// Category Archive for: Current Faves

Toronto After Dark 2012: Wrong Review

By Less Lee Moore

I’m going to completely avoid pun-filled pull quotes like “Wrong Is So Right!” in this review, in part because it would be corny, but also because it would be a sad attempt at competing with the genuine humor found in Quentin Dupieux’s latest film.

The trailer for Wrong conveys all you need to know about the movie itself—man loses dog; man goes on bizarre quest to find dog—but it might help you appreciate it more when you know more about Quentin Dupieux. He’s also known as the weirdo musical entity Mr. Oizo, and if you enjoy his output under that moniker, you’ll definitely like the score for Wrong. Dupieux is also responsible for last year’s bizarre horror “spoof” Rubber, about a killer tire.

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Toronto After Dark 2012: Citadel Review

By Less Lee Moore

Like The Brood, Ciarán Foy’s Citadel was inspired by real life events. David Cronenberg’s iconic 1979 horror film showed the physical manifestation of anger through mutant, murderous children and channeled the rage the director felt following an ugly divorce. Citadel features a gang of similarly mutated murderers and reflects the director’s struggle to deal with the physical and emotional toll he endured after being attacked by a gang of kids.

Both films deal with the fantastic, but while Cronenberg tends to sublimate his angst through far more outlandishly indirect tropes, Citadel unflinchingly examines what it’s like to live, sleep, and breathe fear.

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Music Review: Black Moth Super Rainbow, Cobra Juicy

By Ricky Lima

I’ve had the pleasure of introducing some of my friends to both Tobacco and Black Moth Super Rainbow over the years. I explain to them that both artists are fronted by the same person, and they usually comment that they don’t see much of a difference between the two. That is when I usually go into a rant about how BMSR is a more folk driven project with organic textures where as Tobacco is a more harsh sounding, hip hop-driven project.

After reading interviews with Tom Fec (the mastermind behind Tobacco and BMSR) it becomes clear that this kind of distinction drove Fec away from making more BMSR music. He felt boxed in by making his records sound like a Tobacco record or like a BMSR album and that there was no growth in making albums sound a certain way. After a very successful Kickstarter, however, Fec is back with a new BMSR album titled Cobra Juicy.

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Blu-Ray Review: Prometheus

By Less Lee Moore

Oh Prometheus. If loving you is wrong I don’t want to be right. I didn’t think a movie could court as much controversy unless it was directed by Christopher Nolan. How naïve I was back then!

Four months after the “Prometheus sucks!” furor died down (just in time for the considerably less hysterical “Cloud Atlas sucks!” and “The Master sucks!’ outrage to begin), those of us who didn’t write petulant, ignorant letters to Damon Lindelof had to have our hearts trampled on all over again in preparation for the “Prometheus still sucks!” onslaught.

If you saw Prometheus and hated it, I would urge you to rewatch it on Blu-Ray. However, we all know how film critics are loath to change our minds on anything and (heaven forbid) admit we might be wrong. I saw Blade Runner in the late ’80s and honestly hated it. I was interested enough, however, to see the Director’s Cut theatrical release in 1992 and immediately changed my mind. Granted, the voiceover was removed in that version, but I also like to think I grew up a little bit.

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Music Review: Elton Duck

By Cait Brennan

In the modern history of popular music, the “great lost album” is a mythology that looms large. Whether it was the brilliant lost fourth Verve/MGM Velvet Underground record (pieces of which surfaced in the mid ’80s on VU and Another VU), the Beach Boys’ Smile, Prince’s Black Album, Eno’s My Squelchy Life, or even Danger Mouse’s Grey Album, pop music is littered with tantalizing projects that were abandoned, lost, or suppressed by hostile label execs.

But all those artists, at least, got to release something, sometime. Sadly, one of the finest “lost” albums came from a band whose promising career, like their self-titled debut, got stopped in its tracks. Now, an extremely limited pressing of Elton Duck‘s long-thought-lost debut album has finally made its way through the wilderness, and it more than lives up to the legend. If you like power pop you need to own this record, period.

