2046 - Begin Again

It’s hard to watch this film and not feel like you’re floating.  It’s the kind of film that makes you remember emotions and feelings that you thought were numbed by every good thing that became before it.  It means one thing - it’s the kind of film that makes you feel new feels, and that’s something spectacular in and of itself.  I loved this film.  Kiera Knightly has never been better and she is magic alongside of Mark Ruffalo.  It’s a love letter to the art of creation so it has a special place inside of me.  The music itself is really fantastic and with a purchase itself (which I’m doing as I type this).  There are so many clever and beautiful sequences here that I’d love to go into great detail about, but I’d really rather just convince you to check it out yourself.  This is easily one of my favourite films of the year so far.  It’s a beautiful, entertaining, and powerful little flick.  I liked Carney’s “Once”, I love “Begin Again” - looking forward to a nice third instalment of this ‘making-an-album’ trilogy!

1988 - Hedwig & the Angry Inch

I'm putting together some stuff for a musical-esque project so this was a great back-ground watch.  I love the shit out of this film.  I was lucky enough to discover it first as a play, so I've been with this for a long time.  It's the story of a botched sex change and the rock music that came out of it - sounds bizarre, right?  It's so fucking awesome.  It's about soul mates and identity, it's about the muse, and the art.  It's visually arresting, and the music is so goddamn dynamic, and John Cameron Mitchell just knocks it all out of the park and creates one of the most amazing auteur films of all time.  It's a shame that he hasn't followed it up a whole lot - although his other film Rabbit Hole hit me really hard and is worth checking out as well!
If you like indie rock, and rock operas and you haven't seen this - do yourself a damn favor - it's excellent.

1786 - Dazed & Confused

Good goddamn I forgot just how perfect this film in.  I was in the mood for a solid ensemble film with a great soundtrack and there are few that are on the level of this one.  It's interesting though, when you see great ensemble films often the music takes a large role as well. 
If this film isn't part of your lexicon it's a damn shame - it's one of the best coming of age stories and all the better because of it's wife variety of tales.  It's the last day of school for a bunch of kids in a small Texas town.  Some about to become seniors, the others about to become freshmen - but all of them are on the cusp of change large and small.  It also features a pretty impressive cast of up-and-comers and even the delightful Richard Linklater couldn't have predicted how big many of them would become.
If you're looking to pick this up you'll probably want to spring for the Criterion Collection edition (I have the usual) as I'm sure it's worth the extra $$$.
This is easily one of the best films of the ninties and of it's genre, one of the best in general.  If you were every a teenager in high school I just can't imagine how this wouldn't resonate with you somehow.

Muppets: The Green Album

First off, as you've probably noticed I don't tend to do a lot of music reviews.  I love music, but I'm just not a big music geek - I wish I were - I often find myself having to get my more music-hip friends make CDs for me just so that I can stay even remotely current with what's good.  However, when I heard about this CD a while back, and then had a chance to preview it last week, I just couldn't let the actual release go by without talking about it.
Full disclosure:  I fucking love the Muppets.  And it's the kind of love where if someone says that they don't like the Muppets, I just have to question if I have anything in common with them, if I could even remotely be friends with them.  On our first date where we stayed in my now wife suggested that we watch The Muppet Movie.  It wasn't hard to know that she was 'the one' :) 
So it goes without saying that growing up with these songs that they have a special place in my childhood - and there's an old rule where you don't mess with a nerds childhood.  That shit just ain't done.  But when it's done properly, it's delightful.  And that's what this album is - pure delight.  I don't buy and listen to enough new music to make any kind of accurate ruling, but for me - this is the album of the year.  A lot of it has to do with the source material and how strong it is - these songs have been covered over the years, and some, like Cake's version of Mahna Mahna are probably better, but this collection is inspired.  Allow me to geek out on some of the songs:

Muppet Show Theme: OK Go does this version - and to really appreciate it you need to see the music video - easily found on YouTube.  It's trippy, and it's a really nice way to lead you into this album.

Rainbow Connection:  One of my favorite songs.  It's a really lovely inspirational song, and Weezer actually grasps onto that and makes it go even further with the accompaniment of Hayley Williams.  This could be a wedding song.  Screw that - this should be someone's wedding song.

Movin' Right Along: Alkaline Trio gives this song the extra energy and it's awesome.

Our World:  Honestly, I'm not as familiar with this song as I am the others, but this version by My Morning Jacket is really really lovely. 

Wishing Song:  In a weird way this could become the new 'Adam's Song'.  Listen to it and you'll know what I mean...

I Hope That Something Better Comes Along:  This is easily one of my favorite (amongst a bunch of awesome songs).  Matt Nathanson's vocals really make this into a ballad for men who really don't want to settle for the wrong bitch (you'll appreciate that wonderful pun if you're familiar with the song).  And on top of this really great cover, I almost forgot just how clever the writing on this is.  It's really really awesome.

