Bring on Social Scene
Preview - Broken Social Scene @ the Town Ballroom, 11.8.07
by Joe LiButti
Mark your calendars—Thursday, November 8, Toronto-based super-group Broken Social Scene comes to Buffalo’s Town Ballroom to perform the first in their series of pseudo solo albums—Kevin Drew’s Spirit If. Kevin Drew, along with Brendan Canning, founded the group in 1999, and it has since expanded into a musical collective currently including 19 members. Nearly every one of these musicians are involved with other projects based in and around Toronto, including frequent contributor Charles Spearin of Do Make Say Think and recent indie breakout sensation Feist. With such a vast pool of talent appearing in the group, and their obligations to their respective side-projects, Broken Social Scene basically brings along whoever happens to be free (with guests often appearing at individual stops wherever convenient). This fluidity proved essential on their latest tour, when one member broke his collarbone just prior to one of their shows. The band was able to fly in a replacement from Toronto just in the nick of time.
The group has grown immensely from their ambient debut album Feel Good Lost, which featured only three contributors outside of the founding duo of Drew and Canning. Incidentally, it was the difficulties they had putting on an entertaining performance that inspired the two to start pulling in friends from the vast Toronto indie scene to flesh out live performances. With each member tossing some of the flavor of their outside projects into the mix, Broken Social Scene has become far more experimental, the sound of each track dependent on those contributing to it. These are talented musicians. The band’s current project is a series of “solo” albums, each focusing on one member, with other members featured as backup. Drew’s Spirit If is the first of many, and co-founder Canning’s follow-up is already scheduled for release in 2008.
The show should provide a rousing orchestral introduction for anyone unfamiliar with the fantastic music our neighbors to the north have been producing in recent years. The indie scene in Toronto keeps churning out amazingly talented acts, and Broken Social Scene has been able to continue expanding its ranks as a result. The decision of a number of these performers to forsake traditional instrumental lineups in favor of larger, more eclectic combinations lends bands like Broken Social Scene the ability to create layered, immense soundscapes. They can easily collapse to ambient droning or acoustic jangles. One can expect a unique and varied experience when they take the stage on November 8, and since the entire formation of the band is rooted in the desire to put on a kick-ass live show, you can be sure it will be well worth the price of admission.
The Return of Something New
Crime in Stereo – Crime in Stereo is Dead
10/10
Patrick Dowd
Crime in Stereo received most of their fame for being a great hardcore punk band, especially after their last release The Troubled Stateside, which has been highly revered by punk rock journalists. On their latest release, Crime in Stereo is Dead, they seem to have tried more of a playful indie vibe, similar to that of Brand New’s earlier material. I was expecting a typical hardcore sound from this Long Island four-piece, but once I took a step back and forgot about their earlier releases, I was truly able to find the beauty in this album.
The first song, “XXXX (The First Thousand Years of Solitude),” starts off with some simple drum kicks, which build onto what I thought was going to be a crazy hardcore hit. Instead, the song actually takes a turn for the better, breaking into catchy pop-punk with fast drum beats and a driving guitar overlay. With surprisingly smooth vocals in the verse and loud angry yells in the chorus, “XXXX” is the opposite of what they did on previous albums. This song proves to be a great start, blending elements of modern hardcore and indie punk.
Crime in Stereo is Dead continues on its way, hiding the hardcore musical tension behind catchy guitar riffs and clear vocals. Crime in Stereo is Dead creates a diverse sound that captivates and peaks in the track “Nixon.” This song does an incredible job juxtaposing the intense hardcore punk sound of The Troubled Stateside with its fast and loud guitar, drum, and bass transitioning to a smooth guitar. I could not get enough of “Nixon.” It is a true gem.
After signing to a popular hardcore label, B9 Records, I was expecting Crime in Stereo’s sound to become more assertive and fitting to the genre. They do an excellent job of creating songs with intense emotion and creative intricacy, truly highlighting their ability to blend catchy emo pop-punk with loud, fast hardcore. Most of the songs go from high to low in a blur of emotion, especially in the tracks “…But You Are Vast,” and “Vicious Teeth.” The songwriting on this release displays their musical ability. Their addicting hooks, especially found in unique drum kicks, give Crime in Stereo is Dead a defining sound. This album was created with wide appeal for both the common listener and the avid hardcore fan. In other words—if you like music, you probably want to pick this up. Expect Crime in Stereo to be making waves in the near future.
