Film Review: Greendale – A Film By Neil Young

While watching the new Neil Young DVD titled Greendale, my mind began to wander. I considered what I might do if I had Neil’s money. Here is a list of the following things I considered:

1. Buy a summer home in Santa Barbara 
2. Buy a new Range Rover
3. Begrudgingly give some money to charity
4. Buy my own night club where I was the only performer
5. Save the rain forest … nah, them trees should hold up a while longer without my help
6. Build a nice home studio
7. Try desperately to remain relevant 
8. Write better songs

And item # 8 brings me to the content of this DVD. Greendale is the new film by Neil Young; or what I would more appropriately classify as a ponderous Dante’s inferno of a VH1 video. This concept record is the story of the Green family who are just plain folk that don’t want to be bothered by big government eroding their civil rights, the media intruding upon their privacy and evil corporations killing wildlife, cutting down trees and dumping toxic waste on their property.

From the beginning of the record the writer seems to be searching for his muse and on track one he even states, “Is their anything he ain’t said.” However, he still manages to allude to his fear of the Bush regime infringing upon our civil rights. The civil liberties theme continues on “Leave the Driving” where Jed Green gets stopped while carrying some dope in his car by that pesky Officer Carmichael, who he subsequently shoots in a moment of bad judgment. This song also addresses the Patriot Act, which poses the question that by enacting such legislation, have we not already lost the war on terror?

On “Grandpa’s Interview,” the patriarch of the Green family suffers the ramifications of his Jed’s blasting poor Officer Carmichael and is hounded by the intrusive media. Fortunately for the old gent, he has a stroke and while lying face down on the porch, asks his wife the question “that guy who just keeps on singing, can’t you shut him up?” And after about 6 songs on this DVD, those were my exact sentiments.

For this outing, the music is played by a stripped down Crazy Horse trio including Neil Young, Ralph Molina and Billy Talbot. For me, the sound is a bit dry and Young’s tedious guitar playing wears thin after about two songs. Additionally, the songs are lacking in structure and the melodies are nebulous. Though Young is attempting to be topical, the tedious and bleak story line is forced and far from engaging. Though he wants to save the fish, preserve the wild life and to that end quotes Bob Dylan, Neil would do better to brush up on his own lyric writing or listen to Blonde on Blonde to refresh his memory on what good songwriting sounds like.

(Sanctuary)

Letter Kills – The Bridge

When it comes to innovation and originality in music, the concept seems to be a lost art. Why be original with your music when you can easily rip off a currently successful formula? I mean, how many bands today sound so similar that you can’t even tell the difference? It is much easier for bands to take their influences within music and incorporate them into their sound; which in effect, is really just some slight variation of their musical influences. It happens all the time. It can best be addressed as an endless cycle that now includes prepping yourself with an image, a face-lift, and a makeover in hip clothes and crazy hairdos. It is becoming tiring and with each passing day, originality is fading away down a dead end road.

All is not lost. There is one band that is abruptly turning the car around and that band is Letter Kills. The music on their Island debut, The Bridge, offers a combination of inventiveness with powerful, potent melodies and sing-along choruses layered over guitars and music of early rock and roll.

The first thing that jumps out at you with Letter Kills is the double guitar combination that brings you back to the rock and roll days of AC/DC. Timothy Cordova and Dustin Lovelis, the guitarists of Letter Kills, really have carved out a guitar-driven hard rock sound that pound away relentlessly. The guitar work incorporates a pinch of punk infused hardcore that makes the sound a little sterner and a tad more gripping than 70’s style rock and roll. They also integrate some thriving guitar solos into the mix, which also bring up that nostalgic flair of the genre. It is a neat sound that definitely energizes the vigor and intensity of the music. The drums and bass lay low throughout the release but they do enough to keep everything stable while holding the music together; which is not overlooked.

The vocals of Matt Shelton really sit in a class of their own. His voice perfectly compliments the music behind him. The vocals are razor-sharp and unforgettable yet compelling enough to add some fire on top of the rock and roll bashing guitar sounds. Shelton’s vocals also have a tendency to speed up really quickly in machinegun like fashion. This really makes his vocals innovative and special. I’ve never heard anyone pull off his quick change of pace vocals in such an easy listening fashion.

