Summer Setlist

Well, it's nearly that time...Summer time, that is! I've heard a lot of good music, great music, and seen a few good movies this year, and I'm glad the blog has given me the opportunity to do so. I've not much more to say, except to keep on rocking and leave a few of my own recommendations to make your summer tunes enjoyable. :)

If you like bluesy jazzy pop, I recommend you check out Adele's 21

If you like alternative rock, keep an eye out for All Time Low's new album.

If you're into country, listen to Brad Paisley's This Is Country Music.

And of course, always keep a look out for a new Glee album.

Peace!

--Isabelle

P.S. Just for fun, I welcome you to check out Beyonce's new video:

Speak Now

Artist: Taylor Swift
Album: Speak Now
Tracks: 14
Released: 2010

"Mine" opens the album nicely with a mild country pop; simple and cute lyrics with a vocal flair that adds greatly to their meaning. The instrumentals are appealing yet not overcrowded and compliment the visually engaging lyrics perfectly. "Sparks Fly" is a pop-versed ballad that is calming in the only way that country can be. Its rhyming lyrics keep you waiting for the next part of the story, and add a heartwarming touch to the album. Swift's vocals succeed with the performance of the lyrics, hitting all the right notes. "Back to December" tells the story of a girl that realizes she'd made a wrong decision and broken the right one's heart in the past. This is an emotion-packed apology for past wrongdoings, but it isn't overbearing or appear whiny. The instrumentals subtly glide through the background, while Swift's easy vocals take center stage. The poetic lyrics easily carry the song, and add just the right touch to the track. "Speak Now" expresses the unique situation of a girl looking in on her true love--marrying the wrong girl. The instrumentals keep a steady pace throughout the song, the lyrics made to bring a smile to your face. The title track impresses, both sweet and spicy at the same time. "Dear John" carries a light guitar melody that establishes its presence among the melancholy lyrics that illustrate a relationship that's gone down the wrong path at the fork in the road. Though at first it seems to be a heavy song, it's actually uplifting in an odd way. The pure poetry expressed by this song surpassed any expectations of this 6 minute treasure. "Mean" is a peppy anti-tribute to a bully that's never quite managed to get under Swift's skin. The moral of the song is that someday, Swift planned to become great, while the bully would stray down the same path they'd always been on. It's a cute, almost storybook expression of all the feelings anyone wanted to let out in that situation. "The Story of Us" blends pop and country elements to tell a tale of a relationship that's lost its spark. A girl is trying to cling to a relationship because it seemed so perfect, but at the same time realizes that it's not going to be happily ever after, after all. "Never Grow Up" expresses the feeling parents have wishing their children could stay safe and happy forever, and the desire for independence that children want from this feeling as they eventually grow. The nostalgic-toned song floats effortlessly through illustrative verses and choruses that are both touching and simply universal in their subject. "Enchanted" contains rhythmic verses about the discovery of a new love. The mood drifts from laid back to mildly intense as verses transition into choruses, and display Swift's easy vocal switching. "Better Than Revenge" immediately jumps into a fast paced pop rock track that you can't help but wanting to sing along to. The lyrics are unbelievably catchy, and the instrumentals create the perfect complimentary impact. "Innocent" combines almost coffee-shop-toned beats with mellow vocals that create an impeccable blend. "Haunted" uses an intriguing alternation of intense instrumentals and hints of almost classic horror soundtracks to create the overall feeling of the track title. Swift demonstrates a constantly powerful performance that adds even more depth to the track. "Last Kiss" masterfully weaves background elements and instrumentals with Swift's soft toned vocals and poetic lyrics. A calm descends over this song, allowing you to fully appreciate the story it has to tell. "Long Live" appropriately ends the album with a great toss of graduation hats. A class is graduating and knows that they have their whole future's stretched out in front of them, and still remembers the years that came before. The song builds up to a well formed peak, the whole song demonstrating the smoothness of transition and complimentary elements. It's an inspirational song and undeniably great track.
Swift's album definitely impresses, containing elements from every part of a relationship and every part of a life. There's inspiring, go-get-em' tracks, balanced by the ballads and more emotional songs that situate themselves throughout the album. The lyrics always strike home, and the instrumentals go along perfectly. If there's anything else to say about this album, it's "long live".

Are You Into It?

I'm Into You feat. Lil Wayne
Artist: Jennifer Lopez
Album: I'm Into You-Single
Released: 2011

"I'm Into You" opens with exotic sounding vocalizations and a light hip-hop beat. Lil Wayne joins in and raps for about thrity seconds in the beginning of the track. His rhymes are clever, but sort of cliched and expected. His input doesn't necessarily add to the song, but it doesn't take away from it much either. The beat picks up and the first verse of the song commences. It's a song that's easy to follow and nothing really to interpret, but the overall feel of the song is what will keep your repeat button on this track. The chorus could be a little more imaginative, sure, but most of the song keeps you energized and dancing along. Guaranteed to be stuck in your head for a very long time, "I'm Into You" adds an engaging, exotic flavour to Jennifer Lopez's new album "LOVE?", and makes me interested to see what else her album has to offer.

Summer Fun: Playlist Review

Aurelia and I had decided to create summer playlists for the blog, and eventually thought it might be fun to take it a step further and trade playlists (we'd review each other's). Each playlist contains only 15 tracks. Here's Aurelia's playlist:

1. Adele - Rolling In the Deep from the 2011 album "21"
2) Mayday Parade - Your Song from the 2006 EP "Tales Told By Dead Friends"
3. The Script - The Man Who Can't Be Moved from the 2008 album "The Script"
4) The Ready Set - Operator from the 2011 album "Young Forever"
5. My Genuine Find - 1,2,3 (feat. Mod Sun & Nickasaur) from the 2010 album "Love Enough"
6) The Icarus Account - Dear Love from the 2008 album "Mayday"
7. Watchout! There's Ghosts - A Beautiful Goodbye from the 2009 album "Ghost Town"
8) All Time Low - Dear Maria, Count Me In from the 2007 album "It's So Wrong, It's Right"
9. Never Shout Never - Coffee and Cigarettes from the 2010 EP "Melody"
10) Panic! At the Disco - The Ballad of Mona Lisa from the 2011 album "Vices and Virtues"
11. Nickasaur! - Combat Chitchat from the 2010 album "Combat Chitchat"
12) Sick Puppies - Maybe from the 2009 album "Tri-Polar"
13. Save It For Sunrise - Something to Remember from the 2006 album "More Than You're Made Of"
14)Patrick Stump - Love, Selfish Love from the 2011 album "Truant Wave"
15. Go Radio - Hollie Ollie Oxen Free (never officially released demo track)

