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REVIEW
MOVIE REVIEW // J+J+J - HIGH VOLTAGE FEAST IS ALMOST STARTED
K HW's weekly guide to sonic consumption. (GHOST ARCADE)
This punk-glam electronic duo recently got married, and their sophomore release High Voltage Feast Is Almost Started is a honeymoon unlike any other. J+J+J-J is named for the fact that Joanna and Johnny met in a church parking lot so they added Jesus as the third "J." Shortly after touring for their debut album they got married, got a house, and created an in-home studio to hone their skills and use their collection of synthesizers old and new. The results are quite impressive.
The majority of the vocals are from Joanna which give the sound something reminiscent of both of Crystal Castle's albums. However, High Voltage... seems to be more wild than CC and more designed to get the party started instead of keep the party going. The album itself starts out fast with the track "Anonymous Party Starters" which can get anybody to join in on the fun. The hard banging beat and numerous layers of succulent synth and powerful lyrics create a wave of good feelings wherever its played. Another cool track is "Tiny Voice" which includes a wobbly bass line and slick
slides and lyrics on top. Although my favorite track is "1986 (Ghost Song)" because of its bubbly instrumentals and lyrical duet between husband and wife. These are some of the best instrumentals on the album because they didn't use a repetitive or stereotypical bass line but really tried hard to create something original. Also the addition of male lyrics adds another layer of depth that other songs on the album lack.
The amount of work put in and fun that this newlywed couple had while making this album displays itself clearly after a simple listen all the way through. So check out J+J+J today and give your headphones and stereos brand new life.
★★★☆ | ZACK MARSH
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MUSIC REVIEW // WARPAINT - THE FOOL (ROUGH TRADE, 2010)
ALEX TRETBAR
Warpaint play a unique style or dreathy and delicate rock. The all-female four-piece caught the attention of ex-Red Hot Chili Peppers guitarist John Frusciante, who mixed the band's debut six-song EP in 2009. The release, Exquisite Corpse, was impressive but short, leaving me eager for the group's first LP. Now we've got a full-length, The Foot, on Rough Trade.
> KJHK's weekly guide to sonic consumption.
the opener, "Set Your Arms Down," begins with a simple and slow melody, but the rhythm almost unnoticeably shifts. The second song, which shares its title with the band's name, almost captures the gloom and off-beatness of Tool's angular aggressiveness, but without the bombastic prog-rock. "Undertow," one of the album's highlights, begins as a woozer, bleaker form of surf rock, but takes off into a post-punk meltdown. "Bees" starts with a strange drum machine and even stranger effected guitar, and different layers subtly begin to stack. Eventually the synthetic beat drops out and everything locks in, but the song keeps throwing out some interesting
electronic and glitchy effects. The drums sound distant in the mix, creating a vast, wide-open sonic texture. "Shadows" features unnerving guitar and piano and some pondering about being "drunk and tired," feeling "like a shadow" and the uneasy sense that the city can swallow a person up.
person up. The Fool is the kind of album that you listen to softly and alone with headphones, or with the speakers blasting on the highway — it's not quite party music. Warpaint's layered vocal harmonies stand out, and the band accomplishes a unique sound with traditional rock instrumentation. It may sound like the album is a downer as far as mood is concerned, but its tone is tender and ever-shifting. It's dark songwriting, but undoubtedly beautiful.
MOVIE REVIEW // HOWL
> Hollywood hits, indie flicks and everything in between.
Allen Ginsberg's "Howl" is one of the most popular, if not relevant, poems of the 20th Century in that it articulated the cries of the Beat Generation. Howl, on the other hand, is ambitious, but gets lost in its own attempt to do something similar.
The film attempts to present the titular poem through a reading of the poem by its author Allen Ginsberg (James Franco) in 1955, then during the poem's obscenity trial in 1957, then in a series of interviews with Ginsberg after the trial.
status as a legitimate literary The directors Rob Epstein and Jeffrey Friedman's knowledge of Ginsberg, the poem, and the whole Beat Generation is sound, yet the film is so uneven.
James Franco does a pretty good job as Ginsberg. He resembles him enough, and his mannerisms and delivery, though sometimes a little too punctuated at times, are quite close to his subject.
The film tries to do a number of things at once; it's a Ginsberg biopic at times, and tries to capture the Beat sentiment and discuss "Howl" itself, but even then it vacillates between the poem's cultural significance and status as a legitimate literary work.
However, the film switches back and forth from Ginsberg, to the poem, then to animated sequences depicting the poem, which are incongruent to the narrative, then flash to the Ginsberg-less obscenity trial, which meditates on the significance of the poem via mild courtroom drama.
There are snippets of Beat, Ginsberg and "Howl" in this film, but Howl/itself has no focus, and although spontaneity was key in Beat poetry, so was clarity in vision and voice. Howl only shouts.
B. S. HADLAND
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