Album Review: Common Courtesy

A Day to Remember is somewhat of an anomaly in the rock music scene. Perhaps this is due to the fact that the band is known for perfectly meshing bubblegum hooks with crushing breakdowns and screams, leaving many to define its sound as “popcore.” I couldn’t think of a better genre myself, and the band is in full tradition on its newest album Common Courtesy. After a long stretch of trouble with its record label, the band eventually released the album independently, and you can tell that the events of the past few years have changed the band a bit. The album has a softer tone, so much so that the “core” part of its sound almost sounds out of place. Where the album shines is in the formulaic songs the band is known for, and this is not a bad thing.

The first song “City of Ocala,” is a straight up pop-punk rager. It’s a great way to begin the album, on which the production sounds great. It’s fun, nostalgic and a standout across the album for sure.

The next two songs are also highlights. “Right Back at It Again” and “Sometimes You’re the Hammer, Sometimes You’re the Nail” are both very stereotypical A Day to Remember songs, but they are among the best songs on the album because the band is so successful at crafting songs like these. They’re hooky as hell; they have breakdowns where you would expect; they’re just fun.

The album stagnates a bit after this, but already there’s not as much screaming as previous records, and there are a number of softer numbers, such as “I’m Already Gone,” “I Surrender” and “End of Me.” This is certainly not an unwelcome change, as these songs are well crafted and melodically sound. Lyrically they’re not bad either, but it’s kind of jarring after what we’ve expected from the past. They still deserve a listen, however, and those who are not a fan of the harder edge of A Day to Remember will really dig these tracks.

The songs that really do throw down are “Violence (Enough is Enough)” and “Life Lessons Learned the Hard Way,” with the latter sounding like a cut off a Lamb of God album, strangely enough. The rest of the album floats in this area of popcore safety, so when the heavier hitting tracks come out, they feel jarring and don’t quite seem to fit in. This isn’t inherently true, as the band has to stay true to its post-hardcore roots, but for whatever reason, the group chose to only include a couple of these tracks instead of alternating between sounds.

The final tracks “The Document Speaks for Itself” and “I Remember” are both great ending tracks that bring back that A Day to Remember sound. The former track has an absolutely wonderful breakdown, while the latter is a nostalgic look at the past, with five minutes of the nine-minute track devoted to banter between bandmates about memories of being on tour. There is quite a bit of banter after some of the tracks on this album, which provides a unique look at the process of recording the album and the band’s inner dynamics.

Common Courtesy is a good A Day to Remember album. The band has softened up a bit but still knows how to bust out a hook-laden beast of a song. You’ve got to stick with what you know, and the band seems to be just fine at doing that. This album is worth a listen for sure, and even if you don’t like all of it, chances are you’ll find something that will grab you and make you want to rock out.

Hip hop artists should reconsider offensive lyrics

“Couldn't wait for gay parade so you can drag it, George used to flip, went from hitting skins to sucking nigga’s dick, George better get a grip.” In 1991, A Tribe Called Quest rapped these lyrics in the song “Georgie Porgie.” Society in general has become more accepting in regards to LGBTQ-plus people. Monday Nov. 18 was the 10-year anniversary of Massachusetts being the first state to legalize same-sex marriage. The anniversary represents how far society has come in regard to acceptance. Unfortunately, as the times change, some facets of culture still fall behind. Although “Georgie Porgie” was written 22 years ago, hip-hop culture really has not progressed all that significantly.

Hip-hop artist Frank Ocean came out in 2012 before releasing his latest album. At the surface, this seems like great advancement in the hip-hop community, but unfortunately it falls short.

Journalist for The Huffington Post Ernest Owens, not happy with Ocean’s coming out, wrote that Ocean “released his music video ‘Pyramids’ and it is back to the same regurgitated overtly heterosexual usage of deformed and abstract female strippers and the lust and degradation.”

Ocean is a part of the rap group Odd Future, whose songs constantly contain homophobic lyrical content. In his 2011 solo album Goblin – 20 years after “Georgie Porgie” – Odd Future frontman Tyler, the Creator used the word “faggot” and many variations of the word 213 times, according to ColorLines.

This begs the question as to why so many hip-hop artists put emphasis on their homophobic views. Why would Tyler, the Creator so frequently repeat words offensive to the gay community? Hip-hop is a musical genre that formed in the black community. Analyst Carissa Froyum claims that black Americans are more represented in the lower economic classes; therefore, homophobia is a way for black men to raise their masculinity.

This puts more pressure on people who are both black and LGBTQ-plus because they have to deal with the struggles that both communities face. When rappers’ lyrics contain homophobic content, it sends an alienating message to LGBTQ-plus black people.

Owens said that Ocean “has continued to accept being the token in an industry that continues to perpetuate the stereotype for what societal black masculinity is.” Ocean is not paving the way to acceptance in hip-hop; instead, he is allowing it to continue.

Although rappers may not be as homophobic in their lyrics as A Tribe Called Quest, it is still a major aspect of hip-hop music. It acts as a way to promote ones masculinity, and by doing so oppresses LGBTQ-plus people. The problem is that this music is so highly popular and so very few people care or notice that the lyrics are very damaging. People blindly listen to this music not thinking about the implications that derive from the lyrics.

Tyler, the Creator, when addressing his homophobic content and the use of the word “faggot” in an interview, said, “We don’t think about that shit. But I don’t hate gay people. I don’t want anyone to think I’m homophobic.” He later added, “We’re just kids. We don’t think about that shit.”