"Rolling in the Deep" opens the playlist with a jazzy, bluesy melody accompanied by powerful vocals and a storyteller's touch in the lyrics. However, none of these elements drag the song down and make it in any way slow to develop or uninteresting; on the contrary, "Rolling in the Deep" is fierce and potent, but easy to sing along to and a great addition to the playlist. "Your Song" is an electric-guitar, bordering on screamo charged track that shakes you down to your bones and still manages to make you stand up to dance. It has unbelievably catchy choruses, and hints of lyrical sweetness during the bridge. It's a love song that keeps all the components that make you want to headbang for ninety percent of it. "The Man Who Can't Be Moved" is a mellowed out story of a breakup gone wrong. There's a man who can't imagine losing his true love, and decides to wait for her on the streetcorner where they first met. Though telling the story of a breakup that didn't go right, the track manages to be heartfelt and easy to relate to, rather than whiny and overbearing as some breakup songs tend to be. The lyrics are simple but carry so much meaning, and when set to the vocalists soothing voice, "The Man Who Can't Be Moved" proves to be a winning combination. "Operator" has catchy lyrics and a beat that ranges from hip-hop to light pop, is easy to follow, and proves itself to be great dance track. The only complaint about "Operator" is that the autotune and background effects can sometimes become a bit nagging, and at times appear to be out of place and overly distorting. "1, 2, 3" takes elements from electronica, pop, alternative, and pop rock, and mixes them up to create a pleasing combination. Though some of the lyrics and effects are a bit crowded, that effect surprisingly adds to the song, creating a hip-hop like charm. The rap inserted into the end of the track provides that little extra something that makes the track unique. "Dear Love" takes poetic lyrics and sets them to a lovely guitar melody and a smooth duet of voices that immediately calm and catch your attention. The song glides effortlessly through verse and chorus alike, and has you singing along before the last bridge. "A Beautiful Goodbye" displays amazing instrumental and vocal range, going from regular vocals to screamo in a single lyric line, and employing the use of simple drum and guitar instrumentals, as well as various autotuned sounds. It may not be everyone's cup of tea, but "A Beautiful Goodbye" fits nicely into this summer playlist. "Dear Maria, Count Me In" becomes instantly recognizable as All Time Low's signature catchy and unique in-your-face style. This track encourages the part of you that just wants to scream out the lyrics without caring who's around you. Guitar, drums, and vocals all compliment each other extremely well. "Coffee and Cigarettes" takes everyday scenes and transports them to a mellow and poetic realm that is both calming and unbelievably perky. One thing's for sure, "Coffee and Cigarettes" gives you your daily dose of artsy energy. "The Ballad of Mona Lisa" combines both soft and powerful sounds to create a strong base beat, and the quirky lyrics and vocals create a unique atmosphere that you can't help but adore. Though you might not know exactly what's going on with this track, you won't really care as you lose yourself in its enchanting world. "Combat Chitchat" has clever and amusing lyrics, however its electronic driven beat and effect infused entirety is more reminiscent of a video game theme than anything else. It's charming in its own way, but the vocals in contrast to the beat create a visible gap. "Maybe" creates an almost country rock atmosphere, geniously weaving engaging lyrics and complimentary instrumentals. The vocals are perfect for the song, with hints of strong rock elements, but not too overpowering in comparison to the song's material. "Something To Remember" presents a mild screamo track with a guitar melody that knows it's boss, and high vocals that manage to be pleasing rather than on the wrong side of pitchy. The lyrics are interesting, and the emotion is clearly written across the track. "Love, Selfish Love" borrows a rock background, an electronic pop beat, jazzy vocals, and a poetic air that wins this song the "most unique" spot on the playlist. There's art in progress as every line of the track passes, and though there's so much going on, everything is extremely uniform, working together to create something beautiful. The blend of so many different elements shows the talent that went into making the song. "Hollie Ollie Oxen Free" has a steady, easy alternative beat overlaid with gravely vocals that make the song so capturing. The guitar riffs and backup vocals greatly enhance the greatness of the track.

All in all, the playlist was very good, taking different parts of the musical spectrum and adding them to one another, effectively balancing the playlist out. Many of the artists are up and coming, and this gave me the chance to take a peek at their talents and pursuits of their art, and I have to say I'm very impressed. Every part of this playlist has something to add to my musical experience, and I'm glad I was able to review it. I'd recommend any one of these artists for your summer listening!

Check out "Love, Selfish Love" by Patrick Stump, Live:
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Artist of the Month - Never Shout Never

For our first Artist of the Month article, we will be featuring Christofer Drew Ingle, better known by his previous stage name Never Shout Never. For those of you who don't know who this artist is, here's a quick run-down. Christofer Drew is a 20-year old musician from Joplin, Missouri who can sing as well as play the guitar, bass guitar, ukulele, violin, drums, various percussion instruments, tambourine, cabasa, djembe, glockenspiel, xylophone, marimba, sleigh bells, piano, keyboard, banjo, and harmonica along with using programming to create beats and sounds on his tracks. He began his rise to fame by posting demos that had become his first EP, Demo-shmemo, on his MySpace page. (Remember, this was back when MySpace was still popular.) On July 29, 2008, he released his second EP entitled The Yippee EP, which included the single "Bigcitydreams" that gained him quite a few fans. Having gone though different phases with the spelling of his stage name, eventually settling on Never Shout Never for his release under Warner Bros. and his label division, Loveway Records. Prior to his first mini-album What Is Love? that was released in 2010, Christofer Drew went on tour with his live band known as "the Shout" to promote the EPs that he continued to release. Following The Yippee EP came Me & My Uke Ep, The Summer EP, and an self-titled EP released in January, June, and December of 2009, respectively. January 26, 2010 saw What Is Love?, the debut mini-album from Never Shout Never, in stores, with his full-length Harmony following on August 24. Melody - EP provided a filler between the two bigger releases, and a second EP with The Maine, Split - Ep, as a thank-you to fans that helped with the charity tour that the two bands did together.

Christofer Drew's music has a distinct sound, often categorized as a mix of the acoustic pop, indie pop, and pop rock genres. With lyrics that are drawn from his own life and delivered by a voice with an impressive vocal range, each song allows fans to relate to the meaning of the words, even if it's not always in a literal sense. A new feeling and tone is introduced for each track, catching your attention with unique usage of extra instruments and programmed beats. Some songs have a softer sound, while other songs lean more toward the pop rock style of music. No song fails to be true to Christofer Drew and his view on things, and despite some negative associations with his stage name because of his sometimes blunt way of sharing his views he continues to be successful with his music. Extremely talented for his age, he doesn't shape himself to be what the people want, but instead shapes himself to be what he wants. His music practically screams that fact, especially his older songs. Some of his more popular songs are "Can't Stand It" from What Is Love?, "CheaterCheaterBestFriendEater" from Harmony, "Trouble" from Me & My Uke Ep, "Happy" from The Summer EP, and "Bigcitydreams" from The Yippee EP.

Here's a video for his song "What Is Love?" to give you a taste of his style.

