free" and "Sister," which was played only by Dave. Also, the new segway entitled "Can't Stop" (no relation to the Red Hot Chili Peppers song), which serves as an intro of sorts to "Crush" was played quite nicely in it's first relatively full-length rendition. Outside of the new stuff highlights included a rarely-seen "Pay For What You Get", and outstanding jams on both "Seek Up" and "Jimi Thing." Another crowd favorite was the "So Much To Say"->"Anyone Seen The Bridge?"->"Too Much" jam, the latter which had a brief Lil' Jon "YEAH! WHAT? OKAY!" vocals on the part of Dave Matthews (yeah, it's about as funny as what you're picturing I'm sure). All in all it was a very, very good show, I just wish I had tickets for night two as they definitely kicked it up an extra notch for that night. Overall though, the setlists this year have been incredibly exciting and really encouraging in terms of signaling a sense of where the band is going, especially given the addition of Rashawn Ross (from the Hip-Hop/Jazz outfit Soulive) at trumpet. If you can manage to get a ticket to one of the remaining shows this year, I'd say it's a must see. Otherwise, check back in the fall/winter, as they might sneak in a tour in between recording their upcoming album (due early next year).

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Les Poupees Russes (Russian Dolls) reviewed

Les Poupees Russes (Russian Dolls)

Simply put, Russian Dolls is a remarkably fun and stimulating film.

Every so often there's a film that comes around that unexpectedly strikes the very core of human nature to the point that you're almost enraptured by the very characters that you're watching. Russian Dolls, which is a sequel to L'Auberge Espangole (The Spanish Apartment), is a film that perfectly follows the aforementioned statement. Writer/director Cedrick Klapisch does a superb job in recreating a world that for most other directors, let alone writers would've been far too overwhelming, as it manages to focus just enough on each of the supporting cast of characters to get across a good understanding of Xavier's (the main character) friends, but at the same time there is so much insight into Xavier, as he serves as the narrator, that you're often spending time in his head. Like Amelie, Russian Dolls should be remembered as being an incredibly intelligent romantic comedy, except this time around, from the perspective of a male character. The cinematography is absolutely astounding, and the soundtrack is just as well done. As it's playing in very limited release currently in the states, you may not have the opportunity to see it in theatres, but if you do manage to find a theatre that is showing it, do yourself the favor of watching it. While the fast pacing of the film may be off-putting for some, I can pretty much guarantee that for most it'll be worth the price of admission and then some.

Overall Rating: 100

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Corinne Bailey Rae's debut album reviewed

Corinne Bailey Rae Corrine Bailey Rae

An impressive debut effort that hopefully hints to an even better sophomore release.

As if releasing a debut album wasn't hard enough, it seems to be even tougher for female singer/songwriters, particularly in the R&B segment. An already crowded field, this genre has more one-album wonders (not to mention the one-hit wonders) than I'd care to remember. So, once again, we have another seemingly talented artist by the name of Corinne Bailey Rae. An import from across the pond in England, she already has a  along  hit single with "Put Your Records On," which hovers somewhere around the top of my feelgood singles of the summer, so in that regard she also follows many who came before her. However, there is a sense of genuine quality to her sound, which makes her more along the lines of India.Arie than other artists who tend to rely more heavily on slick production. If "Put Your Records On" isn't enough evidence of that, there's also the gorgeous opener "Like a Star," and the breezy and equally intoxicating "Breathless." While some of Bailey Rae's tracks run the risk of being somewhat generic and almost too mellow for their own good, there is a ton of potential here. Her status as an artist is already starting to blossom here, and will probably only get better as her name gets out, and by the time she reaches the brink it should be about time for her second-release that will hopefully showcase an even more mature singer/songwriter.

Overall Rating: 79

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Fuzzy Bits: June 22, 2006

Lollapalooza Schedule Finally Announced

For all of you planning to attend Lollapalooza this year, the schedule has finally been released, so start planning your days now so you don't miss anyone! Tickets are still available for $140, but if you don't act soon, prices will jump another $10. A full guide to Lollapalooza will be coming up in the next few days, but I have to say overall I'm very impressed by the scheduling-- I won't have to make as many critical decisions as I thought I would. That being said, the three tough choices will be choosing between the following bands: Secret Machines or Iron & Wine, Common or The Flaming Lips, Ben Kweller or Nickel Creek. An interesting side note, there looks to be a special guests that will be playing opposite The Raconteurs on Day 2, time will tell what that turns out to be (I know I'm setting myself up for disappointment by saying this, but I'm still holding out for a Smashing Pumpkins reunion).

Intonation Festival this weekend

Speaking of Chicago-related festival, the Intonation Music Festival will be held this Saturday and Sunday at Union Park (near the United Center). If it weren't for the unpredictable weather and the lack of in-and-out privileges, I'd probably be there, but nonetheless, here are a few artists that are performing: Bloc Party, The Streets, Ghostface Killah, Dead Prez, Jon Brion (yes, the guy that did the soundtracks to Eternal Sunshine, Magnolia, and I Heart Huckabees), up and coming star (and Chicago native) Lupe Fiasco, and Rhymefest. Obviously the theme is mainly hip-hop oriented, with more than a few wrinkles to keep you guessing, but it should be a very intriguing event.