Album Review Face-Off: ARTPOP proves inconsistent, underdeveloped

Lady Gaga is a giant in the music industry, having taken the world by storm with her eccentricities and record-selling hits. It started with The Fame in 2008 and then The Fame Monster and Born This Way. Now, in the final months of 2013, we are graced with her rather lesser album ARTPOP. It’s a blend of ‘90s-esque tracks, more instant hits and other polarizing pieces that are some of the strangest Lady Gaga songs to date.

“Aura” kicks off the album with an extremely catchy and beautiful chorus. Unfortunately, that chorus is the only thing this feminist anthem has going for it. I found myself skipping past the jumbled and unintelligible, heavily synthesized verses that fill the gaps.

“Sexxx Dreams” comes along several tracks later with its nearly unbearable sound. It consists of static, overpowering synthesizer beats that make Gaga’s voice seem weak and, at times, artificial. It’s not a very enjoyable listen but rather a strain to get through.

Then there’s “Jewels n’ Drugs,” a Fame-esque, fun hip-hop track. It actually has some fantastic background tunes and some great old-school Gaga vocals, but the cheesy addition of rappers T.I., Too $hort and Twista is where the song falters. I understand the intention and the stylistic consistencies considered, but the song would be 10 times better without them.

“MANiCURE” is a fun play-on-title for a track that is probably the best on the album. It’s a hopping, energized ‘80s and ‘90s throwback with feminine power and angst. The entire song, verses and all, is catchy and dance-oriented. It’s definitely a high point of the album.

“Do What U Want” has two pros: an intro beat that bears striking similarity to the soundtrack of the film Drive, which is always a positive thing, and Gaga’s powerfully passionate vocals. Despite this, the chorus falls short because it’s not very impressive hook for listeners. Also, Gaga made another wrong decision in terms of collaboration, because R. Kelly’s contribution to this track doesn’t work. His parts are whiny and unnecessary and they take away from Mother Monster’s fabulous voice.

As with every Gaga album, there’s a wonderful ballad thrown in that really shows off her talent. Though “Dope” may not be her most impressive ballad, it’s definitely one of the best songs on ARTPOP and it may bring tears to your eyes.

ARTPOP is another good album from Lady Gaga, but it’s certainly her worst so far and her most inconsistent. Little Monsters like me are bound to have divided opinions over this one.

Album Review Face-Off: ARTPOP generates universal relevancy

Lady Gaga’s third studio album ARTPOP shows her forever-evolving approach to music, which continues to attract public attention whether you love or hate the new queen of pop. Like Born This Way, this album infuses sentimentality, sexuality and empowerment into a personal journey through Gaga’s life. Just as she sings, “My ARTPOP could mean anything,” Gaga notes the album’s more subjective focus. This album is much more sensual than her past work. Tracks like “Sexxx Dreams,” “G.U.Y.” and “Swine” are new explorations into Gaga’s sexuality.

Besides “Applause,” with its elevated self-awareness, “G.U.Y.” might be the best track on the album. Gaga channels the intense gorgeousness of her voice and invokes a sexy, honest and powerful feel.

“Dope” is the most poignant and emotionally powerful track with lyrics lamenting, “My heart would break without you, I’m not awake without you.” Gaga shows us her ability stripped down to basics in this piano ballad comparing love to addiction.

The following track adds to the introspection. “Gypsy” affirms that traveling around the world at the cost of a stable lover is a worthy trade.

Gaga’s music on ARTPOP is coupled with an intense feeling of empowerment. Marginalized people with strong self-identity will immediately recognize this. The LGBTQ community is known to hold some of her most fervent supporters, and for good reason.

Gaga sheds criticism, crosses genders and wears what she wants with ease. This explains why her fans that struggle with societal constraints find her music and spirit liberating.

For this, ARTPOP is valuable, yet critics frequently overlook this aspect of Gaga. She’s frequently written off for being too weird, and that’s why so many of these marginalized groups adore her. She provides a model to transcend the restrictions of society and preaches the value of being and loving all of yourself, and the album praises those lessons.

Love her or hate her, Gaga knows how to generate a unique kind of universal relevancy. Even if the album is not as strong as past endeavors, ARTPOP is well worth listening to, as Gaga isn’t going anywhere anytime soon.