Letter Kills have definitely brought originality back to the front burner of music. Fresh and exuberant, sound they had a mission in mind to provide some change and originality from the often watered down music that fills the airwaves. The ironic part of it is- if a band wanted to resemble Letter Kills, they wouldn’t know where to start. It’s safe to say that Letter Kills and uniqueness go hand in hand.

(Island Records)

The Killers – Hot Fuss

This album was on the brink of being overplayed even before the CD was released, but let’s give it a go shall we? Imagine a band that comes out and puts the words dance/rock into every little hipster’s mouth. Now imagine the millions of carbon copy clones that arise after this band gains popularity (think everyone from Hoobastank to Incubus). Now imagine a group that manages to take the best parts of the popular bands and mixes them with their own infectious sound; you have this month’s latest musical obsession, The Killers. The lads from Las Vegas have released an album which brings dance to the hipsters, joy to the indie snobs, and possibly a summer hit for the masses.

The singles, “Somebody Told Me” and “Mr. Brightside,” are guaranteed to bring fans in from whatever indie rock sub genre. “Somebody Told Me” may have the most confusing lyrics I’ve yet to hear but the sheer addicting quality of the music and melody hooked me at the first listen. Let me paint a little picture of me listening to this song:

The Killers: “It’s not confidential / I’ve got potential / for rushing, a-rushing around”

Me: “Huh? … What the? … Meh! … Let’s dance!”

This song caused me to forgo all of my insane love of lyrics and made me dance around like some spastic hippie. “Mr. Brightside” opens with an instantly infectious guitar riff which leads us towards the equally addicting vocal melody. The lyrics have a less than sunny outlook as they describe a jealous lover’s thoughts on what their partner might be doing. “Now they’re going to bed and my stomach is sick / And it’s all in my head / but she’s touching his chest now” is just a sample of the lyrics that detail how despite these thoughts and their probable truth the narrator will still show a happy, “bright” demeanor while on the inside “it’s killing me.”

One song that didn’t really click with me until recently is the song “On Top.” I didn’t really give it a chance but when I actually did, it became one of my preferred songs of the album. It begins with a little synthesizer because, well, what would a dance/rock record be without some synthesizer? The vocals then proceed to maintain a certain fun tension as the collective guitar, bass, and drum work paints this nightlife scene. The chorus jumps in with lush riffs and once again the lyrics come into the limelight. “It’s just a shimmy and a shake / uh huh / I can’t fake / We’re on top” brought another one of those “What..?” moments to me but I found myself embracing them and soon enough I found that they had become some of my favorite lyrics of the entire release.

“Believe Me Natalie” made me question everything I’ve come to know about myself. This song evoked sadness from my danced filled body and I can’t truly explain why. The lyrics play a big part with lines like, “Remember the art of roses lined up on your couch / Forget what they said in SoHo” and “God help me somehow / There’s no time for survival,” but I think the defining element of the track is the smooth, mournful music. Even in the beginning it seemed to be different in comparison to the rest of the material. It held a darker, less upbeat tone while all the others boast some sort of optimistic quality.

If it were up to me, the eleven songs of Hot Fuss would qualify as little three to five minute drugs. Even after hearing the entire album day after day, I still find myself coming back for more. I could try to describe them as a more rock influenced Franz Ferdinand but that wouldn’t do any justice to their infectious sound. The Killers have shaped and molded the genre of dance/rock to a most excellent form.

(Island Records)

Eighteen Visions – Obsession

Progression can be such a funny word. People often define progression as a positive attribute in one’s life, especially when it comes to their creative outlets. As one grows older, they gain more experience that, in one way or another, adds to their perspective and outlook on the way things need to be in their lives.

Getting to the core of Eighteen Visions is a tricky one as there have been many different layers of skin shed over the years. Beginning as any other hardcore band would have, Eighteen Visions played metal influenced hardcore in and around the California area relying on their often “evil” live show (in homage to Bloodlet) and groove oriented style. The word spread on these boys from Orange County and they broke out of their traditional mold; not necessarily altering their style of music but simply the way they presented it. A more rock n’ roll style was injected into their presentation of music, which then eventually made its way into the individual songs. Vanity was their first musical endeavor into more rock oriented songs and it was met with mixed opinions. Obviously you can see the next logical step as Epic enters the picture with the budget and the ambition to make this band into a household name.

