Jenny Lewis

"Pretty Bird" by Jenny Lewis from Acid Tongue (2008)

Jenny Lewis sprinkles this dark and beautiful song with country-western flavour, helping to layer the track with mystique. Her seductive vocals evoke both passion and empathy, luring us in with her tales of Americana.

Ben Folds Five

"One Angry Dwarf and 200 Solemn Faces" by Ben Folds Five from Whatever and Ever Amen (1997)

Ben Folds strikes back at his elementary school bullies in the first cut from his group's sophomore album. Carried by his up-tempo piano playing, Folds style of "punk for sissies" humorously threw some fun into mainstream rock at a time when apathy and self-loathing were the name of the game. With such a great deal of indie rock nods to the past as of late, I've got my fingers crossed for a rock piano resurgence; 80s-style keyboards just aren't going to cut it.

Refused

"New Noise" by Refused from The Shape of Punk to Come (1997)

Refused are fucking back. Likely touring festivals this summer, the Swedish rock group's reunion comes twelve years after their final shows.

Much infighting followed the release of their last record (a literally prophetic album for east-coast hardcore, not to mention an all-around assault of badassery) The Shape of Punk to Come (1997). It became so adversarial that they had to cancel their last tour, eventually playing their final show together in a friend's basement in the United States which was abruptly shut down by police.

"New Noise" is no doubt* the coolest rock song from the Clinton years. Here's to hoping this isn't just a hypocritical victory lap.**

*Sources cannot be verified.

**We're ruling to waive their renunciation claims from the aforementioned press release assuming this will be a success.

Pixies

"Monkey Gone To Heaven" by Pixies from Doolittle (1989)

With references to both environmentalism, numerology and divinity, Frank Black (Pixies front man) questions the traditionally held beliefs about our planet. This canonical alt-rock tune features some of Black's most intense wailing ("Then God is seven! Then God is seven!"), but also maintains a soft chorus sung by Black and bassist Kim Deal. A staple in the Pixies' catalogue, "Monkey Gone To Heaven" offers a more complex arrangement than usually found on conventional alternative rock singles, adding two cellists, two violinists and a piano player to the mix to add a more lush sound.

Michael Caine is Harry Brown

In Daniel Barber's Harry Brown, youth crime has reached an extreme level in Northern Ireland. Violent, drug-related criminal activity has got to the point where ordinary citizens fear for their lives on a daily bases. Harry Brown (Michael Caine) greatly disapproves of the situation but chooses to live out the rest of his days playing chess with his best friend, Leonard (David Bradley), simply attempting to avoid conflict and peacefully make his way to his grave. Brown suddenly reaches his breaking point once Leonard is killed by some of these young thugs and prepares to go on a violent, vigilant rampage to ensure that they know the citizenry will no longer stand for this.

While this is in no way a breakthrough in original storytelling, the gritty cinematography and a strong performance by Caine make this an exceptional film. This seems almost like the twisted brother of Eastwood's Gran Torino, the difference here being that audiences will feel more strongly connected with Brown, a man who takes a stand to devote everything he has left to fighting the good fight (as opposed to a stubborn, old racist).

From the very first scenes of the film there is a sense of terror: footage of a murder from the hand-held camera of two laughing teens. The gang members in this film are unrelenting in their horrific actions and the way in which they are shot -- often from a distance during various riots and beatings, illustrating the mob mentality that has corrupted these young men -- vividly captures the disturbing lengths these thugs will go in order to spread fear, wreack havoc and gain power. Most importantly though, these acts are done as mere entertainment. The system has let these kids down and they are living their lives in the only way they know how.

There is a lot to work with in terms of setting for Barber's team to work with. The broken down urban landscape of Northern Ireland looks like a war-torn village and its nooks and crannies are most frightening after dark, where much of this film takes place. Martin Ruhe (director of photography) made great use of shadows to instill fear every time a corner was turned; Brown was, at times, scarier than any horror movie I've seen in recent years. As the movie crept along however, it was not old Brown that was to be frightened, but the young men that took the life of his dear friend.