Album Review: The Marshall Mathers LP 2

Eminem is one of the best-selling musical artists of all time and widely considered one of the best rappers alive. He is capable of both fun pop culture satire and beautifully depressing reflection on his past. Since his darker 2010 album Recovery, his collaboration with Dr. Dre on the single “I Need a Doctor” and his reunion with Bad Meets Evil partner Royce da 5’9” for their 2011 EP Hell: The Sequel, Eminem has crafted his newest masterpiece The Marshall Mathers LP 2, the “sequel” to his renowned 2000 album. “Bad Guy” gets the album off to a great start with an intoxicating chorus and some hardcore verses that promise Eminem is back and means business as usual. A few songs down the list is “Berzerk,” the album’s first single, which harks back to old school Slim Shady with a fun, adrenaline-fueled you-only-live-once attitude. It’s a very nostalgic ‘90s throwback track that was a genius choice of a song to introduce the LP to the public. Next comes an all-rap, all-Eminem opus. “Rap God” is the rapper’s show-off track, in which he flaunts his Busta Rhymes-style fast rapping and wordplay skills, and it’s a pleasure to listen to. It’s epic and egotistical but without being pretentious. “Rap God” is Eminem getting up in your face but in good taste. First it was the hit single “Love the Way You Lie” on Recovery, and now it’s “The Monster,” Eminem’s second powerhouse collaboration with Rihanna that has competed for the top spot on iTunes for quite some time now. “Love Game” is a bitterly hilarious romp on relationships and cheating. It’s Eminem going off on romance and backstabbing affairs, and it’s a very funny, fun track that is one of the best songs on the album. Kendrick Lamar only adds to its greatness by delivering some rapid-spitting verses and an awesome chorus that has a bluesy feel to it. Unfortunately, the slew of perfected hits comes to a slackening point with the track “Headlights,” featuring a rather lackluster chorus by fun. front man Nate Ruess. I’m a huge fan of Ruess and the band, but this collaboration does not work. One of the closing songs, included on the deluxe edition bonus disc of the LP, is “Beautiful Pain,” in which Eminem delivers decent verses but is overshadowed by the chorus of Australian pop singer Sia, who also steals the spotlight in David Guetta’s “Titanium” and Flo Rida’s “Wild Ones.” Sia has a beautiful voice and a knack for hard-hitting choruses; for her part alone, this is the best song on the album. The Marshall Mathers LP 2 is a very meticulously crafted album, the wordplay being outstanding and almost uncanny. Furthermore, its major collaborations are mint, hit singles; there’s no doubt about it. “The Monster” has already peaked at number one on the charts, and the others are bound to get there soon enough. Then there are the rap-heavy tracks like “Rap God” that emphasize Slim Shady’s talent more than anything. Despite this, I must cite the “hit singles” as a flaw, for they overshadow Eminem and seem to be carrying the bulk of the material. The focus seems centered on these catchy collaborations and not as much on the artist of the album, unfortunately. In addition, Eminem has stated that his frequent use of homophobic slurs is intentional and to prove a point, but they seem too subtle and misguided to get across such a message to everyone. Many will take offense to them. Overall, Eminem’s newest album is a near-masterpiece with throwbacks to his older work and a nice blend of emotional depth and fun energy. It’s definitely worth a listen or two or three.

Album Review: Business Casual

Alt-rockers We Are Scientists have slipped under the radar until recently. The Berkeley, Calif. duo is well known for its unique blend of great acoustic rock and frenetic guitar jams that channel bands like The Strokes. Remember the movie Nick and Norah’s Infinite Playlist? The We Are Scientists track “After Hours,” included on the soundtrack, propelled the group much further into the spotlight. Unfortunately, the band put out one more album afterward and then went on a temporary hiatus. The band’s recent release of two EPs, one being Business Casual, signals the underappreciated and very talented group’s return.

The EP begins with “Dumb Luck,” a hectic track centered on some crazy guitar work. The song has great harmony and a wonderful old-fashioned rock ‘n’ roll sound. The melody is well crafted and the song sounds almost like Queens of the Stone Age. It’s a rip rolling song to start off the EP and contains all the parts necessary to make it an ideal new jam that stands alone.

“Return the Favor” is most definitely the most typical-sounding We Are Scientists track from the EP, but in no way does that make the track lacking. The song has a wonderfully pleasing chorus and great layering on all accounts. The instrumentation is lush and bombastic, and the singing is melodic and catchy. The guitar is down and dirty, but the song somehow sounds clean as a whistle. It’s a great song to chill to and is definitely another must-listen.

“Good Answer” keeps the ball rolling. It’s a solid track to be sure, and the opening riff immediately catches you. You can definitely see this one being in a movie soundtrack. The chorus itself doesn’t do much in the way of catchiness, but the song holds itself well in light of the clean guitars and the repeating riff. The piano adds a nice soft texture to the track as well.

“Courage” is definitely the most interesting track on the EP. It’s also the most simple, with just guitar and vocals. It seems really honest, though, which is something to be said in itself.

“Courage” has a folky feel to it – a very singer-songwriter vibe. It certainly seems like a way for the band to present itself in a more stripped-down manner, considering the production of the rest of the EP is quite nice and big sounding. In contrast to the lush textures of the other tracks, “Courage” is a nice respite and presents another side to this evolving group.

The EP closes with “Take My Breath Away,” a cover of a ballad by ‘80s group Berlin. The band’s rendition has a country kind of twang, which is certainly evident in the slide guitars that persist throughout, but overall, the band does a great job on adding its own spin to the song. It’s big, it’s powerful and it doesn’t feel out of place.

I like to think of this EP as a sampler platter of sorts: a taste of the many talents of We Are Scientists and what they have in store for the future. There’s a song on this EP for everyone, and its sound is just plain enjoyable. This is a band that is not unsure of where it’s going – musicians that know they can do whatever they set their minds to. This EP is just letting the rest of the world know.

Album Review: Too Weird to Live, Too Rare to Die!

Panic! at the Disco has gone through some really tough changes over the past few years. After splitting with original members Ryan Ross and Jon Walker, lead singer Brendon Urie and drummer Spencer Smith continued the band’s legacy. But as Smith recently began rehabilitation for alcohol addiction, he left the sole duties of the band to Urie. I was extremely hesitant coming into the listening of Too Weird to Live, Too Rare to Die!; Urie proves on this record, however, that not only is he still a beast on vocals. He knows how to write a song and a melody to boot.