Musically, Obsession still holds down a very heavy flow that relies on breakdowns from time to time in traditional hardcore fashion. But now Eighteen Visions have basically infused a large portion of Stone Temple Pilots and HIM into their music. It is a rock n’ roll record through and through, and if anyone were to say different then they are not looking at the entire picture.

As I have previously stated, progression can be a tricky thing. Where some can move forward in their lives to create something special and meaningful, you have those who end up creating something devoid of a message and without any real meaning. Not to say that Eighteen Visions have created something boring and cliché; but at the same time I would not feel comfortable in calling Obsession a “natural” record. It seems as if the changes made were of their own accord (and are legitimate changes), but it is just that these modifications do not feel natural. As the buzz on the band continues to grow, I am left with far more questions than answers. But I do know this, while trends come and go, bands that craft their trade with noble intentions will rise above the rest. I can only hope that Eighteen Visions is one of them.

(Trustkill Records / Epic Records)

Ambulance LTD – LP

Once again I’ve been struck by a bolt of lightning in musical form; Ambulance LTD are the Hephaestus that made the bolt that struck me. I’ve known this band for a few years simply as Ambulance but the fates intervened and the band was forced to add the LTD to their name. Despite the name change Ambulance LTD still maintained musical magic. The album, LP, is a fantastic mix of old psychedelic rock and new indie flavor.

The disc opens with “Yoga Means Union,” an instrumental track that slowly builds suspense in a wonderland of layers of guitars, bass, and drums. The guitars seem to mournfully squeal as the drums maintain a steady stream of intensity while becoming the one force that takes the song to less gloomy textures. That is until the sounds join together to produce a theme destined to be used for car commercials sometime in the near future. Following up the opener is the band’s first single “Primitive (The Way I Treat You),” which has this distinctly old rock feel to it. That feel is accentuated by lead singer Marcus Congleton’s talk-sing monotonous voice during the verses and his voice’s swift change into a somewhat whiny yet dreamy croon. The vocal intensity is matched by an addicting guitar riff and a single piano key being played over and over again. The piano key is very consistent in the background and manages to keep the song together as the guitars, drums and bass pound away in the foreground. Compared with the rest of the album this song is the heaviest and darkest, and not as lyrically based; more musical. The rest of the tracks have a lighter, dream-like feel to them while this track is set in the darkest stone. This is not to say it doesn’t fit in with the rest of the album because it does. Despite the heaviness of the track it still manages to stay true to the album’s overall morose yet hopeful demeanor.

“Ophelia” has one of the best yearning choruses I’ve heard in quite some time; “I hate the one thing I need / I just don’t trust you now baby” is sung with such a truthful downtrodden yearn that it cannot be refused. I spent months on end listening to this part and relishing in the complete beauty of that one line. Congleton’s voice meanders around creating this calm yet hypnotic vibe. On “Stay Tuned” the boys bring fun and lightness to a song about leaving; “I’ll come back some time soon /and while I’m away stay tuned,” these lyrics are sung in such a bright and breezy manner that it brought a sense of giddiness to my heart. It is honestly hard to maintain a cool demeanor when all of this thirteen-year-old girl giddiness flows through your body. Despite the fact that I wanted to squeal and jump around every time I heard the chorus, the song still had this ultra glum and lush sound to it.

I can honestly say that this is an album worthy of the ‘random’ button. Every song manages to have some catchy, great moment, and this alone makes LP an album deserving of your hard earned money. Buy it for the addictive, enriching “Heavy Lifting,” for the quiet splendor of “Michigan,” or the perfect for summer, laid back sound of “Young Urban;” but whatever you do, make sure you take the trip with Ambulance LTD.

(TVT Records)

Mr. T Experience – Yesterday Rules

I make the three hour trek from school in Los Angeles to home once a month on average, summer included. Before each trip I load the car and refill my CD player. I often find that I have trouble picking only 6 CDs to accompany me on my journey. Still, I manage by making sure I have a good variety of damn good music. On my most recent trip back from L.A., I had a rather entertaining combination of CDs holstered in the trunk. A little side note: I try to shove my CDs in the holders very fast so that I don’t remember which one is in which slot in order to aide in the suspense of what will be next and the thrill of being able to recall it.

