Wednesday, December 31, 2008
Under Da Sea
I went to the aquarium last week, and it was very impressive. Here's my greatest hits reel.
Tuesday, December 30, 2008
Photo of the Week / December 29, 2008
MILW 261 III by akagoldfish.
If your photo is featured and you'd like it altered or removed, email me and let me know. If you'd like to suggest a photo (your own or otherwise) for feature, send it to me via flickr or dA.
Sunday, December 28, 2008
Top Ten Films of 2008
10. C L O V E R F I E L D
J.J. Abrahms & co. worked millions of internet nerds (myself included) into a tizzy with their piles and piles of viral material surrounding the upcoming film. What was the monster? How is Slusho involved? Maybe it’s more than one monster? Is it Godzilla? The main guy is going to Japan. Or maybe it’s Cthulu! Point being, the crew pulled the ultimate screw-over by releasing a movie that never alluded to any of these things, in any way, whatsoever. We’d been had, but we couldn’t complain, because the movie was awesome. A sharp satire that’s also just a good ol’ monster movie in every regard. There’s a planned sequel, and I have already been suckered into viewing some more of that pesky viral material. But, hey, it’s kinda fun.
09. F L I G H T / O F / T H E / R E D / B A L L O O N
Hou Hsiao-Hsien’s latest film is like an antidote to his own Three Times—trading jaded disillusionment and urban alienation for...childlike hope and urban alienation. Inspired by a movie I had to watch every year in French class and found terribly dull, Hou’s film follows his on-screen surrogate (a young, androgynous nanny/aspiring filmmaker) as she takes care of the son of a frazzled, artsy divorcee (a charming, platinum blonde Juliet Binoche) in picturesque Paris. A cute, mundane story coupled with the magical score and sumptuous photography makes Flight of the Red Balloon a highly enjoyable lark that proves Hou can work well in at least two countries other than his own. America next? Just don’t take the page from Wong Kar-Wai’s book in this case, Hou.
08. B U R N / A F T E R / R E A D I N G
Due, I suppose, to the more serious successful films by the parties involved, the brilliant—and completely hilarious—all-star hit parade that was Burn After Reading got overlooked. It’s a shame, because the Coens and their cast deliver every punch line perfectly and, for a comedy, what else can you ask for? This may be the funniest they’ve been since The Big Lebowski.
07. S U M M E R / H O U R S
The tagline for Summer Hours could be “come see the softer side of Assayas.” Though he’s shown the potential for this sort of fare before, this may be his first movie that really is, more or less, light through and through. Any pricklier topics that pop up (death, teenage drug use) are gracefully allowed to simply exist within the scope of the film, never straining the tone or focus. Assayas’s characters are all at some point or another learning to let go of their childhood, and this is literalized with them gutting their old family house of valuable objects and eventually selling it. With the tone mirroring the sort of French countryside life it portrays, Summer Hours is funny, sweet, laid-back and sometimes lonely. There's also not a dark-haired, gun-toting, crime-involved femme fatale in sight.
06. S I L E N T / L I G H T
The opening shot of the movie is an extremely long-held image of the night sky—the galaxy, complete with static sound and occasional bird (bat?) chirps. The rest of the film, while no less lyrical or fantastical in its almost fetishistic nature footage and sound, is a lot more straightforward. That is to say, there is an actual plot. It still requires suspension of normal comprehension and the state of being along for the ride. But if you enjoy that sort of thing, which I do, it’s simply enthralling. Reygadas, evidently, is one of the few directors who can put film as a medium to the limits of its uses. The acting and emotion is not sacrificed for the stunning imagery, and vice versa. Everything exists in perfect harmony.
05. T H E / E D G E / O F / H E A V E N
Given its intertwining storylines, international intrigue and the fact that it uses fate as a character—Fatih Akin’s The Edge of Heaven could have all too easily become the next Babel (or, insert other Inarritu film of choice here). Instead, it bucks all expectations and draws out empathy and interest from the viewer without relying on its gimmick. The cast is superb, and it helps that their script is incredibly moving and intelligently written. Anything that was uneven or lacking in Akin’s previous Head-On has been perfected here, and he’ll no doubt be a force to reckon with if he makes the right project choices.