Be warned, the Panic! at the Disco that you know and love is gone on this record. Well, not completely. But the whole album is drawn mainly from electronic influence, which completely changes the sound of the band.

The opening track “This Is Gospel” proves to be one of the best tracks on the album. Starting with an electronic pulse, the track explodes with energy and urgency and has one of best choruses on the album.

The album really hits its stride at “Nicotine,” another glittery track that pours on the funk, with a great bass line and an infectious chorus. Next is “Girls/Girls/Boys,” a quirky little track that really cleverly plays on modern sexuality and gender.

The next three songs of the album are certainly the best of all. “Casual Affair” is one of my new favorite Panic songs. Beginning with a driving beat and an awesome electronic background, the chorus in this song is absolutely explosive. Guitars crash in, and Urie delivers perhaps the hookiest and best chorus of the album. This track is a must-listen for the fans.

“Far Too Young to Die” begins with an almost metronomic sound, and then pushes its way into the synth pop goodness that pervades the album. The hook in this track is also strong, with deep, booming bass and wonderful vocals from Urie.

“Collar Full” is a track that fans of somewhat older Panic! at the Disco will want to check out. It has a fast-paced beat very reminiscent of the band’s previous albums. Urie is in top form here and pulls out all the stops. The whole song simply works and is definitely among the best of the album. The verses are great, the chorus is wonderful and the pace and instrumentation are just top notch. Another must-listen for sure.

I am overall impressed and surprised by this album. Although it’s heavily electronically based and very different from previous albums, it’s still catchy as all hell. It has great lyrics and instrumentation over the backing soundscapes.

It has its own personality, which I think was Urie’s intention. It may not sound like the old stuff, but if you’re willing to accept the change and roll with the punches, I think you’re going to find an album that you may enjoy or even love.

Lou Reed leaves lasting musical legacy

“Sunday morning is the dawning,” Lou Reed sings on the Velvet Underground’s debut, self-titled album. He was a musician, an artist and one of the greatest inspirations to the art world of all time. Reed’s life prematurely ended at the age of 71 on Sunday morning Oct. 27. Reed had been battling liver disease for quite a while, having received a transplant in the spring. Dr. Charles Miller, who performed the transplant, confirmed that disease was terminal a few days before his death. Reed left the hospital for his home in Southampton, N.Y. to die in peace.

Reed grew up in Freeport, Long Island during the 1950s in a Jewish family. Having learned how to play guitar from the radio, he became interested in rock ‘n’ roll and blues. Reed started a number of small bands during high school.

While growing up, he realized that he was bisexual. Reed received electroshock therapy to correct his divergence from heterosexuality. He has often said that this experience was very influential to his music.

He became a songwriter when he moved to New York City after graduating from Syracuse University in 1964. He started the band The Velvet Underground and in 1967, The Velvet Underground released its first album The Velvet Underground & Nico, produced by Andy Warhol, a pioneer of both avant-garde art and music.

The album and Reed’s work cover many themes such as love, alienation, sex and addiction. The song “Heroin” only features guitar and drums, and gives a narrative of what it is like to take the drug.

“When I put a spike into my vein/And I’ll tell ya things aren’t quite the same/When I’m rushing on my run/And I feel just like Jesus’ son,” Reed sings.

“Reed started singing outside of the song’s melody, as if he were giving a speech with a fluctuating drone in a New York accent,” The New York Times music critic Ben Ratliff wrote.

The very experimental album only sold 30,000 copies in the first five years of its release. Rolling Stone magazine lists the album as number 13 on the Greatest Albums of All Time.

Bands like R.E.M., Nirvana, U2, The Talking Heads, Joy Division and The Strokes owe a lot of their success to Reed. The experimental nature of music has had a lasting influence on music in general.

Reed had been sober since the ‘80s; becoming obsessed with his own health, he started practicing the art of Tai Chi.

The music world has lost a great leader. Reed was a man who pushed the boundaries of music while inspiring many. He may be gone, but his music legacy will last for many years to come. Friend and fellow musician Iggy Pop tweeted only two words, “Devastating news.”

“The world has lost a fine songwriter and poet … I’ve lost my ‘schoolyard buddy,’” Reed’s Velvet Underground bandmate John Cale said.

Album review: Icon for Hire

Tooth & Nail Records, despite their Christian affiliation, is one record label that has provided a jumping-off point for some very talented rock artists, with Anberlin and P.O.D. immediately coming to mind. Female-fronted pop metal band Icon for Hire seeks to continue the legacy with its new self-titled album. The band certainly has a sound I really dig, seamlessly blending pop punk, nu-metal, electronic and hip-hop elements all in one big sound. The musicians have the chops, and lead vocalist Ariel definitely has the pipes to create an awesome record. Unfortunately a bland melody problem that I find permeating a lot of records these days drags the album down.

The record opens with a bang. “Cynics & Critics” is a hard-hitting, catchy track that immediately grabs attention. The band's distinct sound is clearly evident here, with electronic samples, Paramore-esque vocals and a driving hard rock riff, in that order. There's even a bit of “rapping” on this track, but it is punk-driven and sassy.

Unfortunately, the album begins to suffer from “sporadic good melodyitis.” There's really nothing inherently wrong with the next four tracks; in fact, the music is quite good. It has a great mix of sounds that really set this band apart, and Ariel's singing is strong throughout. It's just that none of the melody lines hook me.

To me, a song without a good hook is just incomplete. The notion of melody and what is pleasing changes from person to person, but I don't't feel it on a lot of these songs.