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Cunninlynguists' latest reviewed

Cunninlynguists A Piece of Strange

The only strange thing about this album is how good it is.

Incorporating so many different genres while maintaining a strong tie to southern hip-hop is something that hasn't been seen since Outkast's early days (think Aquemini or a more organic ATLiens). To add to that solid foundation, the rhymes are so intimate and personalized they feel like a confessional, especially on tracks like "Hourglass" and there is no posturing to be found (thank goodness). The opener "Since When" incorporates rock guitar licks and an organ riff in a very timely matter, it never overpowers the rest of the production or the vocals for that matter, but rather set the tone for the rest of the album. More of this, particularly the rock influence can be found sprinkled throughout the album and in that regard, the heterogeneous nature of the music presented makes the experience all the more interesting, not to mention entertaining. Other highlights include the provocative "America Loves Gangsters," which deals with the issues of the iconic status that gangsters have carried in much of the media, and the centerpiece of the album, the atmospheric "The Gates." The latter track is probably the one in which all of the previously mentioned elements reach their pinnacle, as the avalanche of incredibly smart lyrics match perfectly with the sleek guitar and gospel based production. Overall this is yet another superb album from the southern rap group, and well worth the wait.

Overall Rating: 97

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Nacho Libre review

Nacho Libre

Mildly entertaining and endearingly silly, Jared Hess creates yet another quirky comedy with a heart.

If there's one major difference between Nacho Libre and Napoleon Dynamite, it's that Nacho Libre will never go down as being even half as memorable as its predecessor (and given how incredibly quotable the movie is even now, that could be considered a good thing). Despite that, there is still a similar cast of eccentric, well, outcasts, this time around though Jack Black is playing ringleader. While there are plenty of opportunities for Jack to work his magic, which he does admirably on more than a few occasions, there isn't enough from the supporting cast to really hold water. It's as if either Hess or perhaps Nick Movies were so focused on having a vehicle for Jack Black they forgot they needed the tires to go with it as well. Because of that, the movie isn't really what it could've been. Too bad really, as Ana de la Reguera (who plays Sister Encarnación) and Héctor Jiménez (who plays Nacho's trusty sidekick) are both very likeable in their own right. Pairing that with Hess' stellar as usual directing, and off-beat wordplay, (not to mention the admittedly cute interplay between the kids and Jack Black), there's about 3/4 of a good film here. It's that other 1/4 that's missing that really hurts what could've been the sleeper family film of the summer. Instead, it's a decent film, that serves well for its caricatures, comedic nuances and the overall fun that can be brought from seeing Jack Black enjoying his role as a friar-gone-wrestler, don't expect much more.

Overall Score: 72

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A Prairie Home Companion reviewed

A Prairie Home Companion

Altman and Keillor create easily one of the most fun movies I've seen in quite a while.

While they may be appreciated, APHC fans need not apply, this movie truly has something to offer beyond being a good-natured feature length radio show. The characters are incredibly charismatic, most notably with Guy Noir's (Kevin Cline) hilariously well-timed wannabe detective narration to the unabashed crude humor featured by Lefty and Dusty (John C. Reilly and Woody Harrelson), and the music also is some of the best heard since O Brother Where Art Thou? Like any other Altman film, the film takes its sweet time in unfolding and-- almost appropriately given the old-time subject of the film-- moves at a snails pace, but all the meandering is really just to get you further involved into each of the characters and to finally get a sense of what it is that they're all living for, that being the radio show. The inclusion of Virgina Madsen as the role of Dangerous Woman adds a flair of not only the supernatural but also brings to light one of the darker layers that can continuously be felt throughout the film. As an Altman fan, I would have to say that this is one of the best projects that he has been a part of, and everyone from Garrison Keillor to Lindsay Lohan do an outstanding job in their portrayal of a forgotten art form that's well worth hearing about.

Overall Rating: 98

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The Break Up and X-Men: The Last Stand (finally) Reviewed

The Break Up

An entertaining yet moderately underwhelming movie.

Everyone's talking about them, and if all this overexposure isn't going to get you to at least think about seeing the movie, nothing will. The Break Up, starring Vince Vaughn and Jennifer Anniston, really doesn't have much more going for it than said couple. Sure, there are elements of it being the great break-up movie that it claims to be, but it never really accomplishes that. The writing is incredibly inconsistent, almost as if the writers were arguing as to whether or not this should be a serious drama or a lighthearted comedy. Then as a last ditch effort, they drew straws and wrote each part on their own with total disregard to how it will fit in with the other writers' stories. On the upside, when it's good, it's very good. Jon Favreau and Vince Vaughn are just as entertaining a duo as they've ever been (see Swingers and Made), and Jennifer Anniston even shows that she can act a little bit-- this being the best performance by far of her career (this may not be saying a lot, but it's still quite an accomplishment that should be recognized). Problems arise in the total waste of time spent on the families of the couple, and even to a certain extent their respective friendships. Outside of Favreau's character, nothing is really given as far as background, so it's essentially up to the audience to fill in the blanks. Where the depth lacks though, there is a lot of heart to make up for it, and that's really what makes it a charming movie. Between the relatively well-done acting, and a breezy yet occasionally effective plot and storyline, The Break Up is well worth the time if you understand what it is: A summer movie with a bittersweet twist.