04. B O A R D I N G / G A T E
In a role perfectly suited to her attributes, Asia Argento plays damaged Euro-trash on an ill-fated mission, which leads her through encounters with her ex, her friend, her lover, her lover’s partner, and a mystery woman. These, of course, are all against the backdrop of locales both exotic and ugly, with plenty of double-crossings and sleek panoramic compositions along the way. It’s the darkest and most daring film Assayas has made since demonlover, and it’s probably the style that he works best with. Michael Madsen is also excellent as Argento’s true love, while Kim Gordon (yes, of Sonic Youth) is odd and awkward—but amusing nonetheless.
03. T H E / D A R K / K N I G H T
I thought Batman Begins was only okay, and even in the Dark Knight I find Bale’s ‘Batman voice’ laughable and over the top. How then, is The Dark Knight my number three movie, out of many great ones, of the entire year? Well, Heath Ledger’s scarily brilliant turn as a Joker more deranged than any of us imagined is a big part of it, but credit goes to director Christopher Nolan as well. He’s come a long way from the grunged out motel rooms and factory basements of Memento, and Insomnia. He handily proves this with breathtaking cityscapes that would make Michael Mann wet himself, and large-scale action scenes featuring Bat-themed accessories that don’t feel cheesy. Together they overcome Bale’s silly voice, and tell a tale as corrupt and disturbing as a classic 70’s gangster film—but a whole lot more relevant to society of today.
02. P E R F E C T / L I F E
One of the most moving films I’ve seen in a long time came from an unlikely source: virtual unknown and protégé of Jia Jhang-ke, Emily Tang. Perfect Life packs wisdom and emotional gut-punches (not to mention a surprising amount of dry and slapstick humor alike) that rivals the work of directors dozens of times more seasoned—and exposed—than Tang. If there were any justice in the world, this would see a decent sized theatrical run and DVD release in North America. Everyone reading this is strongly encouraged to catch it any chance you get. Little Miss Sunshine and Amelie are not "gems." This is a gem.
01. A / C H R I S T M A S / T A L E
Like an edgier, rawer (less twee) Royal Tenenbaums, A Christmas Tale is a sprawling family reunion picture that, quite miraculously, I can’t remember ever getting sappy. A still-stunning Catherine Deneuve heads a large and casually inappropriate crew of family by both blood and marriage, as they alternately insult, bond with, sleep with and resent each other. Deneuve’s character is stricken by a serious, fatal disease, but you wouldn’t know it from director Arnaud Desplechin’s unflinching dedication to making a daring farce using all the ingredients that would typically be found in a somber drama. He succeeds with style and wit to spare.
J.J. Abrahms & co. worked millions of internet nerds (myself included) into a tizzy with their piles and piles of viral material surrounding the upcoming film. What was the monster? How is Slusho involved? Maybe it’s more than one monster? Is it Godzilla? The main guy is going to Japan. Or maybe it’s Cthulu! Point being, the crew pulled the ultimate screw-over by releasing a movie that never alluded to any of these things, in any way, whatsoever. We’d been had, but we couldn’t complain, because the movie was awesome. A sharp satire that’s also just a good ol’ monster movie in every regard. There’s a planned sequel, and I have already been suckered into viewing some more of that pesky viral material. But, hey, it’s kinda fun.
09. F L I G H T / O F / T H E / R E D / B A L L O O N
Hou Hsiao-Hsien’s latest film is like an antidote to his own Three Times—trading jaded disillusionment and urban alienation for...childlike hope and urban alienation. Inspired by a movie I had to watch every year in French class and found terribly dull, Hou’s film follows his on-screen surrogate (a young, androgynous nanny/aspiring filmmaker) as she takes care of the son of a frazzled, artsy divorcee (a charming, platinum blonde Juliet Binoche) in picturesque Paris. A cute, mundane story coupled with the magical score and sumptuous photography makes Flight of the Red Balloon a highly enjoyable lark that proves Hou can work well in at least two countries other than his own. America next? Just don’t take the page from Wong Kar-Wai’s book in this case, Hou.