Big Time Rush

Artist: Big Time Rush
Album: B.T.R.
Tracks: 12
Released: 2010


"'Til I Forget About You" isn't quite an explosive opening to Big Time Rush's self-titled album, but it adds a cute flair to their already fresh-soda-pop boy band image. The typical breakup song with a little twist, "Til I Forget About You" provides enough autotuned lyrics and peppy beats for a whole album, but smoothly manages to pull it off. "Boyfriend" contains even more autotune than the last track, catchy beats, and a sense that the track has skipped over too much, literally. There's a syllable skip in the track that occurs too many times. Though at first it's tolerable, sometimes it becomes irritating. "The City is Ours" flows with a dance friendly beat and carefree lyrics, but doesn't hold much substance after a few verses. "Nothing Even Matters" describes how nothing matters when a couple are together, and states that this relationship will last forever. The chorus and single verse are constantly repeated, and though the melodies are light, they float away with their seeming lack of meaning. "Worldwide" tells the story of the ever lasting performances that take Big Time Rush around the world and away from their significant others. It reassures their girlfriends that they're thinking of them and no one else while traveling. While it's a nice sentiment, and the instrumentals compliment the song, nothing really manages to draw a reaction out of you. "Halfway There" is a motivational tune about being halfway to achieving a major goal, and is unbelievably peppy as a result. "Big Night" takes all of the previous autotune, skipping lyrics, catchy beats, and cutely cliched scenarios, and creates perhaps the best track of the album. It's elements are balanced out by each other, and finally none seem so overwhelming. It's a feel-good track that requires nothing but someone to dance along to it. "Oh Yeah" contains rhyming lyrics and a beat that leans further toward hip-hop than any of the previous songs. It's peppy and fun, the strongest and most attention grabbing track so far. "Count On You feat. Jordin Sparks" experiments with R&B tunes, and Sparks' guest appearance greatly compliments the sweet lyrics and adds a bit of spice to this otherwise partly stale album. "I Know You Know feat. Cymphonique" adds a new twist to the album, with a rap verse that brings the track to life, along with the vocalizations of Big Time Rush themselves. "Big Time Rush" is reminiscent of a rock pop genre, and the track has just enough of both to be taken seriously. The lyrics are less generic than others that are heard on the album, and make the track interesting enough. "Stuck" tells the story of a reluctant commitment to a relationship and has plenty of smoothly autotuned vocals, hip-hop/ R&B beats, and is quite enjoyable.

Big Time Rush is fond of their synthesized beats and autotune, but if they're confident enough in their musical ability, they should remove some of this veneer from their work. They have the type of vocals and lyrics that are appealing and pleasing, but the manipulation overshadows much of that. For a debut album, it's definitely not bad, but, with the exception of a few tracks, is not much to write home about. The band is definitely engaging and entertaining in certain ways, but only you can decide if they bring you the Big Time Rush.

The Sun, It Rises Slowly

Artist: Mumford & Sons
Album: The Cave-Single
Released: 2010

Built in Britain, Mumford & Sons broke out into the American music scene last year with their earlier hit "Little Lion Man". A charming folk element adds to intriguing accent-toned vocals to create a band and a musical image like no other. The entrance to "The Cave" opens with poetic, engaging lyrics and guitar accompaniment, later applying layers of banjo melodies and smooth backup vocals. There appears to be an amazing amount of instrumentals--from the powerful banjo playing to the guitar highlights during the chorus--as well as the vocals that drift from light to incredibly strong and imposing. However, these components compliment the track, rather than distract or become unattractively overwhelming. "The Cave" ends with an artistic flourish, and leaves you unconsciously lingering around the replay button. Mumford & Sons brings a refreshing gust of folk rock breeze onto the American music plane.

Who Made You King of Anything?

Artist: Sara Bareilles

Album: King of Anything-Single

Tracks:1

Released: 2010

Sara Bareilles hit the radio waves with "Love Song" back in 2007, and her newer hit single "King of Anything" is still blessing our radio channels with its jazzy goodness. The track opens with a light piano and vocal combination, transitioning into strong chords and fleeting drum attachments. The lyrics paint the picture of a relationship that's way too inclined in one direction: to a controlling, imposing significant other. He tries to steer everything his way, but Bareilles puts her foot down and decides that she can think for herself, thank you very much. 1 cup of fun lyrics, 1/2 cup of clapping to the beat, 1/4 cup trumpet accompaniment, 3 cups of jazzy piano notes, and one crown. Stir and serve with a side of singing along. There you have it: a "King of Anything".

With A Full Hand of Black Cards, The Dominoes Are Falling Down

NEW SAMPLE TRACK

Artist: Black Cards

Album: Black Cards YouTube tracks

Single: Dominoes

Released: 2011 (only on YouTube)

Black Cards is a new project formed by ex-Fall Out Boy member Pete Wentz, with reggae and ska genres in mind. Frontwoman BeBe Rexha may seem an odd choice for this type of musical influence, as her voice seems more pop-oriented, but she fits nicely into the little niche that Black Cards has aspired to carve for themselves. "Dominoes" sways to the electronic side of reggae, combining peppy tones, a hip-hop like beat, and a complimentary reggae background. Weaving all three of these elements together, they have a strong instrumental foundation that is bettered by Rexha's vocals, catchy and smooth but not overbearing. The track is actually quite quick to catch your attention, not the typical pop song, and won't let it go until it's up. With a fun lyrical incline and a solid direction, "Dominoes" proves to be the game to play. Check out the new track on YouTube, from Black Card's official channel.

A Vice Or A Virtue?

Album: Vices & Virtues (Deluxe Version)

Artist: Panic! At the Disco

Release: 2011

Tracks: 14

Panic! At the Disco has gone through man changes since they were first signed to Decaydance, including different lineups and styles of music. Brendon Urie and Spencer Smith are the two remaining members from the original group, splitting the responsibilities of different instruments in studio. Urie tackles lead vocals, guitar, bass, keyboard, and piano, while Smith takes over on drums and percussion. Together they created the newest album of Panic! At the Disco, Vices & Virtues, though it was started before the departure of two of their fellow band members. The resulting product, however, seems to have taken a throwback to their earlier music style, pleasing many old and new fans alike.

The first single off of the album, "The Ballad of Mona Lisa", takes center stage with a mysterious beginning that smoothly transfers the spotlight to the drums and bass, with Urie's unique vocal sound floating over the instruments. With an explosive chorus that highlights the guitar part and a bridge that acts as the eye of the storm, it's no wonder this song has received a mostly positive feedback. "Let's Kill Tonight" introduces a different sound from the first track, being more upbeat and using the guitar to form the tone of the song. The drums keep time while adding a sound that completes the track in a way that no other instrument could. With and intro that leaves you guessing at what the song will sound like, "Hurricane" uses guitar accents to bring out the true feeling of the song. The chorus hooks you in and keeps your attention for the rest of the song, and the bridge follows up the second chorus in just the right way with the perfect tone. "Memories" has you diving straight into a powerful intro followed up by quieter first verse, where the vocals weave their way through the different instrument parts. The chorus takes a step up from the verse to provide a slight variation to complement the rest of the song, which ends with just the right amount of flair. Strings and synthesizers take the front role in "Trade Mistakes" until the chorus, where the other instruments step up to the plate to boost the vocals and make the sound memorable. The bridge sees the vocal part take off in its own direction, backed by the other instruments and really making an impact for the first time in the song. "Ready to Go (Get Me Out of My Mind)" is a fresh sound the relies on the vocals to to carry the tone of the song, with minimal exposure on the different instruments, apart from the drums. The bridge takes a step away from the vocals for a bit, turning to synthesizer sounds, then returns to the signature vocals of the song to carry it to the end. A nice surprise of the guitar being heavily featured in "Always" recaptures your attention with a softer song that couples a flowing guitar with a vocal part that works its way along the guitar part. This track takes a break from the style of the rest of the album, yet still manages to keep your attention for the entire duration. "The Calendar" slowly brings us back to their normal style of music, with the verses setting up each chorus perfectly. The bridge of the song takes the guitar and drums to carry us on to the final chorus through the end of the song, which has the feel of an instrumental demo. The intro of the next track, "Sarah Smiles", has you thinking of a ballad from folk times until you reach the end of the first chorus. From the second verse on, the guitar and drums lay the path for the vocals to follow, building up for the second chorus and bridge. "Nearly Witches (Ever Since We Met...)" has an almost eerie opening vocal part that has the characteristics of a chorus-style of females singing, soon joined by a driving guitar part. The vocals of the song have a unique sound that catches your attention from the end of the first verse, with a slower chorus that resembles a power-ballad, setting it apart from the rest of the song. The first of three bonus tracks, "Stall Me (Bonus Track)" keeps time with a rolling guitar part and a steady beat from the drums during the verse, carrying on into the chorus where the vocals steal your attention. The bridge seems to break away from the rest of the song in a way that compliments it and keeps our minds fresh to finish the track. "Oh Glory (Demo) [Bonus Track]" has a beat that almost seems to belong in their second album more than this one, though it appeals in a way that differs from the rest of the songs on this album, especially with a bridge that makes its own mark in the song. The vocals of this track carry this song through its duration, with the drums and guitars highlighting certain portions in a way that makes them more memorable than they would have been on their own. The final song of the album, "Bittersweet (Bonus Track)" uses an upbeat drum and guitar combination to carry the vocals through the song, with a unique sound accented by harmonies and vocal beats. The chorus brings a new beat and vocal sound to the track, with the bridge providing a clever counterpart to the verse.

