By Tyler Hodg
Music is constantly evolving and yet at certain moments, it stands completely still. With their latest full-length album Wrought, Washington punk-rock band Broken Water continues to display their musical influences in their own music, creating a nostalgic-sounding record that will remind many listeners of their angst-filled teenage years. Wrought is totally grunge-tastic and is a blatant throwback to a sound that seems to have gotten lost in recent time.
Dinner party movies are becoming a favorite of mine. I love the premise of a dinner party because most of time we are dealing with a group of friends and usually the characters are relatively close to one another. These past few years I’ve seen films like Would You Rather, The Perfect Host, Coherence, and now, The Invitation. Each time I’m surprised at the routes the films take and how different each film is in its own way.
The story of Connie Converse is both fascinating and distressingly common. After leaving college and heading to New York City in 1949, she wrote and recorded poetic, wry, revealing songs accompanying herself on acoustic guitar. Despite intervention and best intentions of friends (animator Gene Deitch and colleague Bill Bernal) who worked to get Converse’s music heard by a wider audience, she abandoned everything. She wrote a series of goodbye notes to friends, packed up her Volkswagen, and disappeared in 1974. No one has heard from her since. She would be 90 now.
While they’re marketed as a roots ensemble and a string band, Lindsay Lou & the Flatbellys have a seriously jazzy vibe to them. They play mandolins, dobros, stand-up bass, steel guitar, and take those instruments to an interesting place: playing them percussively, angularly, expressionistically. Lead vocalist Lindsay Lou’s voice isn’t a rootsy voice, either. There’s a dusky richness to her voice, and her slides from chest voice to upper register are elegant though she makes it sound incredibly easy.
The world of rock music (and music journalism) is one big boys club. And it’s no surprise that the title of Kim Gordon’s memoir, Girl in a Band, is partly in reference to the incessant query “What’s it like to be a girl in a band?” Despite possessing two X chromosomes, Gordon adeptly chiseled her own space in music with her own rules, coupled with intelligence and dignity. As far as her emotions, she has historically played her cards close to her chest, even appearing aloof, but when she performed “Aneurysm” at Nirvana’s induction into the Rock and Roll Hall of Fame, my body tingled and I was momentarily slack jawed. I don’t care what anyone else says about it, and opinions vary wildly, but Gordon’s performance was one of the most visceral, authentic, fearless, perhaps cathartic, but certainly intense moments I’ve ever witnessed in rock ‘n roll.
On After, Lady Lamb The Beekeeper (a.k.a. Aly Spaltro) unleashes her magnificent, versatile voice in miniature symphonies that are rich in detail and often deliciously surreal. Her songs are packed with moments of everyday (a steaming mug of coffee, watching TV) and a strong feeling of place (her current home in Brooklyn), coupled with inventive melodies. And that voice. Her voice is everything: rough, raw, delicate, fragile, astounding.
So much of the success of Starry Eyes rests on lead actress Alex Essoe’s able shoulders. She beautifully embodies the role of Sarah, a budding actress who pines for the role that will catapult her into the pantheon of the Old School Hollywood ladies whose photos adorn her bedroom walls. Surrounded by struggling fellow thespians, one of whom (Erin) wants to cut her down at every opportunity, Alex’s insecurity and fragility is palpable and painful to witness. Forced to pay the bills working at a Hooters-type restaurant, she is thrilled when she gets an audition from the esteemed Astraeus Pictures.
By Less Lee Moore
From the lurid Frank Frazetta-style cover art to its evocative title, The Witch Who Came From The Sea seems like it might be a female-fronted version of The Beastmaster. As intriguing as that possibility sounds, the film is something altogether different and much more profound. Directed by Matt Cimber (Butterfly, Hundra) in 1971, The Witch Who Came From The Sea wasn’t released until 1976, and even then, ran afoul of the MPAA for what they considered gratuitous violence, nudity, and rather dark subject matter.
January 22, 2015
At a time when Internet hype threatens to smother any semblance of genuine talent, it’s difficult not to be cynical. Rest assured, however, that Zola Jesus deserves all the praise. Nika Roza Danilova is the real deal.
For those wondering if Danilova can replicate the powerful vibes of her latest album, TAIGA (review), in a live setting, the answer is yes. Her already-amazing voice is actually better in person than on record, which is kind of astonishing. But I’m getting ahead of myself.