08. B U R N / A F T E R / R E A D I N G
Due, I suppose, to the more serious successful films by the parties involved, the brilliant—and completely hilarious—all-star hit parade that was Burn After Reading got overlooked. It’s a shame, because the Coens and their cast deliver every punch line perfectly and, for a comedy, what else can you ask for? This may be the funniest they’ve been since The Big Lebowski.
07. S U M M E R / H O U R S
The tagline for Summer Hours could be “come see the softer side of Assayas.” Though he’s shown the potential for this sort of fare before, this may be his first movie that really is, more or less, light through and through. Any pricklier topics that pop up (death, teenage drug use) are gracefully allowed to simply exist within the scope of the film, never straining the tone or focus. Assayas’s characters are all at some point or another learning to let go of their childhood, and this is literalized with them gutting their old family house of valuable objects and eventually selling it. With the tone mirroring the sort of French countryside life it portrays, Summer Hours is funny, sweet, laid-back and sometimes lonely. There's also not a dark-haired, gun-toting, crime-involved femme fatale in sight.
06. S I L E N T / L I G H T
The opening shot of the movie is an extremely long-held image of the night sky—the galaxy, complete with static sound and occasional bird (bat?) chirps. The rest of the film, while no less lyrical or fantastical in its almost fetishistic nature footage and sound, is a lot more straightforward. That is to say, there is an actual plot. It still requires suspension of normal comprehension and the state of being along for the ride. But if you enjoy that sort of thing, which I do, it’s simply enthralling. Reygadas, evidently, is one of the few directors who can put film as a medium to the limits of its uses. The acting and emotion is not sacrificed for the stunning imagery, and vice versa. Everything exists in perfect harmony.
05. T H E / E D G E / O F / H E A V E N
Given its intertwining storylines, international intrigue and the fact that it uses fate as a character—Fatih Akin’s The Edge of Heaven could have all too easily become the next Babel (or, insert other Inarritu film of choice here). Instead, it bucks all expectations and draws out empathy and interest from the viewer without relying on its gimmick. The cast is superb, and it helps that their script is incredibly moving and intelligently written. Anything that was uneven or lacking in Akin’s previous Head-On has been perfected here, and he’ll no doubt be a force to reckon with if he makes the right project choices.
04. B O A R D I N G / G A T E
In a role perfectly suited to her attributes, Asia Argento plays damaged Euro-trash on an ill-fated mission, which leads her through encounters with her ex, her friend, her lover, her lover’s partner, and a mystery woman. These, of course, are all against the backdrop of locales both exotic and ugly, with plenty of double-crossings and sleek panoramic compositions along the way. It’s the darkest and most daring film Assayas has made since demonlover, and it’s probably the style that he works best with. Michael Madsen is also excellent as Argento’s true love, while Kim Gordon (yes, of Sonic Youth) is odd and awkward—but amusing nonetheless.
03. T H E / D A R K / K N I G H T
I thought Batman Begins was only okay, and even in the Dark Knight I find Bale’s ‘Batman voice’ laughable and over the top. How then, is The Dark Knight my number three movie, out of many great ones, of the entire year? Well, Heath Ledger’s scarily brilliant turn as a Joker more deranged than any of us imagined is a big part of it, but credit goes to director Christopher Nolan as well. He’s come a long way from the grunged out motel rooms and factory basements of Memento, and Insomnia. He handily proves this with breathtaking cityscapes that would make Michael Mann wet himself, and large-scale action scenes featuring Bat-themed accessories that don’t feel cheesy. Together they overcome Bale’s silly voice, and tell a tale as corrupt and disturbing as a classic 70’s gangster film—but a whole lot more relevant to society of today.
02. P E R F E C T / L I F E
One of the most moving films I’ve seen in a long time came from an unlikely source: virtual unknown and protégé of Jia Jhang-ke, Emily Tang. Perfect Life packs wisdom and emotional gut-punches (not to mention a surprising amount of dry and slapstick humor alike) that rivals the work of directors dozens of times more seasoned—and exposed—than Tang. If there were any justice in the world, this would see a decent sized theatrical run and DVD release in North America. Everyone reading this is strongly encouraged to catch it any chance you get. Little Miss Sunshine and Amelie are not "gems." This is a gem.