Vices & Virtues as a whole has received mixed reviews from fans and critics alike, with some people enjoying the throwback to the old Panic! At the Disco style, and others preferring the new style that had been introduced in the album that preceded this one. Depending on which group you belong to, you will either love this album or wish that you never even heard of it. The way the songs are constructed leave little to be desired, each track fitting in with the others in its own way like a piece of colorful mosaic art. So will you view this album as vice in the musical portfolio of Panic! At the Disco, or a virtue?

Sucker Punch!

Movie Review:

Sucker Punch

Action/Fantasy

Official Release Date: March 25th 2011

Director: Zack Snyder

Sucker Punch is an action/fantasy/thriller that debuted on March 25, 2011. This movie's plot is confusing but the movie itself is really different and original. The main character "Babydoll" is Emily Browning. Babydoll, along with the four other girls (Amber, Blondie, Rocket, and Sweet Pea) come together to escape their prison. This movie was filled with action-packed battle and fight sequences as well as a really strong moral issue. Most of the scenes in which the girls had to fight towards freedom in had almost video game quality battles and fighting-with machine guns, bombs, and swords. The visual effects were stunningly accurate and the music was perfectly fitting, seeing as the soundtrack was created for the movie. The heavy metal/rock sound co-existed to the highest with the action being taken in the movie.

All the girls were fighting for their own freedom, and trying to escape while still helping their comrades. I would say that, though there are some mildly suggestive sequences (the plot being involved with the mob etc) , overall, the story was really well thought out.

Sucker Punch is a movie that you have never seen anything like before, but i highly recommend if you are into a dramatic action packed thriller.

Just Can't Get Enough...? Or: Had Enough?

Artist: The Black Eyed Peas Album: Just Can't Get Enough-Single Released: 2011 The Black Eyed Peas are famous for their techno-electronic-pop-hip-hop remixes and flairy tracks, so it's no surprise that with their newest release, they've again shot up to the top of the iTunes charts. Also not particularly surprising was their new track was saturated with noise and overlaying beats that weren't particularly creative or inspiring. Experiencing this track is like being bombarded by over synthesized rap that only ceases to make way for airy, whimsical vocals that dance above an almost nonexistent melody. However, the track's downfall is also, unbelievably it's redeeming factor. "Just Can't Get Enough" is quite catchy once you actually run through it a few times, and though it probably won't be the most memorable track in your library, it is a fun way to pass the time.

Are They The Generation We've Been Waiting For?

Artist: Rise Against

Album: Endgame

Tracks: 12

Released: 2011

"Architects" jumps right into the frenzy and doesn't hold anything back. It deals with issues of this changing world and modern habits, in a slightly screamo, confusing tone, though the subject matter makes up for it. The actual clarity of what the song's message really is cuts through the confusion, making for an enjoyable, guitar riff and drum-driven track. "Help Is On The Way" presents a situation where someone abandoned speaks out, telling everyone exactly how they feel about being left without aid. This track also alludes to modern flaws, neighbors ignoring one another in the interest of industry or privacy issues. All in all, it's a very catchy song with clever verses and a hint of screamo during the bridge. "Make It Stop (December's Children)" is a heartfelt, more personal track that speaks volumes of emotion while still managing a hardcore rock flair. Although it lacks the screamo that Rise Against has incorporated into many of their tracks, this song manages to appeal to the "beautiful" side of rock. "Disparity By Design" talks about the cynicism and distrust of so-called "fairy tales" that many people choose to believe to get through the day. At first glance, the song's styling is very much like "Architects", at least instrumentally, but the lyrics tell a much different story. "Satellite" provides a mild rock alternative feel, the lyrics painting a philosophical picture, using lines such as "you can't understand what lies ahead if you don't understand the past."Midnight Hands" contains both elements of mystery and an enjoyable instrumental track. The lyrics are engaging, and screamo tones once again emerge during the bridge, though a later chorus transitions quietly, balancing out the intense sounds with lighter ones. "Survivor Guilt" presents the seriousness of soldiers going out to fight war with unmistakable bluntness. A soldier is telling the story of his career, being sent out to fight, giving his country everything, but leaving his family nothing but memories at his death. Raw emotion and understanding resounds in this track, and you can't help but try to relate. This track really makes you think, set to a creative rock beat. "Broken Mirrors" describes a bleak peek into the future of a man, likening it to "broken mirrors". While screamo is absent from this song, plenty of soulful verses and choruses once again capture your attention, as well as make you think about life today. "Wait For Me" combines both soft verses and intense choruses to produce a surprisingly calming effect. While other tracks purposely stirred ripples in the water, this track smooths the waves. With picturesque verses, this track hints at a more personal note. "A Gentlemen's Coup" tells the story of various conquering throughout history, which follows the same pattern, and Rise Against believes that no one has "gone far enough". Impressively blending the issue and their rock roots, this song literally screams intensity. "This Is Letting Go" speaks out about going against the grain and being an individual, despite your situation, because it's ultimately better for you and will take you to where you want to be in life. The meaning is brilliantly overlaid onto the instrumental track, making it's own unique mark on this strongly themed album. It's traditional to save the best for last, and "Endgame", the title track, is surely one of the best of this album. It immediately grabs your attention, imagining an almost Apocalyptic world, and the freedom that you can declare for yourself once it's time for a new beginning.