“Sorry About Your Parents” is the highlight of the album for me. This song finally delivers an example of what this album could have been. It has a huge chorus and a tone that I can't quite decipher as sarcastic or serious. It's a short and sweet track that is the must-listen for the album.

After another group of songs that, again, have great instrumentation but unmemorable melodies, come “Rock and Roll Thugs” and “Fix Me.”

The former is a great rocking track about the importance of music and has great lyrics - finally a great rock song that talks about the importance of lyrics. It's another standout, with a pulse-pounding chorus and a great breakdown bridge.

“Fix Me” is the ballad of the record, and it starts with a beautiful piano line that catches the ear immediately. Ariel shines on this track, really flexing her vocal muscles and showing her different musical dimensions.

Musically, “Fix Me” a bit one-dimensional, but I actually don't mind because the piano is a welcome change of pace. This track is also the one in which the band becomes most spiritual, with the ending lines of, “Every scar one day will heal/Every tear one day will dry.” It never seems preachy, however, and it's quite a beautiful sentiment on a record with a normal pace as fast as the Indy 500.

Icon for Hire is an album from a band with a great amount of potential - as long as the members touch up some of their songwriting. This album may not deliver as much as I wanted it to, but it certainly packs a hell of a musical punch, and where it shines, it shines bright. Watch out for this band in the future, listeners.

Movie Review: Rush

Rush may be two hours long, but it races by. Directed by Ron Howard, the film is based on the true story of a rivalry between two Formula One drivers in the 1970s, Niki Lauda played by Daniel Brühl and James Hunt played by Chris Hemsworth.

The film is brilliant. Rush is engaging, simplistic, and aesthetically pleasing. Howard understood the simplicity of his film from the start and makes no mistake to depict the story any other way than it should be told. There is an overlying message to the story, but it holds no burden on the viewer's mind. Overall, it's an adult-friendly film that challenges any viewer to find their flaws.

Hemsworth and Brühl are also exceptional aspects to the film in both their visual similarities to their characters' real life counterparts as well as their abilities to lead a convincing story through the eyes of their characters. Both are worthy of their fame, and Hemsworth can finally be viewed as a character other than Thor.

The film shows minimal unnecessary racing scenes and there's no disappointment when Howard skips through several races at a time with brilliantly motion-tracked text depicting the races outcomes. All that is revealed of the racing scenes is what's necessary to convey the suspense, characterization and events pertaining to the depiction of the story.

Rush maintains a perfect balance of cinema elements including dramatics, humor, intensity, character development and conflict that are lacking in most sports films. Certainly, this film stands on a pedestal of best sports dramas and perhaps is the best racing film out there.

The simplicity of the film may serve to disappoint those who are in search of a more profound story. The film wraps up leaving no desire to journey further into the themes and simply serves to entertain for what it is because that was Howard's intention. The narrative didn't even faintly dissatisfy my personal search for profundity.

Rumors have already begun circulating even before the official release of Rush to theaters concerning the potential relationship this film may be having with our upcoming Oscar season. After Howard's success at the Academy Awards with A Beautiful Mind and Frost/Nixon, there seems to be no doubt that Rush will have the same fate. Howard will be competing with other directors such as David O'Russell, Martin Scorsese, George Clooney and Alfonso Cuarón, all of who are held to high standards for their upcoming films later this year.

Howard, however, has already proven himself a worthy candidate and doesn't cease to impress the audience with his latest installment in his filmography.

Movie Review: Escape from Tomorrow

When a movie's official poster depicts Mickey Mouse's gloved hand dripping with blood, you know things are about to get real, or rather surreal in this case. From newcomer director Randy Moore comes Escape from Tomorrow, a daring work of filmmaking that most likely has a very slippery road ahead of itself. Filmed mostly onsite at both Disneyland in California and Walt Disney World in Florida, Escape from Tomorrow is sweeping the festival scene because of its dark, surrealist content and style, and especially its bold techniques. Using these guerilla filmmaking techniques, Moore and his cast and crew put together the film completely under the nose of park security and without permission from the Walt Disney Company.

The plot centers on the father of a vacationing family. He has recently been laid off from his job and is trying his best to withhold this information from his family as they spend time in a land “where dreams come true.”

He eventually takes his daughter on rides while pursuing two beautiful pre-teen French girls thƒroughout the park. As the theme park starts to take a toll on him and reality and fantasy seem to blur together, things get even stranger. I don't want to give too much away, but he starts seeing things such as Disney princesses alternating as hookers for Asian business executives, and even brainwashing conspiracies.

The film has had very little official marketing apart from a trailer, a theatrical poster and a clip, which has since been removed from pretty much every site that offered it. Thankfully, the Internet and news sources have given it quite a bit of attention to stir up interest.

The trailer itself includes a quote from a HitFix article.

“A film that should not exist by any rational definition,” it reads.

This type of promotion is sure to instigate some curiosity, especially considering the film's unique and risky production history, and its seemingly irreverent, or perhaps innovative, handling of Disney, a powerful icon of innocence and youth.

Another interesting aspect of the film's promotion is the very beginning of its official trailer, with a parody of the Motion Picture Association of America's “green band.”

“The following motion picture has not been approved for all audiences by the Walt Disney Company,” it reads.

This is an honest declaration for sure, and it's definitely going to build some controversy.