The line up from my last trip (still in my car, a whole two weeks later) was (in order … it doesn’t take long to figure it out): Waking Ashland – I Am For You (not sure if that’s the title), Mr. T Experience – Yesterday Rules, The Long Winters – When I Pretend to Fall, The Shins – Chutes Too Narrow, Switchfoot – Beautiful Letdown, and Common Rider – This is Unity Music. Another side note: I can’t believe I forgot how incredible this album is (the Common Rider one). I remember thinking that the first album was awesome and the second one not so hot. I was quite mistaken.

The fact that Mr. T Experience made it to my car was no mistake. I put it in there because it is so much fun. Before I listened to this album I had only heard two songs by Mr. T Experience, “Leave the Thinking to the Smart People” and “Even Hitler Had a Girlfriend.” Given my limited experience with the band’s music I was very surprised by what I heard when I put the release in my player for the first time (at least a month before the trip … yes, this review is long overdue). The first song that spits out of my speakers (which is in, yes IN, the ceiling) was not like the songs I had heard. It wasn’t acoustic, it wasn’t soft, it wasn’t mellow and the lyrics were not blatantly amusing. The lyrics were interesting enough though. As one would expect, there are plenty of great quips and consistent bursts of wit. My favorite being, “smart things come in stupid packages.”

For those of you who are fans of the two songs I mentioned earlier, there are a few (which is more than two, that is a couple) which hold the same air and flow. There is a wonderful variety in this album not only with the instruments but also in the use of words and metaphors alike. It is rare that I am interested in the lyrics of many bands these days, aside from wanting to sing the correct words in my car. The script of this album is as exhilarating, interesting and thoughtful as the performance. With the mix of songs ranging from acoustic guitars to songs with fast electric guitars (don’t forget the great drumming, bass work and keyboarding) and songs with incredibly melodic singing, to the more ballad-like songs soaked in smart (and I mean smart) and pervasive words, this CD will most likely remain in my car for treks to come … given the vast amount of bonus features on the disc, I may remove it from the car only to give some joy to my computer.

(Lookout Records)

Decahedron – Disconnection Imminent

History can be a funny thing. In school we learn about where our country came from, the heritage and the reasons why things are the way they are. You let one person tell the story of how a certain event transpired and then immediately ask another witness and you will get a slightly different story. With that being said, you can tell that many of the histories told to us are mere speculation and observations that have been distorted over time.

With music, history can also be tricky. With Decahedron you have the pedigree of band members that were previously in Fugazi and Frodus so one would expect that musically it would fall under the same umbrella while others may think that it will fall way left of the dial. This is where music history and historical events diverge as you can actually experience first hand, the music.

Originally called The Black Sea they released an EP under Lovitt Records that fell between the cracks. People just seemed apathetic towards this band as their first release showed no real cohesion and song crafting. One would expect this side project to fall into obscure record collections and used bins across the US but thankfully for this proper debut full-length under their new moniker, they have created salvation. Right off of the bat I am reminded of Frodus with a little less kick. The Fugazi influence peeks its head out from time to time but it does not seem to be a staple of their song writing arsenal. At times I am reminded of Jane’s Addiction which sounds odd but somehow works well.

While this is a step in the right direction in regards to this band’s life, it lacks any sort of memorable hook that would keep a listeners interest. Regardless I can see both critics and fans embracing this record for what it is: a simple rock record with hints of melody. Even without the big names behind these songs, they would still stand on their own.

(Lovitt Records)

Alexisonfire – Watch Out!

Chances are that if you’ve read Alternative Press, Blender, Spin or any other music related magazine lately, then you have read a review of, or seen an advertisement for Alexisonfire’s second release Watch Out! It is impossible to miss the image of corpses and frightened faces haunting the pages. They are probably one of the bands that you’ve heard about and are somewhat familiar with but that you’ve never actually listen to. That needs to change now.

Alexisonfire is a five piece from southern Ontario, that’s right—a hardcore band that isn’t from SoCal. Their self-titled first release was generally well received due to the intense tracks like “.44 Caliber Love Letter” and “Adelleda.” After Alexisonfire I was interested and had heard most of the songs, but after receiving Watch Out! as well as seeing the band live, I have become huge fan. They are definitely worth the showering of attention by Equal Vision.