I'm Going to Go Back There Someday: So this is probably my favorite Muppets song ever.  Gonzo breaks my heart in The Muppet Movie when he sings it.  I absolutely hated the redo of the song for Muppets From Space, but this version from Rachel Yamagata is just spot on.  I think what I love so much about this song is how poignant it is, and it represents exactly what I love about the Muppets.  That they're goofy, but they have a heart, and they're smart, and they aren't trying to be anything amazing - they just are amazing.  I love this song.

So that's a pretty glowing review - and I would have been the first to trash this if it sucked.  I think my only regret is that there's no cover of Can You Picture That - there is no shortage of awesome bands that could have done a number with that.  If I thought about it enough I'm sure I'd think of others.  And if any of you are curious, there are over 800 Muppet songs that have been performed over their various television and film outings.  Click here to see the full list.

So that's all I've got.  Pick it up or buy it on iTunes.  If you're a Muppets fan it's a must have, and if you're not a Muppets fan... I feel badly for you.  What happened in your childhood to make you this way?!
Muppets: The Green Album  Muppets: The Green Album

Killing Yourself to Live

 

This is my first Chuck Klosterman, and now I have to go back and read everything else he's written.  Damnit.  

So I was given this as a birthday present about... shit... four years ago.  This gives you some sense of how bad of a reader I am.  But I'm making amends, damnit!  Four weeks into the new year, four books read.  Huzzah!  This is a friend who always buys me a really interesting book for my birthday every year, and I'm going to finally read them all.  I'm going to stop being "that asshole".  

The nuts and bolts are that Chuck is a journalist for Spin Magazine out of New York, and he's been assigned to do an "epic" story about the death of musicians wherein he'll go on a road trip to the places where they've died, and while doing so he ended up with enough material for an entire book.  But it's not just about death and musicians, although they're used strongly for metaphors throughout the narrative, what it's really about is Klosterman digging into his well of past relationships - which I myself have done through my work, as have many others.  Near the books end he even references the similarities between his quest and High Fidelity, as if he needs to compare.  

For the record, I really love what he has to say about relationships.  I think he's got a very grounded and universal point of view while at the same time speaking about it in a way that's extremely fresh and gives you a few "a-ha" moments.  However, the greatest strength of this book is sometimes it's greatest weakness.  Chuck goes into intimate emotional detail about his personal life, but he often cock blocks you from getting to know too much.  It's like a friend telling you that they've got a really awesome story to tell you, but they really can't.  It's annoying and you wonder why the hell they brought it up in the first place.  Either you tell an awesome personal story, or you don't - don't go halfway and pretend that it's enough.  And that's my biggest problem with this book, one could easily say that Chuck is being brave by putting his heart on his sleeve (and he is, of course he is) but I just figure that if you're going to go to the trouble of exploiting these relationships and these people, you might as well get right into it. 
What I particularly love is that he's not a music snob and seems extremely open minded about all types of music.  I love that he brings a Shania Twain CD with him on the trip, that he admits to owning all of Britney Spear's albums because he has a feeling it will be important, all while at the same time he goes on about the hipster albums one would expect, and a seriously in depth knowledge of rock.  I have no doubt that Chuck knows his shit about music by not discounting things because they're too popular or not enough.  I trust him.

This is a book that reads as smooth as silk.  I find that I have a tendency to 'skim' when I realize that the author is going on a tangent that I'm not into, but I don't think I missed a single word of this entire book.  It's an excellent book, and I wonder if it wouldn't make an excellent film as well...

Killing Yourself to Live: 85% of a True Story 

The Most Interesting Album of the Year (and it's FREE!)

So I shall state my bias up front. This album is from one of my dearest friends, Mr. Tom Kratz. He's the kind friend whom, despite the fact we only seen each other once in a blue moon, I correspond with frequently and whose exchanges I value and look forward to. For the last two years I've been fortunate enough to preview some of the music Tom has been working on, one of the tracks made it's way into my film The Untitled Work of Paul Shepard, several others have gained some cult status on the CBC, and from what he tells me a few of the pieces here are inspired by a project that I have in development.

Tom is also a writer of some note, he's be published throughout North America for his short fiction work and is currently working away on a novella and some other projects. I don't think that it's any exaggeration to say that Tom will be known as a kind of Leonard Cohen of his time. But enough about how much I love Tom, about the album.

The first thing you should know is that Tom had a offer for this album, but instead decided to self-distribute. It's a wise decision - he wants people to hear his music - he wants to get it out to as many people - and in an effort to do that, he's offering his album at a pay-what-you-can rate. Hell, should you choose you can even pay nothing, or download it, listen, and then decide how much you think it's worth. So it costs you absolutely nothing besides your time to give this album a shot - and I promise you, it's well worth your time.

The Betty White Sessions is an eclectic album, and while not all of it is for everyone, there is something on it for everybody. The variety of styles is something you won't see on most albums, and I promise you that you've never heard the phrase "All that's here is shit" sung so sweetly or uplifting.