Speaking of controversy, the Walt Disney Company has yet to take action against the film. They have remained silent for now, which is probably a better strategy than taking Moore and company right to court, because doing so would only create more publicity for Escape from Tomorrow. But it's inevitable that a confrontation in the form of lawsuits will come about eventually.

I, for one, think Escape from Tomorrow is a grand experiment in independent filmmaking, and it puts the previously unknown director Moore on the grid as an artist to watch out for. Whether or not Disney takes action against him for his guerilla efforts, Moore has created what seems to be a cult classic on the rise. Hopefully it will get more attention as it continues its circuit through theaters and festivals, and if the “Imagineers” over at Disney decide to lawyer up, so be it. They'd only be helping the film's reputation. A lawsuit would definitely make things more interesting, that's for sure.

"Breaking Bad" conclusion is straightforwardly unsatisfying

Walter Hartwell White is dead. His empire has blown away with the desert wind. Viewers across the globe are left only with the memory of his works, “Nothing beside remains.” “Felina,” the finale episode of fifth and final season of “Breaking Bad,” was incredibly satisfying in almost all ways. Most shots and moments resonated as Vince Gilligan and his team put their masterfully crafted tone and process to work.

White never has a weapon in most high-tension scenes, and the camera tells more of the story than the dialogue, as has been tradition for the show. He appears in a diner pulling a chair up to the table of his adversaries, for instance, and the scene invokes so much more emotion and suspense than explosions or gunshots.

The mechanics and implications of the final shots were disappointing. The introduction included a quote from the poem “Ozymandias,” signaling it as a thematic guide for an entire episode - the overall arc of the season and perhaps the series.

We are left watching the corpse of White as the shot drifts above the Nazi compound and ends without showing the desert or a similarly appropriate and significant final shot.

Much like a good poem, the final lines and moments of a television series are often most discussed and remembered. They represent the spirit of the work. “Breaking Bad” has had tons of spectacular visual moments as a standard for the show, and this final shot does not pack much of a cathartic or meaningful punch for the viewers.

“The Sopranos” first popularized America's obsession with the premium television antiheros with its intriguing concept of an Italian-American mob boss going to therapy. Most of our popular shows now are variations of this antihero archetype. “Mad Men” is about an ad executive's dark worldviews and actions, “Boardwalk Empire” is about a town official profiting off of prohibition and corruption and “Breaking Bad” is about a Mr. Rogers-like chemistry teacher turned into drug kingpin Heisenberg.

Why do we love White and Heisenberg? Perhaps it's because they do what we all wish we could or that their stories are a modern retelling of the American dream or we gain insight from their struggles of qualifying themselves as “men” in this world. Regardless, millions have tuned in for years to see them labor all for themselves, embodying a distinctly American spirit.

At no point are the viewers forced to realize the horror of loving a murdering, lying, meth-producing White. He dies in pleasurable nostalgia as he recalls his empire and cooking. Yes, the season did address these issues earlier, but the final moments of the episode do not. If the producers were willing to alter chronology to convey a better meaning, why did we not see White spiritually die at Hank Schrader's death, and then die physically in a closer timeframe?

Vince Gilligan said after the show aired that he wanted a straightforward ending, but “Breaking Bad” has never been totally straightforward, and a good amount of meaning was lost to this choice.

With other television shows ending with intensity and commentary much stronger than the “Breaking Bad” finale, I question how much staying power the show has in the sphere of American life in culture in 10 or more years. The “Golden Age of Television” might have just noticeably began to decline, but I loved the hell of a ride White has taken us all on, and I would not trade it for nearly any other.

Album Review: Get Wet

If it has a nice beat, you can dance to it. That saying certainly applies to electronic dance music trio Krewella's first studio album, Get Wet, released Sept. 24. It's actually an appropriate title, considering that the group made quite a splash last year with its debut EP Play Hard. The group established a unique sound, bridging the gap between harder-edged dubstep and pop.

Krewella has two female lead singers − sisters Jahan and Yasmine Yousaf - along with accompanist and producer Kris “Rain Man” Trindl, who sets the group apart from other artists in the scene. Picture, if you will, Ke$ha with more of a bite.

This group was on its way up but still had a lot to prove come the release of its first album. Unfortunately, most of the new material this album has to offer is repetitive and not very imaginative. It has a nice beat which, if played in a club, I would absolutely dance to, but it doesn't really do much in the listening department.

The album's first four songs are extremely catchy and hook listeners right away, but when given the opportunity to expand those hooks, the group simply falls flat and just repeats and repeats and repeats.

The highlight on the album would probably be “Come & Get It,” which uses a great fast-paced drum and bass beat as opposed to the standard house beat that most of the songs use. The vocals are top notch and the drops are fast and frenetic. One thing I have to applaud on this album is the texture of the synthesizers, as they are quite lush and appealing.

The award for biggest wasted opportunity on this album goes to “Dancing with the Devil.” This track features Patrick Stump and Travis Barker from Fall Out Boy and Blink-182, respectively.

With this amount of talent, this track should have absolutely been a standout, but Stump's vocals are so muddled in with the Yousaf sisters. Barker's drums blend in so well with the electronic beats that we hardly hear them at all. The melody is repetitive, and the song is not structured well overall. It is certainly the biggest disappointment on the record.

“Alive” and “Killin' It” are two tracks that were previously featured on the EP and remain highlights of this record. “Alive” glistens with wonderful piano backing and soaring vocals amidst the electronic elements, and “Killin' It” shows no mercy on the drops. It's a brutal, heavy dubstep track that will really get you going. Unfortunately these two tracks are all that stand out for me on the latter half of the album, except for one more.

