Mark Raso makes his feature film directorial debut with Copenhagen, for which he also wrote the screenplay. The film was highly anticipated; Raso won the Student Academy Award (Oscar®) Gold Medal for his short film Under. Copenhagen had a very successful festival run, receiving six festival prizes prior to its recent US theatrical release. I eagerly offered to review the film, certain I would love an award-winning film with great viewer buzz and critical acclaim, but unfortunately that wasn’t the case.
By Tyler Hodg
It’s been 40 years since Supertramp released their globally successful album Crime of the Century, and to commemorate its anniversary, the band released a new vinyl box set featuring the remastered album, a 7,500 word essay, rare photos, and an audio version of one of their 1975 concerts. If you have a feeling the album will hold up after four decades, you’d be “bloody well right.”
By Natalie Zina Walschots
There is not a single aspect of tētēma that is easy to pin down. Even when talking about the contributors to the project, things quickly become complicated. Billed as a duo—a collaboration between Mike Patton (who is beautifully credited with “voices,” a gesture towards plurality that attempts to take account of the breadth and depth of the Faith No More singer’s extraordinary talent) and Anthony Pateras (of Thymolphthalein and Pivixki)—the list of artists who contributed to geocidal is much more extensive.
Some people are born to be rock stars. Jerry McGill was one of them. He was talented, devilishly handsome, and had the kind of charisma that can’t be faked. He recorded a single for Sun Records, and it was a minor hit in 1959.
I love punk rock, always have and always will. When I was younger I had a tough time fitting in because I was awkward. It took me a while to understand that I needed to be myself and people would accept that a lot more quickly than any alternatives. During my middle school years I became really good friends with some punks and they told me to just be myself because that would be best for me. Fred, Nick, Iggy, and Daniella accepted me for who I was, a nerd. Well, a pretty badass nerd.
Just about everything Drafthouse Films has put out has been worth my time. . . so far. Their releases have been top-notch, from contemporary films to older titles. After seeing The Act Of Killing (review) I was anxious to see their next documentary acquisition. Now Drafthouse Films has released The Dog, about the “mastermind” behind the bank robbery on which the movie Dog Day Afternoon is based. We are introduced to the creepy, perverted, and overly annoying John Wojtowicz who also goes by The Dog, but I prefer to call him “asshole.”
Among the first run of American New Wave bands, the story of Game Theory is among the most quietly heartbreaking. While the ambitious musical and lyrical output of creative mastermind Scott Miller was never destined for an arena-sized audience, a combination of questionable management and bad record deals kept their music from an audience larger than the most ardent true believers.
Omnivore Records’ lush and expansive reissues are bringing Game Theory’s shimmering, melancholy pop to the widest audience it’s received to date. Dead Center, the second album they’ve repackaged and remastered, finds the 1983 iteration of Game Theory at an interesting point in their musical evolution. The production sounds more polished than on the home-recorded Dead Center, with a stronger low end and a greater sonic balance. Their arrangements show a greater sense of ambition, as well as the musical skill to back it up.
Every time I hear someone complaining that rock and roll is dead, I cringe. This proclamation is usually accompanied by a rant against Miley Cyrus or whatever Top 40 artist is being hyped at the moment. Which leads me to wonder: is the concern that rock and roll is dead, or that it’s no longer at the top of the Billboard charts?
Any handwringing over the fate of rock and roll quickly falls apart in the presence of Ty Segall. For one thing, he’s clearly beholden to his forebears while still sounding vital and original. He also puts out a lot of music on a frequent basis. And he releases honest to goodness singles. Granted, a lot of bands release singles these days, especially via iTunes, but what makes Ty Segall’s singles special is that they come with B-sides, which, if we’re going the traditional route, is way more rock and roll because it evokes the format in which rock music ascended the charts: the vinyl 45.
By Tyler Hodg
November 29, 2014
In support of their latest effort Commonwealth (review), Sloan arrived at The Phoenix in Toronto on November 29 to deliver a lengthy, energetic rock show—and man, was it ever good.
Although the band is originally from Halifax, Sloan has been based in Toronto for quite some time now. The group played two sets for the excited, hometown-ish crowd and departed from the stage proving they are still one of the best rock acts in the world. “The Commonwealth Tour” saw the band travel across North America for 22 shows, with this show concluding their venture.
OK, full disclosure: as a sort of sommelier of the strange, I’m embarrassed to say I had never seen La Planète Sauvage (a.k.a. Fantastic Planet) until recently. But never fear, because this should prove to even the most jaded, freaky, boogie children that it’s never too late to discover something mind blowingly cool. If you haven’t seen this gorgeously animated Science Fiction philosophical allegory, seek it out immediately. Do not pass go; do not collect 200 dollars.