01. A / C H R I S T M A S / T A L E
Like an edgier, rawer (less twee) Royal Tenenbaums, A Christmas Tale is a sprawling family reunion picture that, quite miraculously, I can’t remember ever getting sappy. A still-stunning Catherine Deneuve heads a large and casually inappropriate crew of family by both blood and marriage, as they alternately insult, bond with, sleep with and resent each other. Deneuve’s character is stricken by a serious, fatal disease, but you wouldn’t know it from director Arnaud Desplechin’s unflinching dedication to making a daring farce using all the ingredients that would typically be found in a somber drama. He succeeds with style and wit to spare.
Top Ten Albums of 2008
10. t.i. / P A P E R / T R A I L
I have an image in my mind about how T.I. put this album together while largely on a clock of house arrest and community service. Lounging around in a bathrobe, familiarizing himself with internet phenomenons (the “Numa Numa” sample on “Live Your Life”). Fantasizing about sweeping a girl next door type off her feet with all he and his money have to offer (“Whatever You Like”). Taking his impending prison sentence in stride and reminiscing on accomplishments (“No Matter What”) while keeping his gangsta image strong for his fans (“Swagger Like Us”). It’s the sometimes shaky balance of cocky and wise, restless and content that drives Paper Trail—and allows it to achieve authentic moments of greatness.
09. britney spears / C I R C U S
Britney’s critics love to complain about how much the singer sounds “inhuman,” has “no talent” without some heavy auto-tuning, and hasn’t performed without lipsynching in... well, maybe ever. Blackout was unquestionably a great dance-pop entry, and even said critics had to admit that (however begrudgingly). They still qualified it with “even though it could be anyone doing vocals” or “the producers deserve the credit.” Well, to those who are still using this dismissal when talking about Circus—what album were you listening to? Because, while “Womanizer” spun Spears’ voice into electronic silk to Blackout-worthy proportions, most of the songs are nothing like that. “Unusual You,” for example, is a strikingly beautiful, moody ballad in which Britney sounds as human—if not more human—than she ever has. If this had been by Lily Allen or Lykke Li instead, the same people who’ve written it off would be blowing their loads all over it. And that’s not even scratching the surface of how many wonderful, continuously listenable tracks Circus contains.
08. steve aoki / P I L L O W F A C E / A N D / H I S / A I R P L A N E / C H R O N I C L E S
If I were to have guessed which artists, newcomers notwithstanding, would ever crack my top ten list now or in the future, I probably wouldn’t have said Steve Aoki. I knew him as a goofy, rich kid scenester who was a DJ like Paris Hilton is a fashion designer. Yet here he is. The eyebrow-raisingly titled Pillowface And His Airplane Chronicles is the best mixtape I’ve had the pleasure of dancing to since the Mad Decent podcasts were relevant. It’s just pure (impure is actually more fitting), electro-trash fun—so obviously meant to be blasting in a club packed with pretty hipsters on ecstasy and vodka, texting photos of themselves to their Facebook pages. But it sounds just as good through the headphones of your laptop while you edit photos and try not to wake the baby sleeping a few feet away. Trust me.
07. cat power / J U K E B O X
Within a couple years, Cat Power has gone from that weird, spazzy, druggie genius indie chick to a glamorous, sophisticated Southern Belle who you see gazing at you from under those iconic bangs on a different magazine cover each month. As a result, her music has mellowed as much as her persona, and she seems to spend more time on the press junket than in the studio. Nevertheless, her cover album Jukebox was a lovely, soulful detour. “Silver Stallion” and her restless wail on the re-envisioned “New York, New York” give hints that the old Chan is still there, and just feeling out her new terrain before she delivers her next great, original album.
06. the hold steady / S T A Y / P O S I T I V E
Craig Finn has an uncanny ability to make lines sounds ominous before we even know why they would be (“when there weren’t any parties, sometimes she partied with townies...”), and then funny even when we know they’re tragic. As always with The Hold Steady, Stay Positive benefits from repeat listens so you can get ahold of whatever story the lyrics are fashioning, and then later appreciate the myriad sonic nuances. Both get richer and more rewarding each time.