Battle Los Angeles Movie Review

At the start, Battle Los Angeles seems to lack the "battle" that the title promises. Various Marines and their personal stories are separately and rapidly introduced, though any action appears unlikely. Staff Sergeant Michael Nantz had experienced tragedy the last time his unit toured (he lost every one of his men), and the years aren't exactly being kind. Sergeant Nantz wants out, and never wants to see active duty again. Everything's going fine and dandy, and Nantz is nearly out, when a surprise hits California; literally. Mysterious meteors have begun to hit the surface of the earth in 20 major cities, worldwide. The military begins to gear up for what is sure to be an intense situation, dragging Nantz back to active duty. His platoon is under command of 2nd Lieutenant William Martinez, young and ambitious, straight from officer's candidate school. The situation becomes especially grave when the military, along with the general public, catches a few shaky shots of unidentified life forms piling out of the meteors: aliens. Suddenly, the platoon is launched into the foray. It's assumed that the aliens have crash landed on earth in order to steal a natural resource: water, which they use as an energy source. Aliens have begun attacking Los Angeles and Santa Monica, along with many of the world's major cities. The Air Force plans to take extreme measures and bomb Los Angeles to rid it of its alien invaders. Lieutenant Martinez's platoon plans to rescue frightened civilians from the LAPD station and evacuate them to a Forward Operating Base. During this mission, the Marines come face to face with an alien, and a civilian veterinarian aids them in dissecting it and helps them figure out how to kill the invaders. The platoon is joined by Tech Sergeant Elena Santos and other Army survivors. A helicopter comes to evacuate the Marines injured in earlier skirmishes, battered by alien attacks. An alien ship soon spots this helicopter and shoots it down, killing everyone on board. The civilians and the platoon no longer have any means of escape. Thinking on their feet, the platoon hot wires a bus, planning to drive the few miles to the Forward Operating Base, where they have hope of rescue. The platoon and the civilians travel for a bit, when it is discovered that the aliens are able to only identify humans if they give out radio signals (the military's communications), and Nantz manages to destroy an alien ship, by luring it with his radio, to a bomb. However, there's a catch. The on ramp to the highway is gone, blown to nothing, presumably by alien forces and they're not out of the woods yet. Aliens begin to circle, and Martinez decides to sacrifice himself to save the rest of his platoon and the civilians, giving up command to Nantz. He blows himself and many aliens up, while the platoon rappels down the side of the highway exit, taking the civilians to a convenience store, where they wait in a safe zone for the bombs to be dropped by the Air Force. One of the civilians had been hurt in the earlier fight on the on ramp, and he's beginning to die. The platoon waits for the air strike, but no bombs are dropped. They eventually make their way to the Forward Operating Base, discovering that aliens have destroyed it, explaining why there was no air strike. While the Marines reload ammunition and look for useful supplies and evacuation routes to safety, the injured civilian dies, leading one of the platoon to angrily recall an earlier incident when Nantz was in command of his last platoon where all of his Marines died. This platoon member's brother had served under Nantz and died. This leads to a long, drawn out talk about how Nantz would trade places with his dead men if given a chance, saying that he remembered--and cared about--each one, especially the Marine's dead brother. The men knew what being a Marine meant, and sometimes that meant sacrifice. The other platoon member is satisfied with this, and then begins to focus on the important situation at hand. Nantz guesses that the drone alien forces must have a controlling signal or command center, and knocking that out will render the alien forces useless. His platoon manages to find working assault vehicles and they ride their way to a new extraction point. After takeoff, Nantz spots an area without power in the city, leading him to believe that the alien control center could be there. He rappels down from the helicopter, ready to embark on a quest to single-handedly destroy the control center, but is followed by the rest of his platoon who won't let their commander go in alone. They track the location of the control center and head underground, getting their first look at the enormity of it. Moving above ground, they call in a missile strike that only cripples a small part of the alien vessel. Alien droids attach themselves to their control center, hoping to rescue it from incoming danger. A few more missile strikes arrive, and droids confuse the missiles, blowing the aliens up instead of their control center. Sergeant Santos uses a rocket launcher to take out a circling droid, and the control center is finally hit. The droids begin to retreat. The platoon is soon evacuated to a temporary base in the Mojave Desert, and is congratulated for their exceptional work, told to rest and eat. Other military forces across the planet are going on missions to remove the control centers in their cities. Nantz takes one look at the fresh ammunition laid out in their resting tents, and can't turn away from the action. He and his platoon gear up for the next leg of the battle, ready to win the war.
Battle Los Angeles can be called a true story gone wild. Well, that depends on the interpretation of "true story". The actual Battle of Los Angeles occurred during World War II, though some speculation says that UFOs made an appearance during this mysterious event, originally thought to be a Japanese air raid, but later labeled as a "false alarm". Battle Los Angeles worked hard to have the audience identify with its characters (though due to the size of the cast, kind of difficult to keep up with), while they scream, shoot, bomb, cut, and cry their way through an alien ridden city. It's sometimes hard to focus on everyone's personal problems when aliens are making the city collapse around you. There were so many back stories and side plots going on at once. Lieutenant Martinez has a breakdown when he realizes that being out in the field is much different than being behind a desk in class. He later sacrifices himself to save his platoon and their rescued civilians, even though he has a baby and a wife to come home to. An inexperienced, young Marine, barely a man, is killed in the alien caused helicopter crash, while his closest friend is stricken with grief because he couldn't look out for him like always. A civilian child is forced to lose his father, and a platoon member remembers the injustice that his brother had been done by Nantz, and starts a conflict about it, during an inappropriate time. There are other things to worry about than personal grudges. Battle Los Angeles isn't sure whether its a totally plot driven movie, an action flick, or a sci-fi alien shoot-em'-up. The actors delivered convincing performances, but had to pause every few scenes to be emotional and then later throw themselves back into incredibly loud, shaky action sequences that kind of gave you whiplash from the contrast. The twists and turns in the plot eventually became predictable, leaving you saying, no, destroying the aliens can't be that easy, which carries you to the next action scene after the platoon fails to execute their first plan. After a while, the gunshots become white noise and the bombings become predictable, though the element of suspense still clings on for dear life. Another death is expected, and though you've identified with the character, it doesn't seem like a huge loss after the fact. When you finally predict the plot to go one way, it actually surprises you and goes the opposite direction, though your first prediction would've probably made a better movie. By the end of the film, you're begging for something that won't leave you emotionally confounded, and thankfully, they just send them out into battle once more. The battle goes on, and finally, you can imagine the only possibly ending: peace on earth and all the aliens are gone.

Check out the trailer:

iTunes Top Five

iTunes Top Five

Week of: March 7th-March 13th
Artists: Jennifer Lopez & Pit Bull, Britney Spears, Lady GaGa, Katy Perry, Ke$ha

1. On the Floor feat. Pit Bull

"On the Floor" honestly sounds like an overdone disco disaster. Choruses are repeated to the point of pain, and appear in cut-and-paste places. Pit Bull drones on in the background and soon becomes merely noise, his rhymes overly cliched and making you long for his contribution to be over. Lopez's voice is really the only compliment to this song, smoothly blending with the instrumentals. The beat and other instrumentals aren't horribly engaging, though moderately pleasant to dance to. In a world full of pop/hip-hop collaborations, this track works hard to stand out, but eventually just fades into the background.

