The Perpetrators
Of Crime and Passion (Self Titled)
8/10
by Elina Vaysbeyn
Of Crime and Passion is a local project headed by five membegers, three of whom are University at Buffalo students. OCAP is preparing to showcase their talents after months of practice. Having gotten its start in 2004, they have finally reached a group dynamic that flows seamlessly. Composed of Asaf Nisim on drums, vocalist Daniel Marin, Kim Boulden on bass, Matthew Schaffer on guitar, and Zachary Himmelsbach handling keyboards and synths, the band is definitely green. Despite their newness on the scene, they have been fine-tuning their sound for years.
They’ve just finished producing their self-titled debut, and I got the chance to listen to their material before it gets played live all around Buffalo. As Cure-era new wave enthusiasts, they pull the genre in many directions, by incorporating the different elements of their separate playing styles. Daniel’s beautiful, atmospheric voice expands on the musical backdrop of mimicking chords, with very sentimental, as well as hardcore piano, guitar, and drum solos. As a whole, the five are especially self-conscious and talented musicians. The seriousness with which they approach their music is evident in its meticulous composition. Every part of a song is there for a carefully exacted reason.
On tracks like “I’m Sorry,” and “Losing Faith in Love,” Marin’s voice blooms into a dark, synthesized landscape, through which the instrumentals flow. Though they are far from mainstream (and let’s keep it that way), their eerie and distracted melodies are charming and catchy. “Avoiding” has a fantastic lead— persistent vocals paving the way to a melancholic, but upbeat composition, with piercing slide guitar moments.
The only criticism of OCAP is in the lyrics, some of them written at the amateur age of only sixteen. The maturity of their musical deftness by far surpasses that of their lyrics’. “If you drove a needle through my brain / It would not match the pain / That I’m feeling now”— we can all empathize with dramatic lyrics, especially when they’re sung in a Robert Smith-esque voice, but they seem somewhat trite. The music casts such an eerie and hypnotizing spell over the listener that the lyrics almost have to work twice as hard to keep up. “Transmission,” one of my favorites, is an intriguing new wave track that splices dainty, synth vibraphone taps with a full range of aggressive instrumentals.
Of Crime and Passion is not in it for the glory. They’re in it for the dignity and respect of peers and audiences alike. Hours and hours of practice have made the difference between being just another college band and being a band that takes responsibility for its actions. You can check out OCAP’s music on iLike.com or MySpace.com.
Secret CIA Shit
Burn After Reading
5.5/10
by Josh Dill
Burn After Reading is a nihilistic black comedy by the Coen brothers, famous for films like Fargo, No Country for Old Men, and The Big Lebowski. The frenetic action of the movie revolves around the chance discovery of an ex-CIA agent’s sensitive memoir by a group of feckless gym employees. Complicated chains of romantic attachment, legal investigation, blackmail, and suspicion crisscross a broad cast of characters, resulting in a confusing and meaningless rush of violence.
The official poster contains no indication of the plot, only a selection of names of stars featured in the film. That’s appropriate for this movie, which relies exclusively on its cast. Remarkably, every single character is a wretched, deceitful, dishonest, obnoxious, stupid asshole. This fact isn’t as bad as it sounds. You’d never mistake these portrayals for realism, but the utterly preposterous characters in Burn After Reading are what make it so amusing. John Malkovich plays ex-CIA agent Osbourne Cox, a pompous misanthrope whose response to every dilemma is an enraged, perfectly enunciated, “What the fuck?” (Alright, I lied. His response to some dilemmas involves extreme violence). Brad Pitt steals every scene he’s in, portraying the ultimate jackass, a buffoon of a gym trainer whose idea of intimidation is, “We’ve got your secret CIA shit.” Numerous other characters ham it up for comedic effect, including George Clooney as a sleazy womanizer and J. K. Simmons as a CIA bigwig who halfheartedly tries to make sense of the storm of stupidity, but often exasperatedly falls back on that CIA staple, “What the fuck?”