Overall Rating: 67


X-Men: The Last Stand

A film that's as engrossing as it is inconsistant.

It isn't an accident that this film is rarely brought up without some passing mention of the major instability that came prior to even the shooting of the movie. While the project originated with returning director Bryan Singer, he left (and brought essentially everyone working behind-the-scenes with him) to work on the upcoming Superman film. Matthew Vaughn (long-time associate of Guy Ritchie and director of Layer Cake) then stepped in, only to back out 9 weeks later after deciding he would not be able to commit to the rigorous schedule needed to do the film. Finally, in came Brett Ratner, and just as it seemed that the dust would settle, Halle Berry essentially demanded that Storm receive a larger role in this upcoming film, thus causing a change in storyline to suit her request. All of this backstory gives a lot of insight to why this X-Men film, which is really the most pivotal in terms of plot, was all the more difficult to pull off, and trust me, it shows. The fact that this film is as good as it is really is quite an accomplishment for Ratner and company, as there was outstanding development not only of the main characters (Wolverine, Jean Grey, Storm, and even Magneto and Professor X), but also the "students" and a bevy of new characters get a chance to shine as well. Combine that with absolutely superb action scenes, a healthy dose of well-done CGI, and a few twists that will make any X-Men fanatic tingle, and you've got a very well done film. Of course, there are going to be problems in such an elaborate movie, especially given the said complications. The first problem is that Storm is in way too much of the film, and considering she was never really a major player in the series anyway, I don't see why Berry had to take it upon herself to decide that she should be the main character. The second problem, which is somewhat related to the first is that there were points in which the story seriously wasn't flowing as well as it needed to, wasting time on half-baked characters such as Angel (who is really an unfortunate waste in this movie). All that said, this is a relatively well-done movie that might be one of the first comic book films that sway more to the demands of fanatics rather than the causal fan, but should still be enjoyed by everyone.

Overall Rating: 75

Fuzzy Thoughts: June 2, 2006

What's going on in film?
While X-Men: The Last Stand's the success story of the week, there are a couple of major films that are out today. The first of which is The Break Up, which hopefully won't be ruined by Jennifer Anniston. Also coming out today is Al Gore's An Inconvenient Truth, which investigates global warming. Another noteworthy film that's coming out today that will particularly interest those looking for a fast-paced action flick is District B13, which was written by Luc Besson.

What's going on in music?
You might've also noticed I didn't do a Tuesday update. Well, in truth, there was nothing really to update as far as albums are concerned, but there were a few newly-released singles that are worth talking about that I was going to cover now. Fatboy Slim, the DJ that never goes away (for better or worse), is back with a new single entitled "That Old Pair of Jeans," that also features a nifty new video. Featuring Lateef on vocals once again, it sounds somewhere between "Wonderful Night" (which also had Lateef on vocals) and "Demons," but deals with a bit more of a serious issue from most other Fatboy songs as it's essentially a break-up song. Also out this week is the single "Kick Push" from Lupe Fiasco. You might remember him from Kanye West's "Touch the Sky," Lupe, like West, is from Chicago and his debut album Lupe Fiasco's Food & Liquor is rumored to be finally released in August. The original release date was to be June 27, but since the original album has been leaked heavily on the internet, Lupe went back into the studio to record eight new tracks. If the skateboard influenced single is any indication, Fiasco's debut may very well be worth the hype. Muse is also back in action with their new single "Supermassive Black Hole." It's completely different from every other song I remember Muse releasing, with it's incredibly dense, almost Eurhythmics like techno-rock backdrop. It's a little creepy, especially if you watch the video (S&M anyone? Actually NIN's "Closer" and those creepy leather-clad 80's vids come to mind [for those of you at work though, it's definitely not explicit, just creepy]), but it's strangely addicting. The single is from their upcoming album entitled Black Holes and Revelations, which comes out July 3rd.

What's going on in the concert scene?
Well, last night I saw the Walkmen in concert with Mazarin and Rockwell as the opening bands. Needless to say, the Metro was a perfect venue for both Mazarin and even more so for the Walkmen, as the latter got even the most apparently uptight rocker going by the time they got to their third song "The Rat." Hamilton Leithauser's howling vocals are all the more impressive live, even if he begins to lose his voice on the higher notes (something that's a lot more forgivable than you'd think, as everyone else is so incredibly loud you'd be hard-pressed to really notice), and in general they played a very solid setlist. They stuck to playing mainly their harder songs, which worked very well, and only faltered a bit with their encore, which began with their two-minute song "They're Winning" and ended with "Louisiana."
The latter was surprisingly impressive and complete with horn and saxophone to back the band, which made it all the more fun, but it still seemed a bit unbalanced considering they performed their strongest and perhaps best songs so early in their performance. Overall though, this was a very, very good show, the energy that the Walkmen maintained was enthralling to say the least.

Brick

Brick

Film Noir high has tons of appeal.