This is no ordinary vigilante flick in that there are no romantic ideals of good overcoming evil. Harry Brown is simply an old man, sadly made to take matters into his own hands whether or not he is healthy enough to succeed. There is indeed a tough task ahead of Brown and Barber does great justice to the film by not making his protagonist into an action hero, instead letting his emotional motivations determine to what extent he is able to push his aging mind and body. Not only does Caine's grit validate Brown's actions, rendering them believable, his frailty lends itself to a compassionate and sympathetic reading of this unlikely hero. Harry Brown is a startling examination of society at its most horrific and vulnerable. Though the circumstances that led to Brown's actions should never have happened in the first place, he took it upon himself to fight for his freedoms, eliciting in us the great question: "Where do we draw the line?"

HARRY BROWN

Directed by: Daniel Barber

Written by: Gary Young

Starring: Michael Caine, Emily Mortimer, Jack O'Connell and Liam Cunningham

Nyle & Lil Wayne

"Let The Beat Build (Remix)" by Nyle

Philly born, but New York educated, Nyle came out of the woodwork last year with one of the year's most innovative videos. Using fellow students at NYU, Nyle put together an upgraded version of Lil Wayne's "Let The Beat Build" (posted below and far and away my favourite track on Tha Carter III). Using a full band to mimic and liven up Kanye West's soul-sampling beat, Nyle takes this song above and beyond the original with his conscious raps in place of, well, whatever it is that Weezy F. Baby is rhyming about. Nyle seems to have a lot of ambition and a good head on his shoulders so we should be seeing a lot more of him in the very near future.

Nyle

Lil Wayne

Raekwon ((Feat. Inspectah Deck and Masta Killa))

"Kiss the Ring" by Raekwon ((Feat. Inspectah Deck and Masta Killa)) from Only Built 4 Cuban Linx... Pt. II (2009)

Raekwon brought along a small selection of the Wu-Tang family (Inspectah Deck and Masta Killa) for this laid back celebration of their success in the mafioso rap game. Taking it back to their classic style, the men of the Wu reaffirm their seats on the throne with their inimitable flows over a relaxed beat comprised of two perfectly juxtaposed samples (Elton John's "Goodbye Yellow Brick Road" and "New Wu", the first single from this album).

*The next chapter in the Wu-Tang saga, The Wu-Massacre, featuring Method Man, Ghostface Killah and Raekwon, is in stores March 30th!

Sufjan Stevens

"John Wayne Gacy, Jr" by Sufjan Stevens from Illinois (2005)

Sufjan Stevens' profile of infamous murderer John Wayne Gacy, Jr. is minimalist in its use of strings and piano but paints a vivid portrait of the intimate details of Gacy's life. Sufjan's soft singing bounces back between whispers and cries to demonstrate a near-sympathetic view of secrets and double lives. Though Gacy clearly went to an unimaginable extreme, do we not all hide behind a veil of some sorts?

Tom Waits

"I Don't Wanna Grow Up" by Tom Waits from Bone Machine (1992)

It took a 43 year-old man to get into the mind of a young boy. Waits' voice has a history of its own and he uses it perfectly here to illustrate the many downfalls of adulthood through the perspective of his childhood self. The honesty that is brought about in this song can elicit a genuine fear of growing older, but not for the obvious mortal reasons.

Thom Yorke

"Harrowdown Hill" by Thom Yorke from The Eraser (2006)

In his well-known ghostly voice, Yorke fights to resurrect himself from the dead. Though partially based on the death of David Kelly, Thom struggles against the inevitable over a subaqueous, dubstep beat.