05. flying lotus / L O S / A N G E L E S
Flying Lotus is the best DJ Shadow successor we’ve had yet. Like Shadow, he seamlessly melds hip-hop with dreamy soundscapes to make background music you can’t ignore. Some of the songs are menacingly head-boppable (the nervous energy of “Gng Bng,” or the hard knuckled throb that is “Riot”), while most are either weird or soothing—or both, or all three. While there’s nothing especially innovative here, it’s still a fantastic disc’s worth of treasures from a genre that’s currently rather barren.
04. N A T I V E / K O R E A N / R O C K
Is it just Native Korean Rock, or do you tack on “& The Fishnets”? Is it a demo, an EP, or just some songs thrown up on MySpace that will never make it to a consumer-destined disc? Will the songs just be added to the new Yeah Yeah Yeahs album as bonus tracks? I don’t care. Whatever the hell it is, it’s on my list, because it’s some of the most stunning material of the year. Not to mention, it’s also one of those (many) things that makes me envious of New Yorkers.
03. S A N T O G O L D
This one is a bit embarrassing, for as I stated in a recent blog post, I only just got around to listening to this a month or so ago. But I think the fact that I’ve grown to love it so much, so fast is only another testament to its quality. Santogold sounds more like the Pixies and Blondie than M.I.A., and though they make a good team, she would be just as excellent (if not better or more fine-tuned, as he tends to lead her in M.I.A. directions) without Diplo. I can’t open up iTunes or fire up my iPod without clicking her songs within the first ten minutes. Addictive and objectively talented. That’s impressive.
02. kanye west / 8 0 8 s / & / H E A R T B R E A K
Kanye West has always had the ability to fashion a catchy beat and pair it with servicable, if clunky ryhmes in a way that appealed to a massive audience of hip-hop fans and “I only like Talib Kweli and stuff” people alike. But I bet most folks didn’t know he could reach emotional depths like he does on 808s. If you thought the mopey “Through the Wire” was sad, try Kanye at his most aggressively hopeless. And as usual, it’s masterful in production and a whole lot more enjoyable than most whiny white guy rock. This is his masterpiece, and if he tops it anytime soon, I’ll be shocked (and pleased, natch).
01. portishead / T H I R D
I’ve been a Portishead fan since I was about 15, so I was more than a little excited to learn that they were, in fact, no longer dormant and were releasing the aptly titled Third. Not only did the band not disappoint, they basically blew my mind. Third is eerie, peaceful, hectic and enchanting—like their other two albums, but with a lived-in quality and an air of experience mixed with adventurousness. It builds a world like few albums can. A world something like Guy Maddin’s Brand Upon The Brain! but less wacky, or Twin Peaks without the log lady to make sense of it all. I’d say it was worth the decade-long wait, but I hope they don’t make that slowpoke pace a habit.
I have an image in my mind about how T.I. put this album together while largely on a clock of house arrest and community service. Lounging around in a bathrobe, familiarizing himself with internet phenomenons (the “Numa Numa” sample on “Live Your Life”). Fantasizing about sweeping a girl next door type off her feet with all he and his money have to offer (“Whatever You Like”). Taking his impending prison sentence in stride and reminiscing on accomplishments (“No Matter What”) while keeping his gangsta image strong for his fans (“Swagger Like Us”). It’s the sometimes shaky balance of cocky and wise, restless and content that drives Paper Trail—and allows it to achieve authentic moments of greatness.
09. britney spears / C I R C U S
Britney’s critics love to complain about how much the singer sounds “inhuman,” has “no talent” without some heavy auto-tuning, and hasn’t performed without lipsynching in... well, maybe ever. Blackout was unquestionably a great dance-pop entry, and even said critics had to admit that (however begrudgingly). They still qualified it with “even though it could be anyone doing vocals” or “the producers deserve the credit.” Well, to those who are still using this dismissal when talking about Circus—what album were you listening to? Because, while “Womanizer” spun Spears’ voice into electronic silk to Blackout-worthy proportions, most of the songs are nothing like that. “Unusual You,” for example, is a strikingly beautiful, moody ballad in which Britney sounds as human—if not more human—than she ever has. If this had been by Lily Allen or Lykke Li instead, the same people who’ve written it off would be blowing their loads all over it. And that’s not even scratching the surface of how many wonderful, continuously listenable tracks Circus contains.