Rian Johnson has taken the rugged Film Noir genre made famous by such films as the Maltese Falcon and The Big Sleep and applied it into a high school setting. An intriguing concept sure, but is it really all that viable? Well, yes, in more ways than you may think, and that's what's so clever about the idea. In a society in which teenagers (seemingly more now than in recent memory) have been continuously scrutinized and under a microscope for their actions and decisions, Rian Johnson presents the material that is long attached to being a part of youth culture and takes advantage of it by setting it in a world full of gangsters, bad habits, heartbreakers and backstabbers. Joseph Gordon-Levitt plays the assertive "detective" role of Brendan, with The Brain (played by Matt O'Leary) serving as his right-hand man. With a supporting cast full of very well written characters, Johnson paints a convincing world of deception that exists so readily that it's almost self-reflexive in that every character literally narrates each of their moves. As the entire events of the world unfold with each running minute of the film, Brendan's growth from being the edgy outcast to eventually becoming the ultimate inside man and mastermind behind the whole story. There are plenty of twists and turns along the way, just like any other whodunit, to keep you interested as well. All in all, this is an incredibly strong showing from Rian Johnson and much of the cast. As such, this is one of the few movies this year that I'd consider a must see.

Overall Rating: 95

NMT: May 23, 2006 (Phoenix, the Walkmen and Roy Hargrove reviewed)

This Tuesday shaped up to be a pretty interesting one. A few days after the Dixie Chicks lead singer decided to take back her apology (suddenly it's second grade all over again) they released their latest album Taking the Long Way. Despite being produced by Rick Rubin and featuring such artists as Sheryl Crow, Keb 'Mo, and many others, it feels like a pretty routine album. Despite many claims, Dixie Chicks haven't really abandoned their country sound; they've simply matured and grown as artists. Unfortunately, that doesn't mean that their songs are necessarily any better, and for that reason even curiosity wasn't enough to get me to purchase their new album. As it is the major release of the week however, I did feel the need to at least mention that about their latest, and it will be interesting to see how the sales turn out. Moving right along though, there are three very good (and slightly under the radar) albums that I'll be reviewing for the week, and hopefully you'll get the opportunity to check them out!

The Walkmen A Hundred Miles Off

Sadly not as good as their first two albums, but very good nonetheless.

The Walkmen made a very interesting attempt their third time around. Much like their contemporaries, they're attempting this time around to branch out somewhat as their sound matures and perhaps, if said band is lucky, they'll hit a couple of pleasant surprises along the way. This is ever-present on A Hundred Miles Off, perhaps most with the opening "Louisiana," a sleepy lounge induced Bob Dylan knock off, that is an intriguing miss at the very least. "Danny's At The Wedding" is a bit less foreign for fans, so it's no surprise that it comes off a lot more polished than the aforementioned effort. The first two tracks reveal what essentially should be expected from the other ten tracks: either a familiar, yet more polished (in a good way) track or an interesting attempt that somehow falls short. That's not to say that the familiar is boring at all as "Good For You's Good For Me" and percussion-driven "Emma, Get Me a Lemon" both are very, very good songs. The biggest surprise that truly works is the closing "Another One Goes By," a cover originally done by the band Mazarin. It has a timeless feel to it as the guitars, piano and drums all blossom and swirl as the song slowly fades out. Despite such a strong closing, it's still hard to overlook many of the albums faults, especially considering how concise and powerful the Walkmen have always been. As many famous people have quoted previously, the best people know their limitations, and perhaps that's what this album will teach the Walkmen.

Overall Rating: 80

Roy Hargrove Nothing Serious

Very impressive work, indeed.

Released at the exact same time as another release of his under the RH Factor name, it's almost more impressive that Roy Hargrove is such a diverse talent, being able to indulge in Hip-Hop and R&B and traditional Jazz almost seamlessly, than Hargrove's talent in terms of his interpretative work. Immediate standouts are the opening "Nothing Serious" and "A Day In Vienna," as they both feature Hargrove and his quintet in impeccably sharp form, breezing through even the most complex sections effortlessly. It's on these that it seems that the quintet work best, as "Trust," while smooth, almost feels mellower than what the musicians even feel comfortable with, and they're perhaps just itching to be able to finish the song and move on to something with a bit more pace. That said, the majority of the tracks are very well done and all have something special about them really, it's just that the spark exemplified on the opening tracks and sharpness isn't necessarily there all the way through, otherwise a very well done album. A definite recommendation.

Overall Rating: 85

Phoenix It's Never Been Like That

The first perfect summer album.

A release that came completely out of left field, Phoenix has gone from the disco to the rock arena. It's in no way an ill-fated attempt either, as each and every track deliver a sharply executed rock gem. If you think about it, it almost makes perfect sense: While every other rock band is trying to sound like they're from the 80's (most notably of late the Strokes), Phoenix has always pretty much been steeped in 80's electronica, so perhaps the rock transition wasn't as difficult, and perhaps, that's why it works so darn well. It's songs like "Rally" that sound so incredibly airy that you could swear it came from the speakers of a summer radio. The single "Long Distance Call" probably incorporates the most of Phoenix's "old" sound, as the synthesizers that highlighted Phoenix's first two releases underline the otherwise straightforward rock tune. Truth be told, there isn't a bad song on here, and I'd be very surprised if this album doesn't help Phoenix to get on the map as yet-another recognized indie-rock group. As long as you're out in the sun, this album shouldn't be too far away, it's just that good.