MGMT's "Congratulations"

Since the release of 2008’s Oracular Spectacular, MGMT – predominantly Ben Goldwasser and Andrew VanWyngarden, though other musicians have helped in the touring and recording process – has quickly ascended the ranks from obscure, electro-pop band to psychedelic royalty. Wheeling off the globe-spanning success of their infectious singles “Time to Pretend,” “Electric Feel” and “Kids,” the group has been lauded by critics and a diverse fan base (including Paul McCartney, an admitted fan who let the boys open for him on consecutive nights in Boston, MA). Their accelerated route to the top of the pops has been a whirlwind, taking the group all over the world and making of them the very rock stars that they ironically aspired to be on their debut record. Now, ever-cognizant of their newfound success and acceptance, MGMT has put their journey on wax: Congratulations is the sonic diary of two newcomers to the world of celebrity and the absurdity that goes along with it.

Let me be clear in stating that the following description of this record is entirely complimentary. From start to finish the progressive journey that Congratulations takes is akin to an acid-fuelled trip to the carnival. I felt the need for the preamble because many detractors of MGMT’s music have dismissed the band as being (at best) adolescent or (at worst) drug addicts, based on the psychedelic experimentation of their music as well as their casual admission to recreational drug usage. To use subjective morality in the criticism of any piece of art is an amateurish fallacy; to claim that a piece of music is either “the result of heavy drug use” or “created for drug users” is an elitist argument, taking into no consideration the merit of experimentation (in both art and life). Art is absorbed in its most pure form with an open mind, so for those of you with one intact, you will be greatly rewarded upon your listening to this record.

MGMT’s sophomore effort is bookended perfectly with “It’s Working” and the title track, “Congratulations”. With the injection of a manic psychedelic sensation into a surf-rock vibe, the former builds up beautifully in both its pacing and harmonies, setting the progressive tempo of the album to go along with the frenzy of its narrative. The latter softly winds down in a lament for days gone by, before the consequences of the prophetic “Time to Pretend” come to fruition: “I’ve got someone to make reports / That tell me how my money’s spent / To book my stays and draw my blinds / So I can’t see what’s really there,” from “Congratlations,” is a direct response to the illusions of grandeur from the breakout single from their debut album.

Sequenced skilfully, the tracks slowly build character from the aforementioned “It’s Working,” onto the Britpop ode to the Television Personalities’ vocalist with “Song for Dan Treacy.” The next two songs are both the best and most schizophrenic cuts on the record. “Someone’s Missing” begins hauntingly and depressed but there is soon a sudden change of heart. The line “It feels like someone’s missing” is repeated over and over in the last half of the song but takes two drastically different meanings; it’s softly spoken numerous times with light instrumentation to show a great loss, but shortly thereafter a full band breaks into an Abba-like triumph repeating the very same line, as if to celebrate the freedom of the lost one. Following this is the album’s first release: the aptly titled “Flash Delirium.” This is a frantic song in every sense of the word. Once it begins aggressively rising it doesn’t halt until the climactic final note. In stating that “You can’t get a grip if there’s nothing to hold,” they acknowledge how they’re dangerously walking the tightrope of accessibility. Though they do make it to the other side cleanly with their sharp production (the band produced the album with the help of Pete Kembler).

The second side is highlighted by the twelve-minute experiment of “Siberian Breaks,” a song that, to their credit, doesn’t feel half as long as it is. Only changing rhythms a few times, this monster encapsulates the thematic elements of the album bluntly: “It’s not the life lesson I’d have guessed / If you’re conscious you must be depressed / Or at least cynical.” Furthermore, the declaration of “I hope I die before I get sold / I’d rather die before I get sold” cements their fear of becoming too big and losing all control of both themselves and their creations.

The witty and upbeat “Brian Eno,” the frightening instrumental “Lady Dada’s Nightmare” (supposedly about having sex with Lady Gaga) and the closing title track ease you out of the conscious-bending adventure that you just took part in.

Though it doesn’t have the standout singles of Oracular Spectacular, MGMT’s Congratulations proves to be superior to its predecessor. In our digital era it is a rarity in that it is sequenced flawlessly, resulting in a quality listen from front to back. It may take a second listen to begin to appreciate this great work, but I promise you this: you’ll congratulate yourself for doing so.

Rating: A-

Stream full album here: http://www.whoismgmt.com/

"Flash Delirium"

The Notorious B.I.G.