2. 'Till the World Ends

Britney's back...With a mediocre track. This song takes a little time to get used to. The beat doesn't disappoint, but the verses sure do. There's only so much that a pop song can express, but the lyrics still fall short. Constant skipping noises and repetition unbelievably benefit the chorus, but the rest of the song needs work. It's a lighthearted song that's just meant to be fun, though you'll probably have to rely on the instrumentals to get you through. It's the kind of track that's not really meant for you to think about, just dance. Eventually, though, you'll probably forget even that.

3. Born This Way

Lady GaGa's new single doesn't disappoint. The themes she presents are self-acceptance and individuality, set to an impossibly catchy beat. GaGa's unique style still shines. Her strong vocals perfectly compliment her message, and create a song to dance to and really appreciate. GaGa's song states that "God makes no mistakes" and neither does this track.

4. E.T. feat. Kanye West

*See earlier Katy Perry review of album: Teenage Dream

5. Blow

Don't let the cheesy cover art scare you off; Ke$ha's track is a winner. Because Ke$ha likes to use skipping as well as cutting-and-pasting vocals, this song is filled with her signature broken-record feel. The beat is solid and strong, while not taking over the vocals. Ke$ha oozes confidence, and that's perhaps why her song immediately catches your attention. Though not an original in many rights, "Blow" takes something over-used and turns it into something worth hearing.

Valdosta Will Be Your Song

Album: Valdosta - EP

Artist: Mayday Parade

Release: 2011

Tracks: 6

Valdosta, fourth release and second EP since the beginning of Mayday Parade, has fans sitting on edge with a return down memory lane to a style slightly reminiscent of their first EP, Tales Told By Dead Friends. With four songs to its name, this EP includes two new songs and four re-recordings of older songs, one from their first EP, one from their first full length, A Lesson In Romantics, and two from their 2009 release, Anywhere But Here. Featuring Derek Sanders as leading vocalist and keyboardist, Jake Bundrick as drummer and second vocalist, Alex Garcia as lead guitarist, Brooks Betts as rhythm guitarist, and Jeremy Lenzo as bass guitarist, Valdosta leaves no area uncharted in its songs.

Valdosta begins with the new track "Amber Lynn", a song that uses acoustic guitars to drive the meaning behind the words home, with strings to wrap up the song nicely. With a sound that presents itself as complex yet simple, the vocals and guitar support each other perfectly, building up at just the right moments, only to dip down seconds later to provide a smooth sound. "Jamie All Over", the first re-recorded song on the EP, presents an acoustic version of one of their most popular songs from what was known as the "Lancaster era", the time before their co-lead vocalist moved on to form another band. Reworked to have a similar feel to the original song, this reworked track allows Bundrick's vocal skills to shine where he takes the second vocal set in the song. With group vocals punctuating the bridge, and the individual guitar parts shining throughout the entire song, this version provides a fresh feel to an already loved song. The next track, "Kids In Love", was originally from their 2009 release, and with the first version of the track already well known, this version presented a new sound. With guitar parts that push the song forward and support the vocals while keeping the timing, as well as keyboards that punctuate the guitar leads that occur throughout the song, this song is a smooth reworking of the original. "Your Song", from Mayday Parade's first EP, is a complete reworking of the original, with keyboards replacing the guitars that originally strummed out the melody. However, a softer version of the original, this new version does not disappoint, with the keyboards supporting the vocals yet allowing them to dance around the chords, especially during the chorus, and then joined by a strings that play beautiful counterparts to each other. Strings and guitars work their magic in the next track, "Bruised and Scarred" (also off of the 2009 release) to bring a new feeling to the song while keeping the original sound. The guitar lead played over the verse cuts through nicely to give a slight variation from the strings, which later rejoin the guitars in the chorus and bridge throughout the end of the song, finishing it on a note that almost seems to linger between somber and longing. The last song of the EP, "Terrible Things", is also a new song from Mayday Parade, with the melody being carried by the keyboard throughout the song. What seems to be a somber song about a father talking to his son about love through his experiences soon takes an unexpected turn, accented by the rest of the band joining in for the bridge and remainder of the song as the emotion of the song increases. This track ends the EP perfectly, leaving fans wondering what will come next.

With Valdosta brining in new songs and old songs alike, the feeling that permeates the EP is one of new beginnings for the band and their style of music. Although the reworked old songs have their own charm and talent to them, most can agree that nothing can ever replace the original tracks. However, this EP and all of its components send a message to fans of Mayday Parade that most people will probably overlook, and as much as I hate to bring up old issues about the band, the truth is that even with one less member than when they started, Mayday Parade is still carrying on loud and strong. They came through with a new style in their 2009 release, straying quite a ways from their original sound for the most part, which seemed to be waving a warning flag to fans that Mayday Parade was heading downhill from their success with their first album. However, they proved everyone wrong with this release, and I hope they continue to do so. So let Valdosta be the EP you listen to after this review. It just may be worth your time.