If you can get your hands on the deluxe edition of the album, the very last track, “Lights & Thunder,” is a wonderful addition. It features trance DJ Gareth Emery, and the track itself certainly has a trance music edge, as it's more soft, lush and vibrant than the rest of the bunch. It has a great pulsing backbeat and a glitch texture that keeps it interesting. This is a must-listen, and it's unfortunate that it is only included on the deluxe edition.

I have a feeling that the group will continue to evolve and learn from its experiences, but this offering is a bit of a letdown. If Krewella can learn to drop the repetitive nature of the songs and play more with changing the hooks and melodies, then it will be successful. It has a good beat, and you can certainly dance to it, but it probably won't be on repeat anytime soon.

Movie Review: Don Jon

Don Jon, which hit theaters on Sept. 27, may be the most vulgar film of the year, but it's hard not to join in with the laughter it inspires. Written and directed by Joseph Gordon-Levitt, Don Jon is the story of Jon Martello Jr., a self-absorbed, porn-obsessed character played by Gordon-Levitt himself. The movie follows Martello as he deals with the repercussions of his morphed sexual expectations resulting from his addiction to porn.

First off, if you can't make it through the first five minutes of the film, it isn't your movie. Gordon-Levitt starts his sexual venture boldly with a racy introduction into the life of Martello, which includes his passion for family, church and porn. Around 60 percent of this introductory sequence consists of spliced clips from actual pornography − all rated R. If this makes you uncomfortable, don't watch it.

It may not be the visuals of Gordon-Levitt's film as much as it is the frequent and graphic audible depictions of sexual imagery that may set a low-key audience over the edge. Don Jon is a confident film that doesn't leave room for anything to be served lightly.

If this sounds tolerable, you're bound to get a kick out of everything.

Gordon-Levitt sports an interesting New Jersey “guido” accent alongside his superb co-star Scarlett Johansson, who plays his romantic interest, Barbara Sugarman. Sparks fly between them.

If that's not evidence enough of a star-studded cast, then perhaps Julianne Moore, Tony Danza and Glenne Headly are the cherries on top, not to mention the cameo appearances by Anne Hathaway and Channing Tatum.

The story is neat, organized and absurd − the perfect combination for a Sundance Film Festival selection. In fact, Entertainment Weekly Managing Editor Jess Cagle called the film “one of the best movies I saw at [Sundance].”

Although the ending may serve to disappoint some, it illustrates and concludes the key message of the film in a neat package that leaves few holes poked for breathing room, not that you'd need it.

Don Jon serves as Gordon-Levitt's feature film directorial debut, building on his already promising career as an actor. His directing style is clearly noticeable, intriguing and engaging throughout the film. Although there are a few bumps in his style, Gordon-Levitt is definitely a talent to watch in the future.

Album Review: States

After the release of two successful EPs, Woodland in 2011 and Young North in 2012, Australian indie-folk band The Paper Kites have finally released their first full-length album, States, on August 30. Having been an avid fan of the band since the release of Woodland, I had eagerly awaited and set high hopes for their first LP, and it's safe to say that they definitely did not disappoint. The band's dream-like vocals and layered instrumentals ventured into a realm of music that their previous EPs had only slightly dabbled with.

Similar to their other albums, States still retains the group's overall indie-folk feel, with soft vocals and instrumentals that make you feel as though you're strolling through an English countryside - or Australian, in this case. After listening to the first few songs off of the album, however, it is apparent that the band was trying to experiment more with its music by adding in new and eclectic instruments and sounds, as seen in “A Lesson From Mr. Gray,” “Cold Kind Hand,” and “In Reverie.”

The album opens up with the track “Malleable Beings,” one of the longer tracks on the album, clocking in at over five minutes. This track is a dangerous one; after nearly 30 seconds of listening, it completely swallows you whole with its perfectly smooth harmonies and dream-like instrumentals and puts you in a trance, leaving you wanting more.

“Young” was the next song on the album that caught my attention. It is a bit more upbeat than the previous four tracks, with soft acoustics and a catchy beat that weaves its way in and out throughout the song. It leaves you feeling as though you've just floated on a cloud of magical fairy wonder. Seriously.

The next track, “A Lesson From Mr. Gray” is definitely one of my favorites off of the album. It's exponentially different from any other track that they've ever done before, and it was definitely a bold and daring step, but they were able to come through and pull it off. It steps out of the realm of indie-folk and dives into a bluesy-rock field with a distinctive bassline and echoey vocals. And with a reference to Oscar Wilde in the title, how could the song not be anything less than extraordinary?

Both songs “Tin Lover” and “Tenenbaum” are two of the most pure, relaxing songs on the album and by far two of the most beautiful. They're both so simple and raw yet still so captivating. Definitely listen to these if you're in the mood to daydream and meander through an open field and ponder the questions of life.

With any album, there are some songs that just captivate you from the first few seconds; for States, it was undoubtedly the magnificently written and beautifully composed “Never Heard a Sound.” The track features a rad harmonica solo and painfully perfect harmonies. Unfortunately, it's a shame that this is the shortest track off of the album, only being about three minutes long. It is a bit reminiscent of the equally incredible track “Bloom” off of their Woodland EP with its fragile vocals and orchestrations.