"Gimme The Loot" by The Notorious B.I.G. from Ready to Die (1994)

While Biggie's easy flow and polished narrative skills were his biggest asset, it was his creativity that took this song to another level. This track plays out like movie: two young hustlers try to make a score and it turns out not be as easy as they thought. The brilliance here is that Biggie plays both characters, with two distinct attitudes and vocal styles (Biggie's classic mafioso character takes the confident leader position, while his seemingly younger pal is hot-headed and quicker with his flow). This is a true storyteller at his best.

Animal Collective

"For Reverend Green" by Animal Collective from Strawberry Jam (2007)

An aggressive, yet sweet, chide of current Western culture. Though touching on eating disorders and mental illness, there is an inherent optimism felt in this track: "Now I think it's all right to feel inhuman / Now I think that's a riot / Now I think it's all right, we'll sing together." It is so apparent how terrible things have become for everybody that we will band together in a revolutionary fashion to fight for the greater good, with a much higher concentration and appreciation for the day-to-day niceties in our lives.

OR, it's a combination of vocals and instrumentals that simply sound good to the ear. Either way, shallow or deep, it's a great listen.

My Chemical Romance

"Early Sunsets Over Monroeville" by My Chemical Romance from I Brought You My Bullets, You Brought Me Your Love (2002)

Inspired by the film "Dawn of the Dead," (based in Monroeville, PA) Gerard Way's desperate vocals evoke the film's zombies as a metaphor for making the right decision even when it's the hardest decision.

Immortal Technique

"Dance With The Devil" by Immortal Technique from Revolutionary Vol. 1 (2001)

A gritty, R-rated tale of urban gang life. Immortal Technique tells the story of a young man's journey through the streets of Harlem, never sparing the horrifying details. The lyrical imagery is raw and vivid, while the Henry Mancini sample (the piano from "Theme from the Love Story") only makes it more haunting.

Vampire Weekend

"Cousins" by Vampire Weekend from Contra (2010)

The swift, scale-heavy guitarwork channels Dick Dale's "Misirlou," while the rhythm section secures the song's danceability. Unapologetically tribal, Vampire Weekend excels at being the most experimental contemporary pop act, unearthing influences that blur eras, cultures and styles.

Erykah Badu

"Back in the Day (Puff)" by Erykah Badu from Worldwide Underground (2003)

Relaxed nostalgia over a crisp bassline. The world seems to slow down and nearly make sense as Badu injects her soul into this euphoric groove. Sweet, simple and so, so smooth.

Today's Spin Intro & Circa Survive

To ensure that I keep up with this thing I'm going to try to post a different song each day. Whether it's just recently released or not has no bearing on what goes up. The idea is to get people thinking about a wide variety of artists without having to dig through a bunch of career-spanning discographies to find the best point of entry. So this section ("Today's Spin") will be the result of my daily iTunes excavation. Some of these artists will be well known while others could be somewhat obscure, but each of them has meant something to me over the years so I'm trying to share that experience with anyone willing to listen.

I'll be posting one song each day, slowly making my way through the alphabet in order to narrow down my selection (I'd by lying if I said I wasn't concerned about my limited resources for 'q', 'x' and 'z'). Enjoy!

"Act Appalled" by Circa Survive from Juturna (2005)

On this track, Anthony Green showcases the ferocious howl that he's been known for since his days with Saosin. The vocals come across as if they are trying to escape from the claustrophobia of the guitar's tight reverb, while the crash-heavy percussion only adds to the battle between the riffs and melodies.

Beach House's "Teen Dream"

Baltimore, Maryland has been thrust into the public consciousness as a result of David Simon’s brilliant television series, The Wire. Delving deep into the underpinnings of the human condition vis-à-vis various socio-political institutions and their inherent corruption, the realism of The Wire sets it apart from any mainstream piece of art in recent memory. The city’s grit has allowed for such a glaring entry point into the examination of our reality, but, unfortunately, Baltimore upstarts Beach House have dared to dream, avoiding reality altogether on their latest record.