These characters are so funny and memorable that the audience can forgive their clownish, one-sided fakeness. Unfortunately, when characters are required to be something other than hilarious, the grotesque and exaggerated portrayals are jarring. I was always aware that I was watching an actress when I watched Frances McDormand’s character, Linda. Richard Jenkins’ clumsy performance as gym manager is so painfully obvious in its aims that it would have been subtler to wear a sign around his neck stating exactly what emotions his character was feeling at all times.
This farce of a movie very skillfully exploits the ridiculous situations that the characters get themselves into, but lacks any kind of resolution. With such amusing and clever premises, I hoped for a satisfying denouement. All I got was gratuitous violence and the announcement that no one had any idea what was going on. Admittedly, that’s part of the Coen brothers’ style, but in this movie it really fell flat. Also frustrating was the unrelenting unpleasantness of the characters. It’s fun to watch these vulgar idiots (or, as Cox says, “league of morons”) for a while, but none of the characters undergo any kind of redemption. Burn After Reading is certainly an amusing movie, and contains extremely hilarious scenes, but ultimately its weak plot makes it unsatisfying.
The Mog Is Mauling
Mogwai - The Hawk is Holwing
10/10
by John Hugar
There’s no limit to how great instrumental rock can be, or how much it can suck. A great instrumental rock album can blow your mind, making all the little things you do in your life seem completely insignificant. A bad one can bore you to death, and just make you crave music with lyrics that you can understand. Mogwai have always been one of the strongest bands in this genre, and with The Hawk Is Howling, they continue this trend. It is a stunning, exhilarating ride, full of creativity and virtuosic musicianship.
The album starts off with “I’m Jim Morrison, I’m Dead.” Yes, that may be the funniest song title ever, but the song itself is actually quite down-to-earth and melancholy. Despite the smartass title, don’t expect a hymn to the Doors frontman ; that seems like the last thing Mogwai would be interested in. From there, we move into “Batcat,” which is probably the loudest song on this album, and one of the best. The guitar distortion here is amazing, and does a perfect job of creating a dark and frightening atmosphere. It makes you feel like the world is ending. Whereas a lot of post-rock bands like to remain mellow throughout, Mogwai have no problem rocking out a little bit, and their music is better for it. The moments of chaos and danger make the quieter moments seem more poignant. The varying tones of the album display a wide range of emotions and situations. There is nowhere this album won’t go.
There’s really nothing about it I didn’t like. I can’t think of a single song here that I have a problem with. Whether you pay close attention to the music, or just leave it on the background, it will sound amazing. One of my favorite tracks here is “Scotland’s Shame.” This track features one some of the most wicked guitar I’ve heard, mixed with a delightfully creepy keyboard riff to create an unbelievably great sound. This song is a perfect example of how brilliant post-rock can be. It gives you the feeling that you are trapped in some endless nightmare, desperately trying to escape, with each new discovery more terrifying than the last. It says more than words ever could. The key to this album is the tension; it’s quiet, then loud, calm, then angry, peaceful, then disturbed. You never know where it may take you next.
Albums this intriguing don’t come around often. Mogwai have released several great albums over their career (see 1997’s Young Team or 2006’s Mr. Beast), but even by their high standards, this is an incredibly strong effort. All ten songs on this album are captivating in one way or another, which is quite an impressive feat for an hour-long album. The Hawk is Howling is one of the finest examples of instrumental rock I’ve heard recently. It shows just how much the genre has to offer, if you’re willing to listen.
Wait...This Is Fiction?
Chuck Klosterman - Downtown Owl
7/10
by Caitlin Tremblay
I have been waiting for this moment since February when it was announced that Chuck Klosterman’s new book, Downtown Owl, would be released on September 16. I’ve had it pre-ordered on Amazon since February 5. I don’t mess around when it comes to my journalistic role model. When the nice UPS man finally delivered my copy, I finished all 288 pages in just over two hours, and honestly, the only way to describe it is with a comparison to sexual dysfunction; I was really enjoying myself, and I tried to climax, but I couldn’t.