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DVD Review: Beyond The Black Rainbow

By Less Lee Moore

How do you describe a movie like Beyond The Black Rainbow, much less review it with a critical eye? It’s bizarre, hypnotic, compelling, disturbing, and stunning. My only complaint is that I was unable to witness the spectacle on the big screen, but even on DVD the movie is powerful and incredible.

Beyond The Black Rainbow presents a basic story, one we’ve heard before: a controlling doctor, a mysterious clinic, a tormented patient. There are other, less clear-cut or easily understood elements that contribute to the unsettling, overwhelming experience of watching Beyond The Black Rainbow. To attempt an explanation would be to rob the viewer of witnessing and interpreting these things for him or herself.

There are influences, to be sure—Altered States, The Grudge, Suspiria, The Brood—but nothing feels stolen. Beyond The Black Rainbow is a universe unto itself. It’s beautiful and horrible at the same time.

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Music Review: Peggy Sue Play The Songs Of Scorpio Rising

By J Howell

Following Peggy Sue‘s brilliant first two records, listeners may be a bit surprised by the band’s choice to (mostly) recreate the soundtrack from Kenneth Anger’s 1963 film Scorpio Rising as a next move. Somewhat predictably, though, the record is flat-out brilliant.

Modern music fans with a Phil Spector bent should take especial heed: Peggy Sue recreates, perhaps most importantly, the spirit of the original tracks while finding a sonic space for them to exist in that feels a bit more like alternate-universe versions of familiar songs than slavish imitation or heavy-handed “updating”. The band deftly walks the fine line between reproducing the original songs and making them their own, somehow managing to treat the “teenage drama” factor of many of the tracks with a respectful empathy that feels less melodramatic than urgent. Elsewhere, Scorpio Rising is just plain fun.

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Music Review: Holly Golightly & The Brokeoffs, Sunday Run Me Over

By Danny R. Phillips

Country music—as a genre—has been a crapshoot for the last decade or so. For every Wayne Hancock or Justin Townes Earle that wade into the deep end of true country song craft, there’s a Kenny Chesney, Carrie Underwood, or Sugarland that claim the country mantle but are merely pop acts with lap steel.

That’s why I find a group like Holly Golightly & The Brokeoffs to be such a kick in the pants; they embrace instrumentation as if they were recording with the Carter Family, and give bear hugs to tradition. Holly, an Englishwoman by birth, delivers more twang than Loretta Lynn. Two songs in, you’d swear she just walked down from The Blue Ridge Mountains with her flour sack dress on, well-worn Bible tightly in her hand. It is a respite from the everyday, manufactured “country” backwash.

Sunday Run Me Over is the perfect companion to last year’s fantastic (and my #2 album of the year behind Foo Fighters’ Wasting Light) No Help Coming (reviewed here).

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Music Review: Ty Segall, Twins

By Less Lee Moore

Despite being astonishingly prolific, I’ve only gotten wise to Ty Segall‘s musical output recently; my album intro was June’s Slaughterhouse, performed with Segall’s touring band (reviewed here). Hearing Twins, recorded almost entirely by Segall himself, has proved he’s not a one trick pony. Twins hits the sweet spot between heavy guitar fuzz and pretty melodies and is immediately, deliriously enjoyable.

That’s not to say Twins is full of disposable pop songs. In these post-post-ironic times, it’s not uncommon for music fans to feel distrustful of something they like immediately, concerned about being manipulated by both our nostalgia and the desire for something that’s not a rip-off.

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Music Review: Dark Dark Dark, Who Needs Who

By Chelsea Spear

If Who Needs Who dropped in the early 1990s, Dark Dark Dark would have appeared in Sassy magazine’s “One to Watch” column. This band is the real deal. Frontwoman Nona Marie Imrie has a striking voice, their songs are catchy and insightful, and their arrangements and the spare production cast a spell over the listener. This Minneapolis-based quintet has a great album in them. The band’s third long-player isn’t quite that album.

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