States closes with its longest track, “I Done You So Wrong,” one in which almost brings us back to reality after being placed in a dream-like trance from the rest of the album. The song itself is like one, seven-minute-and-six-second musical journey, incorporating numerous instruments and of course, their ever-present harmonies.

The Paper Kites are definitely going places, or flying, rather. Catch them on tour in the United States starting Wednesday Oct. 2.

Album Review: Loud Like Love

Alternative rock band Placebo has never achieved as much fame as many of its contemporaries in the art rock genre, but it has always stood above the rest.

Frontman and singer Brian Molko has one of the most emotive voices in modern rock, and his lyrics are often very poignant and captivating. The band itself is often extremely talented, and can craft masterful soundscapes in ways others may not expect.

Though having the reputation for being a darker toned band, Placebo's new album Loud Like Love is actually a bit of a change of pace. There's still darkness and heartache, but wrapped up in a different shell. It's an exploration of the concept of love from multiple angles, and some are quite dark.

The album starts with a bang. “Loud Like Love” is a track that's both well written melodically and lyrically. It's the kind of song that albums are meant to start with; a lush track that uplifts and inspires. It hits hard, and the band is in top form here on all counts. The track definitely gives a sense of the overall tone of the album.

“Too Many Friends” is the next track that jumped out to me. The lyrics are very well written and present an interesting thought: “I've got too many friends. Too many people I'll never meet and never be there for.” To me, this is a perceptive look at social networking and how it actually impacts how we can and cannot meet people we see online.

“A Million Little Pieces” is the next highlight, and perhaps this is the most Placebo-like of the whole album. It's a wonderful look at heartbreak, and there's a beautiful piano that drives the track and holds it together, despite the title. Molko is very good on this one. There's a sentimental sense about the whole song.

The final track of the album, “Bosco” is simply breathtaking. It's a triumph of not just the album, but the way songs can and should be written. The song takes a look at a relationship between a man who drinks and abuses his partner, and the thoughts that run through his head as he regrets every mistake he makes, and how feels about his love.

It's a simple song, with a simple piano melody, but it's all that's needed. If there was any more to this song, it would almost seem false. The honesty is held together by Molko's incredible inflection and lyrics, and the simplicity of the instrumentation. It's quite beautiful, and a must-listen.

All in all, the rest of the tracks of the album are worth a listen because the lyrics and musicianship are really something else, but the album suffers from one pervasive problem. The reason I don't rate it higher is because the majority of the tracks lack a melody that truly stands out. The melodies don't seem to go anywhere, which is what pulls this album down, despite the other facets that work in its favor.

This album is certainly a step up for Placebo, and if they can fix the melody problem, its future looks very bright.

"Under the Dome" captures dramatic secrets

An entire unsuspecting, average town is trapped under a mysterious, transparent and indestructible dome. That's exactly the strange dilemma that the townsfolk of Chester's Mill face in CBS's new show “Under the Dome.” Loosely based off of a Steven King novel, “Under the Dome” is a 13 episode mini-series that premiered on June 24, the finale airing on Sept. 16.

In Chester's Mill, Maine, a dome mysteriously encompasses and traps the small town and its origin is left unknown.

Sparse food, water depletion and lack of propane - all the things we often take for granted--are issues that the townspeople face, and they have to learn how to collaborate together in order to survive. Other issues arise, however, that are bigger than simply managing resources.

Everyone has secrets, but when a small town is trapped under a dome for an unknown amount of time, secrets have a way of showing their ugly heads. As Julia Shumway, the town's journalist and one of the show's major characters, says in the show's intro, “None of our secrets are safe.”

Many of the citizens of Chester's Mill have buried secrets that they are afraid of surfacing, including the dark secrets of Big Jim Rennie, owner of the town's propane and a politician who appoints himself as leader of the town.  As more secrets are exposed, tensions between the people of Chester's Mill grow increasingly and threateningly thick.

The characters also face the mystery of where the dome came from and how to get rid of it.

With no internet connection, no telephone signals, very limited radio signals and no known way to escape its clutches, the enclosure separates the citizens from the rest of civilization. As the episodes develop, a select few find themselves intricately connected to the dome and they may be the only saving grace that can bring redemption to Chester's Mill.

If you have already read King's novel, then you will be sorely disappointed if you expected the show to follow the plot of the book. The television show takes its own unique twist on King's book and makes it more suitable for television.

For example, Junior, Big Jim Rennie's son in the book has a brain tumor, which causes him to go insane and become a rapist and a murderer. In the show, although he does keep his ex-girlfriend Angie McAlister locked in his basement for a length of time, he does not commit the grotesque crimes of his literary counterpart.

Although I fully enjoyed the first season of “Under the Dome,” I feel making a second season is bit of overkill. When I watched the final episode, I thought it was officially the end of the massive dome and its secrets would finally come down with it.

I was shocked to find that there will be another season next summer with King writing the premiere episode. King, being the master of suspense and thrills, will surely write a great screenplay, but I don't think that dragging out the mini-series is really going to add anything to the plot, and I'm afraid there are only so many episodes you can make about a town being trapped under a dome before it starts to get repetitive and boring. CBS really should have stayed true to the label and kept it a mini-series.

Overall, “Under the Dome” is a sci-fi drama that is refreshingly original and each episode leaves you thirsty to know the secret behind the mysterious dome. If you have yet to see this hit new drama and you are fortunate enough not to be trapped under your own personal massive dome where television signals cease to exist, head over to Netflix to catch season one.