Downtown Owl is Klosterman’s fifth book, but first novel. His other four books were either collections of essays (Sex, Drugs, and Cocoa Puffs; Chuck Klosterman IV) or Hunter S. Thompson style “gonzo” journalism (Fargo Rock City, Killing Yourself to Live).
The novel takes place in Owl, a town in North Dakota with a population of 850. Everyone knows everyone, and they often know each other better than they know themselves. The story is told through a series of alternating characters, though there actually isn’t a story. It’s like Seinfeld in a novel- nothing happens, it’s not actually about anything, but the character development more than makes up for it.
Every character has some universal quality that a majority of readers can relate to, or some underlying problem that exactly mirrors American society. That is what Klosterman is excellent at: pointing out the things in society and pop culture that most of us won’t notice. His characters are enchanting. As many problems as they have, you’ll wish you were friends with them; you’ll wish you were them.
While I was whole-heartedly impressed with Klosterman’s first foray into the modern novel, I just couldn’t bring myself to love the book. The problem is that Klosterman has such a distinctive voice and unique opinion that in every character, I heard Chuck, and no one else. Every time a character went on a rambling tangent I was reminded of Sex, Drugs, and Cocoa Puffs and how much I miss hearing Klosterman uncensored and unleashed. It’s a great novel, but it’s not what Klosterman is best at. What he’s best at is being a wise-ass commentator on pop culture and a witty, sometimes flamboyant, journalist. I would suggest reading Downtown Owl before reading any other Klosterman books. Here’s to hoping his next book is non-fiction.
Plundering the Past, But Set in the Future
Fujiya & Miyagi - Lightbulbs
7.5/10
by Josh Dill
Fujiya & Miyagi are an English band who play terse, tight, and rhythmic electronic music. Drawing inspiration from German Krautrock as well as electronic artists, the band has achieved a polished retro sound that they stick to consistently with little variation. Their last album, 2006’s Transparent Things, was filled with compact, well-structured songs ornamented with subtle hooks. The new release Lightbulbs successfully builds on and improves their signature style.
The band’s primary concern is the rhythm. The quavering synths and piercing guitar licks are basically auxiliary compared to the jaunty basslines and steady beats that drive the tracks. Even the lyrics are secondary, selected more for their cadence than their meaning. Singer David Best (alias Miyagi) spits out syllables in his signature breathy, half-spoken delivery, embellishing words with a trill of the tongue or a harsh exhalation. The band, known to chant their own name as lyrics, don’t shy away from using vocals purely as percussion, insistently repeating the same words until they gain hypnotic power, or just emphasizing a beat with a well-placed “Uh!”
Lightbulbs improves on the band’s previous LP in several ways. A real drummer was added earlier this year, an excellent addition for the band, which formerly relied exclusively on programmed beats. The guitar takes on a more prominent role in this album, playing independently instead of merely enhancing the bassline as in Transparent Things. These alterations make a huge difference in the slower tracks. In some of the band’s older music, slow songs seemed dull and repetitive, but the prominent guitar in new songs like “Goosebumps” and “Lightbulbs” really saves them.
Although propulsive opener “Knickerbocker” sounds like it could be a great track from the previous album, the second track “Uh” demonstrates how good the new sound of Lightbulbs is. The amazing bass is perfectly complemented by the snap of a real drumset as well as the decorative guitar lines. Another standout is “Pterodactyls,” which features drums, growling synths, guitar chords, nonsense lyrics, and a great bass breakdown. “Pussyfooting” is an infectious song whose syncopated rhythms and vocal hooks will stick in your head for days.
Fujiya & Miyagi certainly have a very specific method and sound, but this album proves that they haven’t boxed themselves in. With an excellent ear for what sounds good and a masterful sense of song structure, they combine instruments and elements in perfect combinations to create music that’s not only catchy, but also danceable and artistically accomplished.