Don't Go Into the Twilight--Movie Review

*This review does not reflect my view of the book, only the film based on itTwilight begins with a main-character voice-over, and a deer being hunted by a mysterious predator. You catch only a few glimpses of it, and it appears to be a man. The scene changes, and enter Bella Swan: slightly angsty, make that very angsty, teenager who's moving away from Phoenix, her mother, and into her father's custody. Daddy Swan is chief of police in tiny, rainy Forks, Washington. He's socially awkward concerning his daughter, not familiar with the teenager his daughter's become. As Bella's getting settled in, characters Jacob and Billy Black are introduced. Jacob is a solid looking and polite young man (Bella's childhood friend), who lives on the Indian reservation nearby along with Billy, his wheelchair bound father. The pair come bearing gifts. It's revealed that they've brought Bella a truck for her personal use around town. She's astounded by the present, but when she pulls into school the next morning, most of the school population whispers and is surprised in a different way. The school experience is mostly uneventful--Bella meets new friends Jessica, Mike, Eric, Angela, and Tyler--until lunchtime comes. Bella is intrigued by the infamous-around-campus Cullen family: eccentric Alice, uptight Jasper, cocky Emmett, proud Rosalie, and mysterious Edward. She's immediately curious about the group, but especially about Edward. They later meet in class, where Edward seems pained even sitting next to her. Later in the day, she arrives at the office and witnesses him asking to transfer to another class. His transfer request was rejected, and he stormed out of the office, leaving Bella upset. Edward skips school for a while, and Bella wonders where he's gone and why he seems to hate her so much. She'd planned to talk to him, but now her hopes were dashed. Meanwhile, a dead man is found in a nearby town, and Charlie, Bella's Dad, is assigned to the case. The dead man appeared to have been killed by an animal. That morning, Edward shows up to school, acting much more tolerant of Bella, even friendly towards her. Bella notices a sort of casual banter develop between them, and they continue talking. He seems a bit more comfortable with her now, and asks her about her personal and family life, stating that he's "trying to figure her out". During this conversation she notices that his eye color has changed from brown to a golden color. He dodges the subject, and turns abruptly down the hall, a stunned Bella left behind. While out in the parking lot that day, a near death experience jolts both Bella and Edward. Bella had gone out to her truck, when an out of control van swerved, and looked like it was sure to hit her. Suddenly, Edward was between her and the van, though he'd been across the parking lot the last time she'd seen him. Bella, startled, eventually realizes that Edward both stopped the van and dented the side panel when he'd held his arm out to protect her. She is taken to the hospital, where she meets Carlisle Cullen, a local doctor and Edward's father. When she's released, she overhears a strange conversation that Carlisle was having with Rosalie and Edward. Edward then confronts her about hearing his conversation, trying to convince her that she was imagining things when she admits to knowing he stopped the van. He departs, frustrated that she won't let the matter drop. The next day, Bella and Edward's biology class goes on a field trip, and Edward warns her not to get too close or attempt to be friends. She's confused by this and replies "why didn't you let the van crush me and save yourself all this regret?" Edward shoots down that insinuation, cutting off their conversation. Another meaningful interaction of the same nature occurs in the cafeteria, where Edward tries to present himself as a genuinely bad guy that Bella should avoid. Bella scoffs at the description, saying that he's only wearing a mask to keep people away. Deciding that they should start with something small, she invites Edward to La Push for the weekend, a beach on the Indian reservation where Jacob lives. Edward refuses and leaves, a bit agitated by something. At the beach that weekend, Bella declines to surf with her friends and instead takes a walk along the shore with Jacob, who happened to show up with a few of his friends. Jacob's friends had let something slip about the Cullens, and Bella insists he tell the story. The Cullens ancestors had hunted on the reservation land a long time before, though Jacob's ancestors objected. They made an agreement to not disturb each other, which included the Cullens and their descendants never entering the reservation land. Bella contemplates this story, and decides to look further into it, searching online. When she returns to school the next week, the Cullens have gone on an extended leave. She goes to Port Angeles with her friends to go prom dress shopping, though she takes a detour to an out-of-the-way bookshop that carries Native American-themed books, hoping to find something about the legend. According to her online source, that bookshop should have something on Jacob's legend. After departing from the bookshop with her new purchase, a few drunken locals run into her, trying to coerce her into staying with them. In distress, she has nowhere to turn, until a shiny silver Volvo speeds out of the darkness. It's Edward. She slides into the car, and Edward persuades the drunken boys to flee, accompanied by almost running over a few of them. He dramatically and dangerously pulls out of the parking lot, though it seems he executes the maneuver with ease. Still reeling from her close call, Bella nervously comments that Edward should put on his seat belt. As if he was talking to a child, he says that she should be the one to put her belt on. Later, both have calmed down, and they drive up to a restaurant where Jessica and Angela have eaten. They apologize for not waiting for Bella, explaining their extreme hunger, and Bella brushes it off. Edward volunteers to drive Bella home, and to stay until Bella eats. Bella's friends readily agree, sharing knowing looks. In the restaurant, Bella and Edward converse, and Edward reveals a bit more about himself, claiming to be able to read the minds of everyone in the building, except Bella. When he's driving her home, she accidentally touches his hand and is taken aback by how cold it is. On the way into town, she sees commotion at the police department and discovers that her father's friend has died. Shaken by all the information she's taken in, Bella arrives home and begins research with her new book. This spawns an Internet search that eventually leads her to a chilling conclusion. The next day at school, Bella departs into the forest outside of her campus, Edward following behind. He waits behind her as she confesses that she knows his true self: vampire. He then commences in showing her how different he really is. He sparkles in the sun, like thousands of fiery diamonds, has strength and speed comparable to no human, and tells her of the hunger he has for human blood, though his family only drinks the blood of animals. He admits to being a killer. Bella doesn't relent; she declares that she won't be scared away by his carnal nature. They arrive at school openly declaring themselves a couple, and later they discuss Edward's transformation into a vampire and his animal urges. Still overjoyed at their new relationship, Edward invites Bella to the Cullen house where she's formally introduced to Rosalie, Emmett, Jasper, Alice, Carlisle and Esme (the Cullen's mother figure) by Edward. Alice acts overly familiar with Bella, insisting that they will become good friends. Jasper tightly smiles at Bella, and it's revealed that he's beginning to convert, like the rest of the Cullens, to a purely animal blood diet. Rosalie shows open contempt to Bella, while Emmett seems to accept her. Esme welcomes Bella warmly, and Carlisle does the same. Edward and Bella retreat up to Edward's room, where they timidly dance to a classical track. Edward then surprises her and takes her up to the top of a large pine, overlooking a gigantic lake. Later, Bella is invited to a Cullen baseball game, oddly enough during a thunderstorm. It is soon explained when she hears the immensely loud crack of a vampire swing. She is resigned to playing as umpire, for vampiric speed and reflexes are too great for her to compare to. One swing sends the ball particularly far, and Alice senses something amiss. Three forms emerge out of a gathering mist, and Laurent, James, and Victoria ask to join the game. The Cullens are unsettled, as they fear how the newcomers would react to Bella, though there's no time to usher her away. They disguise her the best they can. The competition is friendly until a breeze comes through and James scents Bella as a human. Edward rushes Bella off to safety, while the rest of the Cullens are left to resolve the situation. It's soon established that James won't let Bella go, and is a great tracker, to his advantage. Bella panics and realizes her father could be hurt by James. Edward and her decide on a plan that will keep Charlie safe. Bella pretends to be upset when she arrives home, creating a scene and hurting her father's feelings in the process. She packs her things and leaves. The plan worked, and James steers away from Charlie's home. Edward takes Bella to the Cullen home. Laurent arrives to warn the Cullens of who they are facing, and then disappears. Bella now knows that mysterious murders committed with animal like ferocity near and in Forks were the work of this dangerous trio. Alice and Jasper volunteer to take Bella to Phoenix where she can hide, and Rosalie grudgingly takes Bella's jacket to lead James away from the actual Bella. James isn't fooled for long, however, and makes his way to Phoenix. Alice, Jasper, and Bella hide out in a Phoenix hotel room. Alice, who can see the future, unconsciously sketches a drawing of Bella's old ballet studio, Bella knows that James will be there. James calls and makes threats against Bella's mother, claiming that he has her, and gives the phone to Bella's mom so that she can plead for Bella's help. Bella escapes notice of Alice and Jasper, taking a taxi to her old studio, reciting the voice-over that appeared at the beginning of the film. She enters the ballet studio and cautiously peers around for her mother. She hears her mother's voice and opens a closet; her stomach sinks. It happens that her mother isn't actually with James, and that he'd used an old camera recording to trick her into coming to the studio. James attacks her and tries to get some of it on tape as a souvenir. Edward swoops in and occupies James. The studio begins falling apart due to their efforts. During the struggle, James manages to bite Bella, and she is now dying from a large slash to her leg and turning from the vampire venom. Carlisle, Alice, Emmett, and Jasper then arrive. Carlisle tends to Bella as the other three subdue James. Alice eventually snaps his neck and throws his body into a fire that Emmett and Jasper have built. Edward panics, even though James is dead, because he fears that Bella will die and change. Carlisle tells him to make a decision, and Edward takes Bella's wrist and sucks the vampire venom out of her, withdrawing just in time so he doesn't kill her. Bella blacks out and awakes in a hospital, her mom by her bedside. The Cullens have taken care of Bella's story, painting the incident that landed her there as a clumsy accident. Bella is later released from the hospital, and returns to her father's. Prom night rolls around, Bella's leg is still in a cast, and she timidly wears a borrowed dress from Alice. Before entering the prom, Jacob appears and warns Bella to stay away from Edward. Edward stiffly takes in Jacob, and then whisks Bella away. They take part in the festivities for a short time, and then dance in a more private pavilion, outside of the noise. Edward hints at what life would be like if Bella had changed, though she insists that she still wants it. It seems that he will bite her, but he withdraws and they continue dancing. From inside, a corner window shows a bitter Victoria, vowing revenge. She descends a staircase, smiling, and the screen fades to black.