Overall Rating: 95

New Music Tuesday: May 16, 2006 (The Raconteurs and Serena Maneesh reviewed)

After a couple of hectic release weeks, things finally slowed down with only one major release, that being The Raconteurs. While traditionally I would give a preview of other albums that came out this week, the theme that is shared between Cam'Ron's, Christina Milian's, and Hoobastank's latest release is: awful. Yes, there's really nothing good about any of them, and unless you feel like being underwhelmed to the greatest degree I wouldn't even bother sampling them. On the upside, there is the latest T-Bone Burnett album to check out-- I may have a review of that release coming later. Beyond that, there's not much else, and as such here is the review of the Raconteurs album which was released today and a vault review for the group Serena Maneesh. Enjoy!

The Raconteurs Broken Boy Soldiers

Far too short, Broken Boy Soldiers is nonetheless an interesting venture.

Whether or not you want to call it a side project is up to you (just make sure Jack White and Brendan Benson can't hear you), but it's hard to feel like it's much more given the incomplete feeling of this 11-track album. That's not to say it's at all bad though, there's definitely some good stuff within the near 35-minute album. The problem is just that it's almost obvious on certain occasions that Benson, White & Co. were writing some of these songs on a whim. The majority of the songs are relatively simplistic to say the least, and despite NME's massive overstatement that the Raconteurs' album is the greatest rock album since Nirvana's Nevermind, the sound never really materializes into anything, thus making it feel not only bland but also incomplete. If they're not exercising their 60's pop-rock demons with tracks like "Hands" and "Together," chances are the track that conceivably sounds like it would have otherwise been made a White Stripes B-Side ("Broken Boy Soldier" and "Store Bought Bones"). By the end of the album, you wonder if you bought a finished CD or managed to walk away with a demo. In defense of the Raconteurs, Jack White and Brendan Benson at 75% is better than the majority of other artists at 100% and the rating will reflect that, it's just disappointing that this album had to feel so rushed. I'm hoping that perhaps next time they'll be able to work on something more substantial.

Overall Rating: 81


Serena Maneesh Serena Maneesh

As challenging as it is rewarding, an incredibly provoking album.

While living up to the hype of such groups is My Bloody Valentine and particularly Velvet Underground is never easy, in fact almost impossible, Serena Maneesh not only meets those expectations but also surpasses them with ease. The proof of that comes immediately on the first track, "Drain Cosmetics," which is easily one of the best introductory songs to an album I've heard since Interpol's "Untitled" on Turn out the Bright Lights. Starting out in familiar VU-like territory, the guitar riff suddenly echoes and all sense of familiarity becomes lost once the vocals echo in, and from here the stage has been set for the world that is Serena Maneesh, and what a beautiful world it is. "Selina's Melodie Fountain" continues with a bit more of a hurried pace as the guitars slice their way through the seemingly infinite background effects. Despite being incredibly involved and atmospheric, the album is never overwhelming if you don't allow it to be. Instead, just kick back and relax and let the sound soak in after a few listens, and I guarantee you'll be hooked. Another plus, particularly considering this is a downfall of many atmospheric-oriented rock bands, is that there is little to no filler on this album. It is immediately apparent that every note serves a purpose in the overall composition of the album, and that makes it all the more beautiful. Even the shortest tracks like "Un-Deux" and "Simplicity" make the most of their time, serving as timely transitional pieces. This is particularly true with the latter as it preludes the closing 12-minute epic of "Your Blood in Mine," a hauntingly beautiful piece. It's often said that, for better or worse, the best music is the music that takes you on a journey to another world, and that is precisely what makes Serena Maneesh so good.

Overall Rating: 97

Fuzzy Bits: May 13, 2006 (100th Post!)

We've finally reached the 100 postmark here at Fuzzy Thoughts, woo! While this is an abnormally short entry, I do have a couple of gifts that tie in with the major headline for the day, so enjoy!

Upcoming singles leaked (and albums [finally] coming)

Both Jurassic 5 and Outkast have left fans waiting for quite a while for their respective upcoming releases. Finally, Outkast's soundtrack to their upcoming film Idlewild will be released August 22, with their film coming out the following Friday (Aug. 25). This is a definitive date, as the first single has been set, so barring any major setbacks, you can mark this on your calendar. In the other camp, Jurassic 5 has been fine tuning their album for quite some time, performing a lot of new materials in live performances but leaving much to the unknown as far as studio work. However, as recently as a couple of days ago, J5 has put their upcoming single on MySpace, which features Dave Matthews Band (yes, you read that correctly). The album, which will be entitled Feedback is due out July 25. Now in honor of this being the 100th post, I'm putting up links to both of these singles. After taking a few listens, feel free to contribute your thoughts on each:

Outkast "The Mighty O"
Like every Outkast single that precedes it, "The Mighty O" is a really good song, but will probably pale in comparison to everything else that's on the album. Besides taking a page out of Cab Calloway's book for the chorus, both Andre 3000 and Big Boi provide pretty good rhymes, a bit on par with "The Whole World" for comparative purposes. Overall this is a must have/listen, especially if you're a fan.
Overall Rating: 90


Jurassic 5 "Work It Out" (feat. Dave Matthews Band)
While this song is decidedly vibe over actual substance, there's one hell of a vibe here. Dave Matthews sings the chorus, while each of the other members chip in for other minor contributions. Despite knowing that these guys are relatively good friends (particularly of late as J5 has opened for DMB on many an occasion and they also did the Vote For Change tour together), I was still a bit shocked at the idea of a collaboration between the two bands, but it works.
Overall Rating: 86