08. steve aoki / P I L L O W F A C E / A N D / H I S / A I R P L A N E / C H R O N I C L E S
If I were to have guessed which artists, newcomers notwithstanding, would ever crack my top ten list now or in the future, I probably wouldn’t have said Steve Aoki. I knew him as a goofy, rich kid scenester who was a DJ like Paris Hilton is a fashion designer. Yet here he is. The eyebrow-raisingly titled Pillowface And His Airplane Chronicles is the best mixtape I’ve had the pleasure of dancing to since the Mad Decent podcasts were relevant. It’s just pure (impure is actually more fitting), electro-trash fun—so obviously meant to be blasting in a club packed with pretty hipsters on ecstasy and vodka, texting photos of themselves to their Facebook pages. But it sounds just as good through the headphones of your laptop while you edit photos and try not to wake the baby sleeping a few feet away. Trust me.
07. cat power / J U K E B O X
Within a couple years, Cat Power has gone from that weird, spazzy, druggie genius indie chick to a glamorous, sophisticated Southern Belle who you see gazing at you from under those iconic bangs on a different magazine cover each month. As a result, her music has mellowed as much as her persona, and she seems to spend more time on the press junket than in the studio. Nevertheless, her cover album Jukebox was a lovely, soulful detour. “Silver Stallion” and her restless wail on the re-envisioned “New York, New York” give hints that the old Chan is still there, and just feeling out her new terrain before she delivers her next great, original album.
06. the hold steady / S T A Y / P O S I T I V E
Craig Finn has an uncanny ability to make lines sounds ominous before we even know why they would be (“when there weren’t any parties, sometimes she partied with townies...”), and then funny even when we know they’re tragic. As always with The Hold Steady, Stay Positive benefits from repeat listens so you can get ahold of whatever story the lyrics are fashioning, and then later appreciate the myriad sonic nuances. Both get richer and more rewarding each time.
05. flying lotus / L O S / A N G E L E S
Flying Lotus is the best DJ Shadow successor we’ve had yet. Like Shadow, he seamlessly melds hip-hop with dreamy soundscapes to make background music you can’t ignore. Some of the songs are menacingly head-boppable (the nervous energy of “Gng Bng,” or the hard knuckled throb that is “Riot”), while most are either weird or soothing—or both, or all three. While there’s nothing especially innovative here, it’s still a fantastic disc’s worth of treasures from a genre that’s currently rather barren.
04. N A T I V E / K O R E A N / R O C K
Is it just Native Korean Rock, or do you tack on “& The Fishnets”? Is it a demo, an EP, or just some songs thrown up on MySpace that will never make it to a consumer-destined disc? Will the songs just be added to the new Yeah Yeah Yeahs album as bonus tracks? I don’t care. Whatever the hell it is, it’s on my list, because it’s some of the most stunning material of the year. Not to mention, it’s also one of those (many) things that makes me envious of New Yorkers.
03. S A N T O G O L D
This one is a bit embarrassing, for as I stated in a recent blog post, I only just got around to listening to this a month or so ago. But I think the fact that I’ve grown to love it so much, so fast is only another testament to its quality. Santogold sounds more like the Pixies and Blondie than M.I.A., and though they make a good team, she would be just as excellent (if not better or more fine-tuned, as he tends to lead her in M.I.A. directions) without Diplo. I can’t open up iTunes or fire up my iPod without clicking her songs within the first ten minutes. Addictive and objectively talented. That’s impressive.
02. kanye west / 8 0 8 s / & / H E A R T B R E A K
Kanye West has always had the ability to fashion a catchy beat and pair it with servicable, if clunky ryhmes in a way that appealed to a massive audience of hip-hop fans and “I only like Talib Kweli and stuff” people alike. But I bet most folks didn’t know he could reach emotional depths like he does on 808s. If you thought the mopey “Through the Wire” was sad, try Kanye at his most aggressively hopeless. And as usual, it’s masterful in production and a whole lot more enjoyable than most whiny white guy rock. This is his masterpiece, and if he tops it anytime soon, I’ll be shocked (and pleased, natch).