THE BABY IS GONE
Gone Baby Gone
9/10
by Adam Silkworth
Finally, the Affleck brothers are making a name for themselves together in Hollywood—it’s not all about Ben anymore. Gone Baby Gone, the latest crime drama on the big screen, features Ben Affleck calling the shots with his debut in the director’s chair while his brother Casey tackles the leading role. Other noteworthy performances include Ed Harris (Radio) and Morgan Freeman (Shawshank Redemption) along with Michele Monaghan (The Heartbreak Kid).
Gone Baby Gone, based on Dennis Lehane’s fourth novel in the Mystic River series, features Patrick Kenzie (Casey Affleck) as a small-time, private detective in Boston who gets wrapped up in a big-time kidnapping case. He becomes entrenched in the investigation after a little girl is taken from her home when her mother runs out for a moment. The family asks him and his girlfriend/partner Angie (Michele Monaghan) to aid in the investigation because they can dig around where the police cannot go.
There are three or four different phases to the plot beyond the obvious storyline, which creates fullness and the illusion of reading a complex novel—something at which many big screen adaptations fail miserably. The adaptation from print to film is wonderfully executed. The film deals with dark and unpleasant subjects including murder, pedophilia, and corruption, but somehow does so in a tasteful manner.
Every room that Patrick Kenzie walks into is filled with hostility, and for a good reason. He is a no-name detective whose usual jobs entail finding missing crack heads. Now, he is thrust into working on one of the biggest stories in the country. He knows a lot of people in the underground parts of Boston, which helps lead him to the true story behind the girl’s disappearance. Casey Affleck delivers a performance so good, it rivals his brother Ben’s in Good Will Hunting.
This movie is filled with moral and ethical dilemmas that will leave viewers wondering what they would have done in those situations. Many grisly scenes have Kenzie dealing with difficult moral decisions. Gone Baby Gone brings your emotions to the surface and makes you think about things in a different way. I found myself a little depressed walking out of this film, questioning if I really knew what was right and what was wrong.
A PUFF OF AIR
Hurricane Chris - 51/50 Ratchet
8/10
by Roger Chao
If you haven’t heard of Hurricane Chris by now, you’ve probably been living under a rock since the beginning of summer. His hit single “A Bay Bay” has taken over car stereos and cell phones everywhere. Hell, you’ve most likely yelled “A Bay Bay!” yourself on one drunken occasion or another. Now, Hurricane Chris is trying to fight off the one-hit wonder bug with his debut 51/50 Ratchet. Filled with infectious beats and synths, you’ll find yourself nodding along, even if you don’t really want to.
At only 18 years old, Hurricane Chris already shows his expertise in writing club hits. In fact, aside from song or two, almost every track on the album would fit perfectly in a packed venue. Songs like “The Hand Clap,” whose structure is simply hand clapping and synthesizer beats, have the capability to be Hurricane Chris’ next hit single. Other tracks, such as “Walk Like That,” and “Doin’ My Thang,” are also likely candidates. One of the strongest songs on 51/50 Ratchet is the remix version of “A Bay Bay,” which is simultaneously ironic and irksome. Featuring an ensemble of guest rappers such as The Game and Jadakiss, the different style of each musician gives the overplayed hit a fresh, new sound. Two tracks also featured Nicole Wray, whose sultry, soulful voice added a bit of depth and character to the album.
51/50 Ratchet’s biggest problem is its lack of originality. From the redundant beats to the lackluster lyrics, there is nothing that separates Hurricane Chris from any of the other up-and-coming hip-hop artists. Though he performs the “Ratchet” style well (made mainly of synthesizers, simple electronic drum beats, and chanted choruses), all the songs begin to sound the same after a while. The track “Bang” even begins with the infamous “A Bay Bay” chant, which makes it seem like Chris is trying to milk his single for all it’s worth. Also, his choice of topics on the album is hardly imaginative. Like every rapper that came before him, he talks about his “livin’ large” lifestyle and the trash-talkers that used to hold him down. There are also tracks dealing with all the skanky women he meets in the clubs, and of course, the deep and sentimental song about his love for his momma. With just 14 tracks, Hurricane Chris made sure to cover all the bases in the hip-hop genre.
Hurricane Chris’ mainstream debut is a fairly mediocre one. While 51/50 Ratchet does provide some catchy hooks, it does not shield Hurricane Chris from the one-hit wonder label just yet. Down the road, this 18-year-old rapper may become a hard-hitting force of nature, or just another summer breeze. Only time will tell.
TWICE AS NICE
Duo Restaurant Review
9/10
by Tori Burhans
Upon first entering Buffalo’s newest and hippest restaurant, Duo, it feels as if you’re walking through a portal to a true metropolitan, city-chic bistro, one that oozes style and class. Located in an impressive brownstone building at 297 Franklin Street, a stone’s throw away from the raunchiness of Chippewa, Duo is a rare find in Buffalo’s culinary repertoire of wings and beef on weck.