I am terrible at lists and ranking art against other art, so I’m taking some liberties with the concept of “Best of 2014” and sharing six comics and five films that I enjoyed or found thought-provoking in 2014.
Alex + Ada (Image, ongoing) Sarah Vaughn, writing; Jonathan Luna, art/story.
After a rough break-up, Alex’s aunt gives him a female android for “companionship.” Alex is disturbed by Ada’s seeming humanity and takes her to an underground network to have her sentience illegally unlocked. Alex + Ada cleverly subverts the fembot trope, exploring the complexity of relationships and being human, passing, being closeted, and the history of dehumanizing people into property. Luna’s calm artwork is perfect for an android coming into her own in a world terrified of her.
Gotham Academy (DC) Becky Cloonan & Brendan Fletcher, writing; Karl Kerschl, art.
If you like girl detectives in creepy old private schools, Gotham Academy might be for you. At Gotham City’s fanciest private school, Olive Silverlock investigates strange goings on, including a ghost, and her sorta-ex-boyfriend’s little sister Maps tags along. It’s Manga-influenced with neat coloring and just plain fun, and if you like girl detectives, you’ll probably like Gotham Academy.
Red Sonja (Dynamite) Gail Simone, writing; Walter Geovani, art.
Like Saga, which I wrote about last time, Red Sonja is a comic I read every month. Unlike Saga, I never expected that. It’s a subversive, funny, and action-packed barbarian comic. Read as Red Sonja duels a master swordsman, rescues a beautiful dancer (who is also a gay man), refuses to bathe, and desperately tries to get laid. And always make sure to get Jenny Frison’s covers. Her work is gorgeous. (She’s also doing some great covers for Revival.)
Showa: A History of Japan (Drawn & Quarterly) by Shigeru Mizuki.
Showa is a stunning achievement. Mizuki presents the history of Japan from during the reign of Emperor Hirohito (1926 – 89) in four volumes. He covers Japan’s descent into fascism and Imperialism, the Second Sino-Japanese War, World War II, the American occupation, post-War unrest, and Japan’s rise as an economic power. Mizuki’s draftsmanship is extraordinary, rendering his personal history and Japan’s history in almost photorealistic drawing and in expressive cartoons. And his writing is almost transparent, smoothly presenting a tremendous amount of material that mixes the personal and the political, local and global, the supernatural and the mundane.
The Wicked & The Divine (Image) Kieron Gillen, writing; Jamie McKelvie, art.
The Wicked & Divine comes across as almost a sequel to Gillen and McKelvie’s Phonogram—books about people whose magical power derived from music. Pop music. Club music. But where Phonogram was a testament to the personal power of music and to a certain time in the London club scene, The Wicked & The Divine is more cosmic in scope. Every 90 years, gods return to earth. They live for three years, putting on amazing concerts, and then they die, only to return again 90 years later. This time, someone dies when the Bowie-esque Lucifer snaps her fingers, turning humans against the gods, and the gods against each other.
Velvet (Image) Ed Brubaker, writing; Steve Epting, drawing; Elizabeth Breitweiser, colors.
Velvet is almost the secret life of Miss Moneypenny, if Miss Moneypenny were framed for murder and, possibly, treason. She’s been working as the secretary to ARC-7′s director, she’s still a deadly field agent, and she uses all her skills to find out who framed her and why. After years of paperwork and dealing with flirtatious, hotshot agents, her colleagues underestimate Velvet, but only for a little while. If you’ve always wanted to discover that Miss Moneypenny has a secret life, you’ll probably like Velvet. As with Brubaker’s Fade-Out, Fatale, Criminal, and Incognito, it’s worth buying Velvet in single issues to get each issue’s closing essay.
Cold In July (2014) dir. Jim Mickle, starring Michael C. Hall, Sam Shepherd, Don Johnson, and Vinessa Shaw.
Richard (Hall), a husband, father, and framing store owner, shoots and kills a burglar in his home. When the burglar’s father, Ben (Shepherd), shows up at the funeral and threatens Richard very congenially, Cold In July seems like it will be a straightforward revenge thriller. Then the story doesn’t so much take a twist as it takes a turn and the next thing you know, Jim Bob (Johnson) is walking into Richard’s store looking to get a pin-up framed. The chemistry between Hall, Shepherd, and Johnson is fantastic and Don Johnson does some engaging and entertaining work with his character, Jim Bob. Cold In July might be my favorite movie of 2014. It’s based on a book by Champion Mojo Storyteller Joe R. Lansdale, which always helps. Jim Mickle really comes into his own with Cold In July. The visuals are a nice blue and red homage to late Eighties film. The exposition isn’t overstated. And the soundtrack is almost perfect, and leaves some room for silence.