This is the kind of album that can only exist in a situation where there is no limit on the creativity, no one telling the artist that they must exist within a certain context. It is the perfect forum for someone like Kratz who is eclectic, evocative, and a slew of other words that start with the letter 'e'. If there could be any criticism of this work at all it's that it doesn't play like a traditional album - it would be unfair to listen to one track and make your decision on whether you like it or not - you really need to give it a few tracks. So do yourself a favour and grab this fine album, like I said it's free or pay-what-you-can so there's no loss whatsoever outside of your own time. And if you like it, pass it along! And feel free to post your thoughts here or on Tom's page!

Click HERE TO GO TO GREAT MOUNTAIN'S DOWNLOAD PAGE!

Steven Page Vs. the Barenaked Ladies

If you knew me in high school then one thing you knew about me was that I am a big Barenaked Ladies fan. At cabarets and school concerts I'd often perform in a duo with a friend of mine and more often than not we'd find ourselves performing a BNL song or two - I did my best Steven Page impression, and just loved loved singing those songs. I'm sure that's how the band felt at the same time.
I often think about how much more gratifying it must be to be a musician as opposed to a filmmaker. With music the gratification is more immediate. You can live in it over and over while playing live for your fans. It's different being a filmmaker. It's rare that you even get to connect with your audience in person, and they're never reacting to you in the moment. Also in our country our homegrown music has a strong venue and chance for international appeal - not unlike what BNL gets - and deservedly so. So yeah, I'm a fan - I still get starstruck just a little bit when I see them in real life around the city - I can't help it, they make me feel like I'm fourteen again :)

I think that I was just about as surprised as anyone when I heard about Page leaving the band last February. So many questions sprang to mind - will they add someone new - will they continue playing the old songs, in particular the ones that featured Steven in lead vocals. Let's not kid ourselves here - one of the most unique things about the band is their vocals and how different they are among the members. Steve is a trained opera singer and Ed is unpolished (in a good way). Together, it shouldn't work - but it always has. And then when you throw the other guys in for an occasional lead it's lovely as well. But having someone else from the group sub in for Steve just didn't feel like a good idea. Just a month after the break-up the, now, foursome performed, and subsequently released the recording from their concert at Universal Studios. I can only imagine that it was their attempt to show that they can keep-on-keepin'-on. … It was… weird. I mean, it's a live recording - so there's that. But it also didn't feel right. Needless to say I was really looking forward to hearing what their first sans-Steve album would be.

Now, like I said, I was surprised that Steve left but I wasn't shocked. The band started off as a two-man show with a really fantastic back-up. And that's what Steve signed up for. As the years progressed everyone in the band started to come out of their shells. With the exception of Ed they all released solo albums. Which is what I think lead to the other guys started to get more involved in the song-writing and the vocals. Which, obviously, left less room for Page. And then came aptly named The Vanity Project, co-written with Stephen Duffy, a long time contributor to BNL and Page. It was a really lovely album, but it made me think - why is Steve doing a solo album when he's got BNL, which lead me to the conclusion that he wasn't getting enough of himself out there. When their double album, Barenaked Ladies are Me/Barenaked Ladies Are Men came out a few years back it seem solidified that the band was moving in a new direction - one of complete collaboration with all of it's members - which is a really exciting idea… unless you feel like you have so much more to offer.

So I wasn't shocked that Page left - and I didn't blame him. I understand both sides of it - the band needed to grow in a new direction and he just didn't fit it. And it seemed simple. Amicable. And then BNL released All in Good Time. I think the band would be lying if they didn't admit to this being a break-up album. And that's understandable - hell that's what people expected. But… I mean... it's kind of vicious. They haven't come quite out to admit it, but they have said that some of it is based on what happened - but I think that's being a bit kind. I could pull a bunch of lyrics to illustrate my point, but I'd much prefer you check the album out for yourself. The bad feelings are sprinkled through-out but in the ones that stand out the most to me are "You Ran Away" and "Golden Boy".

And then, today, Steven Page released Page One his first official record since the split. I've been sampling the tracks online, and he's been pretty awesome about putting them up on his site to preview. I have to be honest - I like it a lot better than BNL's new album. What I always loved most about BNL was that it was fun and energetic music that had a heart and depth to it, and that's what Page One is. All in Good Time is moody and a bit… sad - and not in the good-sad way (if that makes any sense at all). A friend of mine compared it to elevator music - which is a bit drastic, but I can see their point. Very few of the songs really stand out - I know that now that I've had some time with it I do find myself singing along - but there's no song in particular I go to... Maybe that's a good thing. Whereas the first listen of Page One made me want to go back and re-listen right away. It's not so much a break-up album as it is a fresh-start album - but Page uses metaphor to cover up the nastier stuff. Although he's been speaking out in the press about being confused as to why the band didn't change their name - or why do they continue to perform his songs. To me the answer is simple, they're a brand. A successful one at that. And so long as they don't misrepresent themselves and people are aware that it's becoming something different then I don't see a problem with it.

In the end I think the world's going to benefit from double the music now that there are two factions. I believe that BNL needed to make this album, it's a hallway that will lead to something better. And I think Steven is finally revelling in the creative freedom that he's so desperately needed. If you've never been a fan of these guys these albums aren't going to convert you - but if you've been around and you've dug the ride, you'll continue to dig it. A road split in the wood, and I said fuck it - let's go both ways!