01. portishead / T H I R D
I’ve been a Portishead fan since I was about 15, so I was more than a little excited to learn that they were, in fact, no longer dormant and were releasing the aptly titled Third. Not only did the band not disappoint, they basically blew my mind. Third is eerie, peaceful, hectic and enchanting—like their other two albums, but with a lived-in quality and an air of experience mixed with adventurousness. It builds a world like few albums can. A world something like Guy Maddin’s Brand Upon The Brain! but less wacky, or Twin Peaks without the log lady to make sense of it all. I’d say it was worth the decade-long wait, but I hope they don’t make that slowpoke pace a habit.
Wednesday, December 24, 2008
Happy Holidays
Well, it's after midnight everywhere now (wait...not Hawaii. Oh well, close enough) and officially Christmas Eve. I probably won't post again before Christmas and then will be in Vancouver after that. In conclusion, I hope everyone who reads this blog has a great time. And by everyone, I mean Shaun. And Josh, after asking me in advance "have you blogged recently?" I digress...
Monday, December 22, 2008
Thursday, December 18, 2008
Whatever Happened To...
Lady Sovereign? This, evidently:
I am not really feeling it. I don't think the combination of electro-pop dance track with grime works here. And she sounds considerably lifeless ("doncin" heh...). I dig the costumes though.
I am not really feeling it. I don't think the combination of electro-pop dance track with grime works here. And she sounds considerably lifeless ("doncin" heh...). I dig the costumes though.
Monday, December 15, 2008
Photo of the Week / December 15, 2008
opal by masquerade_arts.
If your photo is featured and you'd like it altered or removed, email me and let me know. If you'd like to suggest a photo (your own or otherwise) for feature, send it to me via flickr or dA.
Thursday, December 11, 2008
Coming Around: Santogold
Being the hasty dork than I very occasionally am, I initially wrote off Santogold after hearing a track I didn't care for. Now, confronted with too much empty space in my iTunes on my new laptop, I've been checking out new music (new to me, not necessarily in general) that I've heard is good or am curious about. I had always liked "L.E.S. Artistes," so I decided to finally give the rest of her disc a whirl.
Now, aside from Santogold also working with Diplo and wearing a mismatched Day-Glo street urchin wardrobe, she is not the M.I.A. clone I was anticipating. This is a good thing, because as much as I like Maya, I would rather listen to something new and fresh than a knockoff. Unfortunately those comparisons are part of what kept me away for so long. But Santogold has a heartier, more soulful (and joyful) approach. Where M.I.A. is bratty and aggressive, Santogold is contemplative. Her debut is no Arular, but it also should be evaluated on its own terms.
"L.E.S. Artistes" is still the best song, but the moody, pulsating "My Superman" comes close. Santogold does best when she lets her voice mellow; the yelping verses on many tracks are never as listenable as when they give way to their soaring, growling choruses. That said, it still works darn well and I've found myself playing nothing but her since I downloaded it a couple days ago.
Her Piracy Funds Terrorism (Top Ranking) with Diplo is also unexpectedly decent. The favela favoritism is still just as tiring as ever, but he happily has a few other tricks up his sleeves to keep things interesting. Santogold doesn't have much material, so much of it is padded with more random bits and bobs than PFT. And given Kala's lackluster-ness, it's probably better than the ever elusive, possibly shelved-for-good PFT2 will or would be.
Monday, December 08, 2008
Photo of the Week / December 8, 2008
plaisir aquatique by Aimelle.
If your photo is featured and you'd like it altered or removed, email me and let me know. If you'd like to suggest a photo (your own or otherwise) for feature, send it to me via flickr or dA.
Tuesday, December 02, 2008
Photo of the Week / December 2, 2008
spider's barn by msgsudz.
If your photo is featured and you'd like it altered or removed, email me and let me know. If you'd like to suggest a photo (your own or otherwise) for feature, send it to me via flickr or dA.
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