Snowpiercer (2014) dir. Bong Joon-ho, starring Chris Evans, Song Kang-ho, Ed Harris, Tilda Swinton, Octavia Spencer, Ko Ah-sung, John Hurt. . . and it’s probably best to go check IMDb.
Snowpiercer is a satisfying dystopian film serving as an allegory for general global inequality and state violence as well as a very particular criticism of South Korean politics and society. Curtis (Chris Evans) leads an uprising of the train’s tail end lumpenproletariat against the elite in the front of the train―with a little help from Namgoong Minsoo (Song Kang-ho). Bong Joon-ho is one of my favorite directors and he made two of my favorite films, The Host (2006) and Memories of Murder (2003). But while Snowpiercer is not as good as either, there are two things I love that put it on this list: Song Kang-ho and Bong Joon-ho’s idea of a “cinema republic.” I am so excited to see these actors working together in an adaptation of a French graphic novel shot in the Czech Republic with South Korean and American writers and producers, a British action choreographer, a Korean cinematographer, and a cast of fine actors from all over the world. It’s like Bong Joon-ho picked every every actor he ever wanted to work with and put them on a train hurtling toward the cinema republic. In a time with so many bland blockbusters inspiring bland imitations in global cinema (*cough* China’s bloated historical epics *cough*), Snowpiercer is just plain heartening.
The Duke Of Burgundy (2014) dir. Peter Strickland, starring Sidse Babette Knudsen and Chiara D’Anna.
An homage to the ”Eurosleaze” films of the 1960s and 1970s, The Duke of Burgundy quietly subverts its genre. Cynthia (Knudsen) and Evelyn (D’Anna), colleagues in the study of insects, explore their kinks in a small village. The film explores how fantasy is negotiated in relationships and how relationships, like D/s scenes and films, have their scripts. And I find it remarkable that a film focusing on formal film structure can be so warm and compassionate when so much formalism comes off as cold and misanthropic. (There is also “specially designed furniture” and mole crickets.)
The Raid 2: Berandal (2014) dir. Gareth Evans; starring Iko Uwais, Arafin Putra, Yayan Ruhian, Tio Pakusodewo, Oka Antara, Alex Abbad, Cecep Arif Rahman, Julie Estelle, Ryuhei Matsuda, Kenichi Endo.
The Raid 2 gives everyone all the amped-up fighting we were looking for, with brutal new twists: Hammer Girl (Estelle) fighting half a dozen yakuza brothers and killing them with her two claw hammers; an amazing karambit-carrying silat master (Cecep Arif Rahman); prison shivvings; and harrowing car stunts. But Raid 2 is much more of a thriller in the mould of John Woo’s Hardboiled (though without the whimsy) or Andy Lau’s Infernal Affairs. Rama (Iko) survives the events of The Raid only to go undercover in one of Jakarta’s most powerful gangs. Rama serves two years in prison to earn the trust of Uco (Arifin Putra), son of the gang’s boss. But things get complicated, as they always do. There’s another Jakarta gang plus the yakuza involved, and the police themselves might be setting Rama up. If you were curious, Mad Dog (Yayan) might not have survived that fluorescent tube through the throat, but Prakoso (Yayan) really seems to take after Mad Dog in terms of his skills and his singular focus on fucking people up.
What We Do In The Shadows (2014) dir. Taika Waititi and Jemaine Clement; starring Taika Waititi, Jemaine Clement, Rhys Darby, Jonathan Brugh, Jackie Van Beek, Cori Gonzalez-Macuer, and Stu Rutherford.
Deacon, Viago, Vlad, and Peter are vampire roommates in Wellington, New Zealand. A documentary crew follows them as they deal with daily life, encounter stinky werewolves, make friends, try to get into Wellington’s clubs, and prepare for the annual Unholy Masquerade Ball, bringing the vampire, zombie, and witch communities of Wellington together. Who knew the undead community in Wellington was so active? Clever, fun, and hilarious.
Besides writing about comics for The Cultural Gutter and movies for various places, Carol Borden’s short story, “The Itch of Iron, The Pull of the Moon” was just published in Fox Spirit Books’ anthology, Drag Noir.