Lyrics can build up or break a band and are often overlooked or forgotten in the hardcore scene. Most of the time, the singer is growling inaudibly and his actual words become mute and meaningless. The lead vocalist, Dallas, takes on more of the singing then he did previously which to some is gratifying. Sound the Sirens’ own Ashley Lefor mentioned about Alexisonfire that “I found myself nearing a migraine about two minutes into the first song, and wondered what the song was talking about since I could not understand a single word.” The band took note as Dallas shows his beautiful voice and compassionate song writing abilities throughout the latest release. The metal influenced screaming/growling is not as overwhelming as in the previous release. Although I am a fan of the “screamo” style, I understand that it alienates some from the music of very talented musicians. Watch Out!uses the backup vocal screaming as a complement to the lead vocals, shown most effectively in “It Was Fear of Myself That Made Me Odd.” The change of vocal style is the biggest difference between the first and second releases and is a stable succession.

The guitar work matches the vocals incredibly well. As I listened to the pain and emotion in the singer’s voice and lyrics, I can also feel it coming from the guitar. It is a siren in the background of “No Transitory,” and the anticipation in “Accidents.” A great guitarist can make you feel his melodies in your heart and in your stomach. Wade, the lead guitarist, plays everything that the words just cannot say. It is a double hit of emotion and creates an unbreakable connection in the songs.

Watch Out! is a release I will be listening to for many months to come. It really shows the evolution of Alexisonfire and proves their ability to be a player in the hardcore scene with future releases and future progression. It is always a good sign when a band is not stuck into a certain style or method. In the style of true musicians, Alexisonfire are true to themselves, fully exposing their souls in their music.

(Equal Vision Records)

Maria Mena – White Turns Blue

If Michelle Branch and Norah Jones had a baby, she would sound just like Maria Mena. The 18 year-old singer/songwriter boasts that catchy song on the radio with all the run-on sentences and poetry-like fast speech. You’ve definitely heard it before. You know… that song? The one with the rapid lyrics? Oh, you know…

Ok, let me clear that up. People may get confused with the voice behind the song, “You’re The Only One,” wondering, “Where have I heard this girl before?” Well actually, unless you’re from Europe or someplace over there, chances are you might not have heard of Maria Mena. But that will soon change.

She’s sure to be a solid hit. Her album, White Turns Blue, contains all catchy tracks, from pop acoustic to soulful ballads, but all heartbreakingly honest. Yeah sure, her sound may be a bit typical to the Michelle Branch kind of crowd, but the words are hers alone. Most all the songs revolve around adolescence and the pains of growing up as well as the exhilaration of love and youth. In “Just a Little Bit,” Mena sings about the insecurities surrounding her as something many girls can relate to.

Not everything is all fluff and fritters however. “Blame It On Me,” about teenage rebellion, speaks of it from her father’s perspective- an interesting spin on the ever-mysterious relations between parents and their brats. “My Lullaby” is a yearning, breathy song to Mena’s mother about her parents’ divorce. Written when she was just 11, it definitely proves her chops as a musician and a singer. “Lose Control” also shows her flexibility as she dabbles into jazzy folk in this playful track. However, a personal favorite of mine is “Sorry.” I find it the most achingly truthful, saddening and emotionally revealing piece I’ve heard in the longest (this from a person who listens to emo) – “And I say, Baby, I feel stupid to call you but I’m lonely / and I don’t think you meant it when you said you couldn’t love me / and I thought maybe if I kissed the way you do you’d feel it too.” Her vocals have a bittersweet twang that you can picture her mouth forming within your mind from the clear sound that reverberates from the speakers.

This I surely recommend to anyone who enjoys folksy, acoustic pop. And to anyone who appreciates musical honesty. This girl is quite obviously talented, and however catchy and possibly annoying you may find her first single (“You’re The Only One”), believe me, her other stuff is much different and most definitely not annoying. But I can’t make any promises that they won’t get stuck in your head.