The alternate universe I found on the other side of the doorway was dimly lit and swanky. Tony Bennett crooned from inside three 50-inch flat screen TVs on the wall behind the bar. The first floor is the bar area, where live bands play every Tuesday, Thursday, and Saturday. Strikingly different from the bars I’m used to, they offer great chilled gin martinis and an extensive wine collection, but only four beers on tap: Stella Artois, Harvest Moon, Murphy’s Irish Stout, and Amstel Light.
The second floor is where the magic happens. The main dining room looks downstairs to the bar below, and has the ability to seat many diners, albeit in uncomfortably close quarters. Their menu is predominantly re-invented, fashionable Italian food that ranges from classy pizzas, to the ribeye steak, to a classic chicken cacciatore. For an appetizer, my table split the Charcuterie for two ($18), which was a cold antipasto with smoked meats, fruits, pâté, mousses, cheeses, and pickled veggies. We also sampled the smoked salmon pizza topped with dill, mascarpone and Parmesan cheese, red onions, and capers, finished with caviar ($13). Although both were more than enough for three people, we couldn’t resist. The pizza was the standout favorite. Who wouldn’t love black caviar on a wood stove pizza?
The rest of the meal was just as indulgent as the first course, with a few culinary exceptions. For my entrée, I dined on one of the specials, dual lobster tails with asparagus and horseradish-mashed potatoes ($70). Also a special that evening was a 14-ounce veal chop served over polenta and cherry tomatoes ($40). Cooked to perfection, the veal chop rivaled the excellence of the tails, yet the polenta was bland and tasteless, uncharacteristic of such a pricey establishment. The beef short ribs ($29), a regular item on the menu, were mouthwatering. They were served that evening with fresh-cut tagliatella pasta, and a sweet sauce with whole pearl onions thrown in the mix, making the dish quite easy to devour.
To top off the evening, Duo boasts their own pastry chef who produces redesigned concoctions out of otherwise orthodox desserts. The apple crumb pie à la mode and the pumpkin pie (both $7.50) ended the evening on a sweet note, even though they fell short of extraordinary.
Duo’s service is the best I’ve had in Buffalo. Each table had a sommelier (wine expert) to accompany their waiter in helping diners with pairing decisions. Despite the stuffy air that Duo can emanate, the waiters tried their hardest to keep it down to earth by giving frequent Sabres score updates.
Don’t let the prices dissuade you from going to Duo. It’s worth it and your tummy will thank you.
Flippin’ Out
Samsung UpStage
6/10
by Tara Sullivan
With the emergence of the highly hyped iPhone, cell phone companies were left scrambling to push products just as innovative, or at the very least, enticing. Verizon has their new second generation Razor and T-Mobile has their Sidekick LX, but what about Sprint? To match the sleek design and numerous features of its rivals, Samsung has recently released the UpStage, a tiny phone that packs a big, yet sometimes frustrating punch.
The UpStage, billed as a music and media phone, is one of the most uniquely designed mobiles on the today’s market. It’s super small; the matte black body only measures roughly four by one-and-a-half inches, yet despite its miniscule mass, it feels solid enough to survive an inevitable fall once in a while. The phone also comes with a handy leather jacket that doubles as an extended charger, so your phone will be safe from scratches and there’s no worrying about it dying on you. What is so different about the little phone, however, isn’t the size, weight, or even the handy charge extension, but its double-sided functionality.
On one side is a typical candy bar cell phone face complete with a miniscule half-inch display. Flip the phone over and the UpStage boasts a crystal clear, full-color screen, controlled by an iPod-like touch pad, suitable for sifting through the Sprint Music Store, playing your own stored music via Bluetooth, or utilizing one of the many web options—yes, this baby goes online, too.
Confused yet? You should be. Using separate sides of the phone for different tasks (keypad side for calls and texts, touch-sensitive controls for multimedia) via a “flip” button on the side of the phone will leave any user, well, flipping mad. For instance, looking for a specific song to download from the music store? You have to hit the button, switch to the touchpad side to type in the name, and then flip back to the larger screen to download the song. Putting one large screen with a keypad, or allowing the touchpad to control calls would have been infinitely more effective and less headache-inducing.
Aside from the crazy controls and annoying touchpad (it is extremely hard to manage, even for my tiny fingers), the UpStage makes up for its mistakes with static-free reception and a vast array of entertainment options. There’s a news station that gives up-to-the-minute headlines and weather (kind of like Moviefone options), streaming music videos, and even exclusive Sprint television shows. The phone also has a Mini SD memory card slot, allowing as much storage as your card can fit, which is great for filling up the phone’s MP3 player.