Microphone Check One Two...
Preview: Buffalo Hip-Hop Festival, September 26-28
by Roger Chao
Much like a seed buried underneath the Buffalo snow, the hip-hop scene in the Queen City is slowly growing and waiting to blossom. For a city that has produced great musical acts like Green Jellö and Rick James, it should be no surprise that there is a rich and diverse hip-hop community here as well. During the weekend of September 26, all the heavy-hitters in the local area will join together to celebrate not just music, but a lifestyle in the first annual Buffalo Hip-Hop Festival.
The idea for the festival came out of “The Art of Hip-Hop,” a program that started at the Albright-Knox Art Gallery in 2004. It was initially created by the gallery to help build up membership. Headed by Edreys, one of the main performers in this year’s festival, the program featured live performances from many local musicians and became an instant hit. In 2007, “The Art of Hip-Hop 2” took place and drew in an even bigger crowd. For this year, Tony Caffero, president of Deep Thinka Records, has built upon the success of the previously one-day event and expanded it into a three-day festival.
The musicians performing at this year’s “Art of Hip-Hop” range in all different styles. On September 26, the Albright Knox Art Gallery will feature the soulful sounds of Edreys, the diversity of Fresh Guac, and the witty lyrics of A.L. Third. Going beyond just music, “The Art of Hip-Hop” will also feature exhibits from local graffiti artists, as well as workshops teaching breakdancing and turntable techniques. Best of all, the event is free and open to all ages.
On September 27, Edreys will perform again at the Rock Harbor Yard at 57 Tonawanda Street. This time, he will be joined by local acts Dali’s Climax, Pseudo Intellectuals, A.L. Third, and 6 Lenses. The event will go from 4 to 8 p.m., and like “The Art of Hip-Hop,” is free and open to all ages. For those interested in the art of breakdancing, a two-on-two breakdance battle featuring Depree, Simple, and Miss Shing-a-Ling will take place at Verse on 910 Main Street, on the third floor, from 7 to 11 p.m. And if the ‘80s are more of your scene, Merlin’s on 727 Elmwood Ave will be hosting an “Old School Party” at 10 p.m., featuring performers Mad Dukes, Sons of The King, and much more. The party is 21+ with a cover charge of $5, but if you dress up in ‘80s era attire, door price is only $2. Time to dust off those lace-less Adidas.
Finally, on Sunday, September 28, Vast Aire of the legendary Harlem duo Cannibal Ox will be performing at Broadway Joe’s. Supporting him will be Kool Taj, Askew Artistry, MP’z, and Sons of Style. The show kicks off at 9 p.m. and will be 18+ with a $7 cover charge.
For all the hip-hop fans out there wanting to check out the local scene, the Buffalo Hip-Hop Festival would be the perfect place to start. You may be in for a pleasant surprise. Realize there’s more to this city than just wings, beers, and the Bills (not that there’s anything wrong with those).
Noooooooooo!
Star Wars: The Force Unleashed
[XBOX 360/PS3]
5.5/10
by Jason Polansky
At first glance, you may be fooled into thinking that Star Wars: The Force Unleashed is a good game. On the surface, it has everything you could ever want from a Star Wars title: lightsabers, force powers, and not a trace of Jar Jar or Hayden Christensen. Dig a little deeper, however, and you’ll soon learn the disturbing reality that is a game rooted in frustration and mediocrity.