New Music Tuesday: May 9, 2006 (Paul Simon, Red Hot Chili Peppers, and Snow Patrol reviewed)

It's that time of the week once again, and there are three more big-time releases-- one of which falls under the highly anticipated category-- that I will be getting to in just a second, but beforehand let me break down a couple of the other releases for this week:

New Music Tuesday 5.09.06

Nick Lachey What's Left of Me
Preview Verdict: Sad bastard music for the overly pop oriented, Lachey surprisingly seems to have poured his heart into this album and it definitely shows. While it's still a sound that only teeny-boppers and VH1 moms can appreciate, it's nice to see that there is still some honest to goodness pop music out there.

Neil Young Living With War
Preview Verdict: I have a strong feeling that if anyone else had released this album they wouldn't be praising it, but wonder how on Earth it even got made. This album feels like a rushed attempt by another artist trying to make a political statement. I get the point now, celebrities don't like Bush, get in line and let's move on.

Grandaddy Just Like the Fambly Cat
Preview Verdict: This is Grandaddy's curtain call, and as such it works quite well as it gives fans a taste of what will soon be missed from the band. While I've never understood the Radiohead comparisons (especially the Sophtware Slump-OK Computer one), they have accomplished a very solid career in their own right.

Jolie Holland Springtime Can Kill You
Preview Verdict: Although I'm a huge Jolie Holland fan, I think she's become way too comfortable in her psuedo-folkie Americana realm. This album feels more like a generic collection of songs, rather than her personal voice.

The Stills Without Feathers
Preview Verdict: While there are undeniably some good songs on here ("In the Beginning" and "Destroyer" come to mind), the album overall seems to come a bit short. It'll definitely appeal to anyone that's already a fan of the Stills, though I warn you that their sound on this album is nowhere near as dark as what was on their debut, but I don't think it's enough for anyone else to stick around for much more than possibly a select few tracks.

Now for the big reviews:

Paul Simon Surprise

A pleasant surprise indeed.

On this, Paul Simon's tenth album, Simon finds himself paired up with Brian Eno-- an interesting collaborative move indeed that really shifts Simon's sound to territory unheard of previously. That's not to say it's alienating, the core Paul Simon sound is still definitely in tact, but Eno adds an intriguing electronic edge to the album, making it both organic and abstract all at once. Where this production also helps is in increasing Simon's sense of urgency, particularly on his most politically motivated songs "How Can You Live in the Northeast?" and "Outrageous," the latter of which has Simon vibrantly singing "It's outrageous for a man like me to stand here and complain, but I'm tired, 900 sit-ups a day." Paul Simon's sense of crafting incredibly eloquent pop songs are still in tact as well and after the first few tracks it is incredibly easy to get used to the new sound that Paul Simon has developed. He has truly re-invented himself on this album, and after a few slumping records, it seems as if Simon may have outdone himself this time, as he has created his best album since Graceland.

Overall Rating: 96

Red Hot Chili Peppers Stadium Arcadium

Two discs of absolute bliss

While it would've been easy for the Red Hot Chili Peppers to fall under the recent curse of 2-disc releases that have been too indulgent for their own good, these guys somehow avoided that. Not only is this their best album since their classic Blood Sugar Sex Magik, this is the best each individual member has sounded since then as well. This is the best I've ever heard John Frusciante as far as consistency over an entire album, with Flea and Chad Smith following through on equally solid performances. While their sound isn't a departure from their previous album by any means, it is nice that Anthony Kiedis lets loose on the most rap-filled tracks since their earlier funk days. While their funkier moments lack the outlandish or rawness that the Peppers used to have, the refined sound that replaces it just shows how far these guys have come in terms of musicianship, and that's really what is the keystone of this album, and what makes each of the 28 tracks so amazingly good-- Red Hot Chili Peppers are wickedly good, and they show it. Whereas the strongest moments on Californication and By The Way were the ballads, there is something to be had for everyone on Stadium Arcadium and then some. This is, I have to say, the perfect double album.

Overall Rating: 100


Snow Patrol Eyes Open

Ever hopeful and anthemic, this is a nice step from Final Straw.

After striking gold with their previous album Final Straw, impressing fans everywhere and even U2, it seems almost impossible to be able to follow up the album without being tempted to just make a Final Straw 2.0 as it were. Thankfully, that isn't really the case here. No, Snow Patrol doesn't stray from their formulaic anthems, but at the same time it doesn't come off as being forced, or worse, contrite (here's lookin' at you Coldplay). The opening track "You're All I Have," "It's Beginning to Get to Me," and "Headlights on Dark Roads" are all linear rockers that work incredibly well, but it's on the slower ballads that Snow Patrol's maturity comes to surface. "You Can Be Happy," the appropriately titled "Make This Go On Forever," and the superb closer "The Finish Line" are all great songs that really help differentiate this album from their previous release, as Gary Lightbody's vocals linger with every verse. It's not the masterpiece that Snow Patrol is capable of, and there are a few missteps that hamper the album-- namedropping Sufjan Stevens in the middle of "Hands Open" probably wasn't the best idea (I like him and the song "Chicago" too, but you don't have to sing about it)-- but overall this is still a solid release from the band.