The UpStage comes ridden with kinks, so unless you’re uber tech-savvy and really patient, this might not be the model for you. But if Samsung manages to clean up the mistakes and release a second version—it would blow the competition away.
HILARIOUSLY MIND-BENDING
Portal (PC)
9.5/10
by Jason Polansky
First of all, don’t be misled by the system designation I gave Portal (PC). In addition to being a stand-alone game for download over the Steam network for PC, it is also a part of The Orange Box game pack for Xbox 360 and Playstation 3. In an industry flooded with sequels and knock-offs of the successes of others, a game as unique as Valve’s Portal deserves all of the attention it can possibly receive.
Portal is a first person puzzle game that plays off of the near-flawless Source physics engine that was one of the driving forces behind the puzzles in Half-Life 2 and its expanding episodes (two out of three are released). The difference is that Portal introduces, well, portals into the formula and ditches the action that Half-Life is known for in favor of straight-up, puzzle-solving gameplay. You are given a gun that can shoot two portals, and when you walk through the first one, it will take you to the other. On the surface, the puzzles are as simple as getting from one side of the room to the other, but similar to all other addictive puzzlers, it’s the mastery of the simple concept that drives you through the increasingly challenging stages. For example, if you have to cross a body of water that you can’t jump across, simply shoot a nearby wall to open a portal you can access, and it will take you to the other end of the room. The puzzles become more creative when you have to utilize the physics engine to reach impossible heights and speeds by falling into one end of the portal, only to be shot out of the other side. It puts a twist on classic switch puzzles by leaving open-ended solutions to otherwise simple problems.
The one thing that will hit you by surprise is Portal’s sense of humor. As an android testing the portal gun, your actions and objective are constantly narrated by a female robotic voice that encourages you with promises of cake or apologizes for the difficulty of a given puzzle. The monotone voice adds to the humor; she never fails to nail a perfect one-liner that serves to overshadow your confusion or frustration in the event such feelings may arise.
Overall, Portal is the closest thing I’ve played to a perfect game this year. Though brief, the three to four hours it takes to beat it are some of the most impressive hours in gaming you will ever play, but once you’re done, that’s it. The fun of the game comes from the satisfaction of solving each puzzle, and once you know all of the tricks, that feeling is gone. With that said, it is definitely worth the $19.99 price tag for download and is one of the best parts of The Orange Box, if you are without a decent PC. Play this game now and enjoy the cake.
PARTY PACK
The Pack - Based?Boys
4/10
by Rayshon Higgins
My Vans just look like Vans, but to hip-hop quartet The Pack, their Vans look like sneakers. Regardless of how their shoes are perceived, after their debut album, the group may have to do just that—pack. Dropping on October 30, the day before Halloween, the accurately titled album, Based Boys features their chart-climbing single “Vans.” Astonished by how much their “Vans look like sneakers,” the group put together an album full of songs with a very similar feel.
Lyrically, the album is juvenile. Today’s lyrical standards in hip-hop have become much more relaxed, allowing a wider variety of artists to create music without meaningful messages. With lyrics like, “I’m so different, you’re so not / I rock empires, yeah I’m the king / Three cute chicks, gotta choose which one / I got three phones, gotta choose which one / On the dance floor I’m the man / Two-step cool like Winterfresh,” it is hard to take something away from the songs. This lyric, like the majority of the album, doesn’t even rhyme! The lyrical content, or lack thereof, left no deep imprint or significant message with me.
The beats on the album are all crisp and on point, yet very repetitive. It is as if every song is a remix of the previous one. If the beat isn’t a pinch from another song on the album, the likeness lies within the track’s subject matter. If it isn’t about bisexual girlfriends, staying fly, or booty popping (in no particular order), then it’s probably not on this album. Don’t get me wrong, fly, bisexual, booty-popping girlfriends are right up my alley, but somehow, The Pack’s overbearing redundancy made them seem unappealing.
Though Based Boys is not suitable for fans that listen to hip-hop with the intention of being musically enlightened, it does stoke the urge to dance. It is very appropriate for the West Coast dance scene—the dread-swinging, body-jerking dance style, the Hyphee, thrives off of beats like those by The Pack member and producer, Young L. Though the songs are horrid, the beats are hardcore Hyphee. Every track, with the exception of a few, is, without a doubt, club-worthy.
With that said, I pronounce this album a party album, which is to be listened to solely for dancing and never to be studied! The Pack did it with “Vans,” but their album, like a pack of cigarettes, is destined to go up in smoke.