The Force Unleashed isn’t all bad, though. Everything about it screams Star Wars, whether it be locals and inhabitants ripped right from the movies, or an opening level that has you controlling Darth Vader in what can go down as being one of the best openings in gaming history. The story (which bridges the gap between episodes three and four) is quite interesting and easily stands head and shoulders above anything George Lucas has delivered in the past decade thanks to Haden Blackman’s writing and directing. You play primarily as Darth Vader’s secret apprentice who is tasked with hunting down and killing the Jedi that have survived the dreaded “Order 66.” It’s a pretty entertaining affair that has plenty of twists and turns that will have you guessing until its explosive ending. This is backed up by some phenomenal production values that deliver an authentic Star Wars feel; everything, from TIE Fighters whizzing by, to the beautifully rendered world, looks, sounds, and feels exactly how it should. The Force Unleashed is a fantastic game from a presentation standpoint.
In terms of gameplay, the title falls flat. You are given the whole arsenal of force powers, from telekinesis to the ability to manipulate lightning to fry your enemies. All of this sounds great in theory, but various control issues get in the way of fun gameplay. Targeting is a mess in every aspect. No force power is ever fully functional due to the fact that you will rarely ever pick up or hit the object or enemy you wanted to. All of this is made worse by the unbelievably cheap tactics of the artificial intelligence. You will constantly be bombarded with endless enemy fire in the form of lasers, rockets, and flamethrowers. Most of the attacks don’t have any sort of counter move, which will leave you helpless at most times and have you struggling to even get up. Considering the glimmer of potential that’s often seen throughout the experience, the unevolved basic game mechanics fall flat, leading to constant frustration.
Lucas Arts succeeds in delivering a solid addition to the Star Wars canon with an emotionally charged tale that fills in plenty of plot holes present in the series. Unfortunately, the frustrating game mechanics overtake the great presentation of the game, leaving behind a generally irritating experience that will have you throwing controllers rather than Stormtroopers. Star Wars fans are likely to look past the title’s flaws and find some enjoyment in slashing Jawas and tossing Wookies. The rest of you looking for a good action game, however, should look elsewhere.
Where the Hell is Leon?
Kings of Leon - Only By The Night
7/10
by Nick Torsell
Kings of Leon have always been branded as “The southern version of...” The Strokes since their first album Youth and Young Manhood . But the group has come a long way since their first album when Caleb Followill’s almost unintelligible southern drawl left a lot of first-time listeners turned off. The more you listen, the more Kings of Leon grow on you. Only By The Night, the latest effort from Kings of Leon has great moments throughout, however, the collective whole of the album just doesn’t match up to their previous efforts like their 2007 release, Because of the Times.
After headlining a few European festivals, (including the god-father of music festivals, Glastonbury) Kings of Leon has built their profile to unforeseen levels. “Sex on Fire” (even the band says it’s a terrible title) the first single off of the album, became a number one single in England, and Only By The Night is sure to achieve the same success across the pond. “Sex on Fire” will sound good blasting through your car stereo with its building guitar and explosive chorus where Followill proclaims “This sex is on fire,” which is either a good thing or a bad thing depending on what context he’s using. Album opener “Closer,” takes Kings of Leon into a new direction. Caleb’s unique voice on top of the creepy synth in the background sets the tone for the band’s cleaner sound. The rawness that defined their first three albums is gone. “Use Somebody,” the strongest song on the album, gives the band a sure arena rock epic that would give former tour mates U2 goose-bumps. The track “Manhattan” calls to mind last album’s best track, “Arizona,” with an echoing guitar and Followill’s ringing voice. After “Manhattan,” Only By The Night begins to lose momentum. Tracks like “17” and “I Want You” drag the album down to simply average. Both ring hollow compared to earlier standout tracks. “Notion” and the last track, “Cold Desert,” regain the band’s focus and allow the album to end on a higher note.
Only By The Night will undoubtedly be the band’s biggest mainstream success. After a year of building good will with their past releases and energetic live shows, Kings of Leon already have sold out venues like the 2500 capacity Kool Haus in Toronto and Webster Hall in New York City for their fall tour, and of course an arena tour in the U.K. that sold out in the first hour. Though it’s not their best work, Only By The Night is a step forward for the Kings of Leon, one that will hopefully bring them into the spotlight in the States.