Overall Rating: 84

Mission: Impossible 3

Mission: Impossible 3

It feels a little forced, but there are some worthwhile performances here.

With this film being the third installment of the series, which has now been around for a decade, it'd be easy to assume that this is a set of films that is definitely on the decline. While the first Mission: Impossible was a relatively fun bit of Hollywood espionage, the sequel was pathetically forgettable and got lost in the shuffle of every other action flick that came out around the same time. So how does M:I-3 stack up? Well, what helps it is the absolutely stellar acting of Philip Seymour Hoffman, who takes on the role of black market runner extraordinaire Owen Davian. His incredibly understated delivery makes his character all the more sinister, easily outdoing the previous villains in these films. Likewise, Billy Crudup and Lawerence Fishburne provide solid supporting roles, and Tom Cruise is clearly having a ball playing Ethan Hunt. There are a number of very nicely done subtleties within the film, whether it be Tom Cruise getting into character of a priest (he originally was going to go into the priesthood before deciding on acting), or some styling cues from the previous films, or the fact that Tom Cruise's love interest (played by Michelle Monaghan) is made up to look an awful lot like a certain real-life counterpart. Speaking of the love story, this is really the only thing that brings down the movie. While the question of whether or not Ethan Hunt (or any agent) can have a personal/family life while serving could have been somewhat intriguing (if a bit clichéd), the way in which the story continuously reminds the audience of that is relatively irritating, as it wastes the first twenty minutes of the film and many points in between. Perhaps since the entire basis of the movie is on the impossible, they'll figure out they don't need to attempt to add a personal story to make it more realistic. Other than that, the only other major fault of the film was the hyperkinetic cinematography that goes overboard when you can't figure out the background from any individual actor. In some of the scenes it works really well in that it heightens the intensity of the action or a given scene, particularly in the exchanges between Tom Cruise and Philip Seymour Hoffman, but for many other scenes it's completely unnecessary and almost sickening. Other than these two glaring faults within the movie, there is a lot of fun to be had here and for that I'd consider Mission: Impossible 3 the first blockbuster of the year.

Overall Rating: 76

NMT May 02, 2006 (Part II: Gnarls Barkley, Dios (Malos), Pearl Jam, the Rakes and Wolfmother reviewed)

Gnarls Barkley St. Elsewhere

Despite all the hype, it's hard to walk away disappointed.

As explained in Part I, Gnarls Barkley has suddenly surged from being a moderately-anticipated, yet primarily underground release to what could very well become one of the few indie hip-hop acts to fully impact the mainstream. The album opens beautifully with "Go-Go Gadget Gospel," featuring hard-hitting productions brought on by Danger Mouse and Cee-Lo almost effortlessly singing along. From here the album then transcends to the hit single "Crazy," which will probably win the award for "Most Overplayed Song for the Summer," but it will be worth every single play, it's just that solid. Both the title track and "Gone Daddy Gone" (which is a Violent Femmes cover) are very intriguing. With the title track it remains effective despite being a somewhat disjointed track, and never feels over the top. Similarly "Gone Daddy Gone" carries over the somewhat minimalist vibraphone background, which contrasts nicely to the otherwise grandiose production that takes place on many of the other tracks. "Feng Shui" is one of the few tracks on which Cee-Lo raps, and for the most part he strays on the conservative side in terms of his delivery, only going along with the beats that Danger Mouse feeds him and never overdoing it. What is most surprising about this album is that despite having a duo of fun-loving, crazy guys like Cee-Lo and Danger Mouse, there is certainly a dark atmosphere on this album, much like the darker tinge that Danger Mouse used in the production of Gorillaz Demon Days. While it does have its flaws, this is an exquisite exercise in eccentricity brought on by a couple of incredible talents, and hopefully they will be working together again.

Overall Rating: 95

Dios (Malos) EP

A nifty EP, especially if you're a fan.

While I should first note that this is an iTunes exclusive EP, I'm sure that you'll find these songs popping up on another release, if the EP itself isn't officially released at some point later on. The EP contains six tracks, and all of them are very good, if a bit experimental. Their sound is quirky as is, but it is interesting to see that each of the songs are around three and a half minutes as you wonder how long they would be without the synthesized atmospheric quirks that start and end most of the songs. The lyrics range from bizarre to smart to funny and sometimes hit all those spots at once, particularly on the opening "Hermit" and "Freq Modulation." The most pop friendly of the bunch is the closer "I See the Light," which teeters between alternative and experimental rock yet is never alienating. If you're looking for something new and, in particular, can appreciate their Pixies-like quirks, then you're in for a treat.

Overall Rating: 85

Pearl Jam Pearl Jam

In a word, wow. This is the best album Pearl Jam's released since it was cool to be grunge.