Film Review: Fahrenheit 9/11

The newly released documentary Fahrenheit 9/11 by Academy Award winner Michael Moore is, and will be, one of the most controversial documentaries in recent memory. Moore shows the political chaos following the world-changing events of September 11th but even more importantly, he shows the toll that 9/11, as well as the US occupation of Iraq, has taken on the American people. The film opened at number one at the box office and earned $23.9 million in its first weekend, making it the highest grossing opening weekend in documentary history. Known for his outspoken politics, including his criticism of Bush during his Academy Award acceptance speech for Bowling for Columbine (second on the list of highest grossing documentaries), Moore’s latest film is his greatest Bush-bashing to date. 

I do not want to focus too much on the politics surrounding the issues at hand. The people have already made up their minds; many Americans agree with the decisions that were made and many do not. Although the point of this film is to sway voters in the upcoming presidential election, the meaning and overall value of the film surpass its political aspirations. Whether you are a Republican, Democrat, a greener, a liberal, conservative, or a libertarian, Fahrenheit 9/11 is recommended viewing.

In all actuality, the more politically motivated parts of the film aren’t its best features. A link is made between the terrorist attacks and Saudi Arabia while connecting the Bush family to the powerhouse ruler Saudi and Bin Ladin families that rule the nation. It then goes further to say that the US occupation of Iraq is an attempt to smooth over the factual evidence convicting Saudi Arabia of harboring terrorists. The film does point out that the Bush administration never actually blamed Iraqfor the terrorist attacks, but it does show that the American people believe terrorism was the reason for our occupation of the Fertile Crescent. Moore claims Bush did not make good choices for purely financial reasons. These highly researched fundamentals of political ideology are actually the biggest downfall of the film. The connections are tedious, drawn out and hard to follow; easily the worst part of the film. But from Moore’s standpoint, and those who are trying to get Bush out of office, it is crucial for American ears to hear the information that was presented.

Moore’s controversial subject matter often overshadows his skills as a filmmaker. People are always discussing the issues surrounding the matter but more often forget the groundbreaking concepts Moore has mastered in his documentary making. It is an artist who makes the audience laugh when tears are still wet on their cheeks. He innovates constantly with the integration of pop culture, making his documentaries lively and highly entertaining- perhaps it can be said that Moore is the Quentin Tarantino of documentary filmmaking. His artistic ability and powerful skills elevate Fahrenheit 9/11 into a masterpiece. Anyone who does see it will always remember that feeling in his/her gut; witnessing pure pain from a theater seat.

The core of the film, the essence and purpose, shows one family whose son was recently killed fighting in Iraq. His mother is crying, not a silent sob, but a painful, stomach-churning weep. As the sister of a soldier in Iraq, I feel that Moore did an excellent job in portraying the desperation that our families are left in. I have cried like this many times hearing the fate of my innocent siblings and cried more during the film. I was not alone behind me, in front of me, and beside me I heard whimpers and sniffles. I couldn’t believe what an impact the film was having on everyone, not just on me. 

Politics aside, the war in Iraq is having devastating consequences for American families and this is without doubt the most influential element of the documentary. When I go to bed at night I do not know why my brother is in Iraq. I don’t have any strong conviction about what we are supposedly (or being told that we are) fighting for. My brother tries to call about once a week. It breaks my heart to hear that he, as well as other soldiers as shown in the documentary, also feels the occupation is not necessary given its consequences. An effective tool Moore uses in the film is showing the anti-Bush/anti-war soldiers being forced to fight in Iraq. The opinions of the men in Iraq speak louder than any politician or filmmaker; no one is more qualified to voice an opinion than are these heroes of ours.

In the film, Moore asks congressmen to sign up their children to serve in the war. Although this is an extreme measure, he is making an essential statement. It is important to imagine that it is your own family that would be sacrificed. I, as well as many others, feel that the safety and comparative advantages were not considered when soldiers were sent to Iraq. I might be biased considering the love for my brother but I believe that everyone should look at it from my angle. Mooregenuinely argues this point. Whether you agreed or disagreed with Bush’s decision to invade, the outcome and death tolls do not lie and Moore proves this effectively. 

The documentary goes far more in depth than even this article goes in summarizing it. Other topics discussed are the fraudulency of the war, Bush’s leniency towards Saudi Arabia due to financial interests of his family, and even the military exploitation of the poor in the United States. The two-hour film is overflowing with information but one thing will stand out worthy of remembrance. Michael Moore brought us the pain of an American family struggling with the preventable loss of their son; after seeing Fahrenheit 9/11 a substantial portion of America has experienced their agony.