Beach House, the duo comprised of Victoria Legrand and Alex Scally, have always placed ambience at the forefront of their musical endeavours. Employing a sound often described as “dream-pop,” the duo’s output has been generally well-received by critics and peers alike, resulting in their inclusion on many “Artists to Look Out for in 2010,” lists. I would be remiss to say that I, too, had not included them on such a list. Since stumbling upon their sophomore album (2008’s Devotion) I’ve been anticipating the release of Teen Dream, a record that I hoped would build on the poignant pop sound of their earlier work. Though equally beautiful, Teen Dream does not extend itself beyond its predecessor. The duo should take heed to Jay-Z’s advice: “It’s all about progression / Loiterers should be arrested."

Aptly titled, Teen Dream sounds like just that: the muddled dreams of befuddled teens. Nearly each of the ten tracks begins softly with wistful synth-notes, tribal percussion and a hint of excitement to come. But alas, few of the songs make good on their evolutionary promise. Tracks tend to bleed into each other, not cinematically however, but more in the sense that they, for the most part, lack any distinct personality. The blame here lies primarily on Legrand’s vocals. Mostly inaudible, with the exception of multiple “oooh”’s and “ahhh”’s, lyrics are nearly impossible to decipher on most of the album. While her range does move with the music and add to the dream-like sound of the record, one is left to wonder, What is the point of writing lyrics if nobody understands them?

Instrumentally, Teen Dream is both whimsical and exceedingly pretty, but its neglect of any real substance will undoubtedly result in a lack of staying power. Listeners who appreciate this style would be better served with anything by The Dodos or M83’s Saturdays = Youth, a record that truly delivers in terms of both ambience and depth.

Aside from “Better Times,” “Take Care” and the stand-out, “Used to Be,” the record is as quickly forgotten as any dream. However, at $9.99 in the iTunes Store, it’s a much better deal than most sleep aides on the market.

Rating: C -

Listen to: “Used to Be”; “Better Times”; “Take Care”

"Used to Be"

History 101

In order to grow accustomed to what you're going to see in the future, here's a link to some of the work I've done in the past for TORO Magazine (a great Toronto-based cultural magazine: www.toromagazine.com):

Album Reviews

• Alexisonfire, Old Crows / Young Cardinals
• Howling Bells, Radio Wars
• The Fiery Furnaces, I'm Going Away

Concert Reviews

• 2009 Vans Warped Tour, Montreal QC, w/ Photo Gallery
• Jay-Z "Blueprint 3 Tour", Ottawa ON

Interview

• Dallas Green, RE: Old Crows / Young Cardinals and Vans Warped Tour

http://www.toromagazine.com/contributors/0dddfbf0-88a6-4d24-357b-f06911e02e52/John%20Nixon/index.html?show=columns

The Jump Off

Blogs, social networking sites (Facebook, Twitter, MySpace, etc.), message boards... do more egocentric mediums exist? The dissemination of personal opinion with dreams of finding like-minded people that otherwise couldn't be found via face-to-face, organic contact makes me anxious and angry; why must we self-publish our path towards acceptance? Superiority? The great feeling of authority in a world where we hold little to no control? Or boredom and the joy of the middle-ground: we aren't ambitious enough to leave the house and our pop cultural obsessions to experience a unique life , but we do care just enough to sit down and create an outlet for our narcissistic and apathetic musings...

So here's mine! Cynicism aside, I've simply started this to further my own literacy and writing skills while maintaining an avenue where I can express my thoughts in an uninterrupted tone. Note: this will not be a diary. My only interest is to form a commentary on mass culture, music, sports, literature and film with the occasional philosophical or existential meditation thrown in here and there with the sole strategic purpose of defending myself from the thought that I'm too caught up in cultural criticism to recognize the greater social and intellectual issues at hand (my guess is that this will be a rarity).

The over/under for posts before admitting defeat: 6.5

... for the length of time (in seconds) between the posting and the urge to delete or rewrite the piece: 15.5

Now we're underway. Thanks for reading.