The success of Pearl Jam came almost overnight, after having a trio of successes in Ten, Vs., and Vitalogy. Then, almost as quickly, Pearl Jam faded away into oblivion, lost in the shuffle of their massive number of pointless live releases and albums where they were, quite frankly, trying too hard to be something they're not. Now, over a decade later, they return with an eponymous release, almost signifying an awareness that the band is essentially starting from scratch. Let me tell you, long story short, this formula works. I had a feeling that Pearl Jam might've struck gold with their singles of "Worldwide Suicide" and "Unemployable," but their raw energy that manages to sustain over the duration of the entire album captures the band at their relative best. Granted, there have always been magical moments in Pearl Jam's releases, but I can't think of a time in their career where each component (lyrics, musicianship, focus, etc.) of their music was at the peak all at once. Harder rockers like "Life Wasted," the aforementioned "Worldwide Suicide," "Comatosed," and "Big Wave" all mesmerize with such vibrancy that you'd swear you were listening to a much younger band. Meanwhile, the sincere maturity shown on the slow to midtempo rockers such as the absolutely gorgeous "Parachutes," "Unemployable," and the prolific "Come Back" and "Inside Job" are equally impressive in that they offset the louder tracks perfectly without any sort of inconsistency. Most importantly, the entire album succeeds in its social and political relevance, as it is that core that serves as the fuel for Pearl Jam's fire. After such incredible results, it'll be interesting to see if they can keep the fire going.

Overall Rating: 98

The Rakes Capture/Release

Mmm, punk.

I was excited about this release since their fantastic Retreat EP came out a little while ago, which included three of the tracks that are featured on the album, "Strasbourg," "Retreat," and "22 Grand Job." While these tracks are arguably the three best (well, at least among the best) songs on the album, the other nine certainly aren't slouches. "Open Book," "We Are All Animals," and "Work, Work, Work (Pub, Club, Sleep)" are really just as good, and the latter I would argue is the best out of them all. While they definitely are a little late coming to the punk resurgence party, there's a lot to offer in this release, and they show a great amount of potential. Unlike the Arctic Monkey's, there's a sense of polish, and unlike Art Brut, you tend to actually take these guys much more seriously. The band's journalistic style of lyrics and smart social musings and observations make their sound all the more interesting. Throw in a couple of spunky guitar riffs and you've got yourself a very good debut album.

Overall Rating: 85

Wolfmother Wolfmother

Impressive debut from this Australian band.

Do you miss the days when 70's metal ruled the charts? Do you think that the rock out now just doesn't rock hard enough? If yes, then this is definitely a band worth checking out. Steeped heavily in 70's heavy metal with a dose of psychedelia, these guys really sound like a blast from the past. The singles "Dimension" and "Woman" exemplify this perfectly while maintaining enough of a mainstream angle that it can be readily accessible to fans that wouldn't ordinarily embrace such a distinctive sound. The thing that really works with this band, and is most impressive for a debut is while they dabble in their sound-- "Apple Tree" definitely shows a hefty White Stripes influence-- they sound so incredibly sure of themselves and so entrenched in the music that they're creating that they don't suffer from the identity crisis that exists within so many other bands where you get the feeling that before every song they say "Okay, next we're going to do our (Put Artist's Name Here) impression." That being said, if Wolfmother suffers from anything, it's almost so brooding that it can almost become off-putting by the time you reach the end of the disc. However, if you like nothing better than to rock out, this is definitely the album to have.

Overall Rating: 90

New Music Tuesday: May 02, 2006 (Part I)

Well, I said that the big week in music would be coming, and now I finally have reviews from some of the biggest albums to come out this year. For those of you that have managed to stay out of the music loop for the past year, Gnarls Barkley is comprised of Cee-Lo (of Goodie Mob fame) and master producer Danger Mouse. If you're not familiar with Danger Mouse, he most recently collaborated with MF Doom for the acclaimed DangerDoom project which I reviewed last year, and also ranked #12 on my top albums of 2005 list. The lead single "Crazy" is still the #1 song in England, and has been since its release, and record sales will almost certainly follow suit, and there has been nothing but positive feedback for their performance at Coachella (which, notably, was only the second time the duo performed together live), so it'll be interesting to see how they fare at Lollapalooza in August.

Speaking of Lollapalooza, I'm currently working on a guide for the festival this year, so if you have any suggestions just let me know. Among the ideas being tossed around is making it available in a format that will be easy to print out and take with you, so we'll see about that, but just wanted to give a heads up about it.

The juicy reviews (Gnarls Barkley, Dios (Malos), Pearl Jam, the Rakes, and Wolfmother) will be in Part II of this update, so if you're looking for them go ahead and skip there. In the meantime, here are some other releases that came out today that are worth noting.


New Music Tuesday 5.02.06

Jewel Goodbye Alice in Wonderland
Preview Verdict: I personally couldn't cough up the money for the full album, but I could easily see why a person would. Jewel has definitely found herself on this album, and if you don't mind sitting through 15 tracks of cavity-inducing super-sweet pop songs then you will definitely enjoy this album.

Mobb Deep Blood Money
Preview Verdict: There is nothing good that can be said about this "effort", it just seems like another forgettable, hardcore-posturing rap album. The sad thing is how amateurish they sound on this record, with dumb rhymes and even worse beats. You'll find your money better spent on just about anything else.

Charlatans Simpatico
Preview Verdict: Having somewhat high expectations, I was surprised to find Simpatico so dull. Each track feels forced and lacks energy of any kind, and even the previously lauded single "Blackened Eye Blues" seems to lose some of its luster in the scheme of things. Too bad, this release just made it that much tougher for these guys to crack into the US market.