Twilight never really wastes time introducing anything before launching into the weirdness. However, Edward's exaggerated intensity throughout his first few scenes gets tiring. Yes, the audience is aware that he's having a large internal struggle, but his reactions seem utterly human, and none of the vampire he later boasts. It's something like watching a nervous twelve year old planning how he'll ask a girl on a first date. Bella's retaliations are logical, though the beginning is mainly uneventful. Edward's vampire jokes that only he seems to understand are cliched and a little more than predictable. When something exciting does occur, it seems oddly out of place. The murders that the vampire trio committed had been pushed to the back burner through the whole film, though you see random flashes of each incident. In my opinion, the buildup to Bella discovering Edward's true self was too drawn out, and once it happened, the climax fell flat, even though it took half the time and a lot of effort to foreshadow. Edward's vampire self was essentially presented as human at that point because he displays all of his fears and urges. Bella is being the strong one in this instance, her confidence overwhelming Edward's surprising weakness. Edward only shows a few moments of strength and dominance throughout the film, only when free to be a vampire, when he uses his skills. Neither are particularly sturdy characters. The vampire aspect of the film was really tuned down. Vampires can go out in sunlight without being hurt in the slightest bit, fangs aren't ever shown (though there's a grand amount of hissing), and there aren't many opportunities to see the supernatural aspect of the movie. The romance is present in every angle of the film, but the writers seem to skimp on the supernatural, cutting it out as much as they can to either show a tortured Edward or a confused Bella. Bella's school friends all but disappear in the second half of the movie, and her father only appears to fill the voids. Bella's mother only takes time to talk about Edward with her daughter. Jacob and Edward develop a rivalry, and this story is pushed to the backseat as well. Jacob only comes in three times, the last being the weirdest and most out of place.
The only real scene that explores the Cullen family members' personalities is the baseball scene, which lasts a measly ten minutes at most, which is interrupted by the vampire trio. Immediately, you're suffering from whiplash as the scene launches into panic among everyone. No overly long build up there. The end battle scene was pretty anti-climactic; James didn't put up much of a fight after reinforcements arrived. Sure, he's great against a human and a single vampire, but he disappears after three seconds when more vampires come in, without even putting up a fight. Bella's mom shows up at the hospital just to create more drama in the scene, which is truly established by Edward who makes one last feeble attempt of trying to push Bella away. The deal's sealed buddy; you're stuck with her. Not like the last hour and fifteen minutes of the movie didn't tell us that. When the prom rolls around and it seems like he's going to change Bella, you're going, "Finally!" until he re-negs again and Bella (along with the audience) suffers from Edward's mood swings and his little outbursts. She's left to contemplate life in bittersweet contentment, and it turns out that Victoria didn't actually run away. Life's probably about to get more interesting. As if Bella and Edward's drama spats weren't enough. Twilight's positive aspects are the talented cast, the soundtrack, and the displays of supernatural abilities. The baseball scene lightened up the whole congested feel of the movie, and the battle scene provided the first taste of real action. This film has amazingly good pacing, though the drama has the whole value of the movie on its shoulders. Overall, Twilight was a good first effort, surprisingly so for a new franchise in a hurry to find its way. However, I would expect more from its sequels.

Take A Walk Down Lucky Street

Album: Lucky Street

Artist: Go Radio

Release: 2011

Tracks: 14

Go Radio, though not as widely known as some other alternative bands, definitely has more than enough potential and skill to quickly rise in the ranks. Preceding Lucky Street, their first full-length album, were two EPs, Welcome To Life and Do Overs and Second Chances, as well as many other unofficially released tracks and demos. Started by Jason Lancaster, who carries on as vocalist and guitarist as he did in the band Mayday Parade, Go Radio also includes the talent of Alex Reed as guitarist and vocalist, Matt "Burns" Poulos as bassist, and Steven Kopacz as drummer. Together they form the captivating sound that we know as Go Radio.

Lucky Street begins with a track that makes any coastline-born person's heart race, with an introduction that includes sirens that are greatly reminiscent of tsunami warning sirens, as well as police and ambulance sirens thrown in to make the rest of the world listen in as well. Once you make it past the startling beginning, "Lucky Street", the album's title track, easily hooks you in with its open-for-interpretation lyrics of the chorus and intermittent guitar riffs withing the song. "Any Other Heart", the first single released off of the album about three weeks prior, dives straight into vocals and a guitar beat that sets the tone for the song. The chorus brings in the drums and a more noticeable bass sound, and the bridge has a unique sound that almost seems to be slightly distorted by water. The song ends explosively, setting the stage nicely for the next track. "Singing With the King", has a title that hints at something related to Elvis, and not being ones to disappoint, Go Radio has mentioned the King within the chorus of the song, after each verse that uses the drums and guitar to keep the beat. The bridge seems to cut off from the rest of the song, re-introducing the softer sound heard briefly at the beginning of the song, and flowing back into the final chorus, which cuts of dramatically. Kicking off with a powerful guitar and drum pairing, "Strength to Stay" presents a feeling that almost seems to be resenting, and a chorus with a mysterious vibe due to the vocals. The bridge seems to be decisive, backed with minor guitar riffs then continuing through an interlude into the last portion of the song until the quieter ending. "Swear It Like You Mean It" starts with a beautiful piano solo and softer chorus-style melody being carried over it, giving the illusion of a mellow song. The verses and chorus, however, prove that assumption wrong in a pleasing way, where the words blend in perfectly with the instruments until the momentary return of the piano in the bridge. The last chorus provides a slight variation on the vocals, which cut off to make room for the next song on the album. A true mellow song to follow the illusion of one, "Why I'm Home" is a re-recorded single that had been released near the beginning of Go Radio's career as a band, and the remakes refuses to disappoint. With the addition of strings and a clearer recording than the original, this song has a powerful chorus that carries perfectly with the melody set by the piano and the somber mood of the song. "Kill the Beast" gives a slight warning that the silence will soon explode with a four-count given by the drummer with his drumsticks, then immediately diving into a song that picks up the pace noticeably. The bass is heavily featured in the beginning of the first verse of the song, handing the spotlight over to the guitar and drums in the chorus. The vocals of the song carry over the instruments easily, with both powerful words and tone. "Hold On" captures the emotion within the words with the guitar and harmonies on the vocals, as well as an accompaniment of strings. With an unexpected guitar solo between the second verse and chorus, the song proves to have more in store than people may think, with unique vocal displays along with well thought-out placements of drums and guitar parts. "Forever My Father", a re-recording of the original song written by Jason, Erin, and Daniel Lancaster after the death of their father, cuts deep for many people, even if they cannot directly relate to the situation. The piano and drums, as well as the added guitar and bass, all contribute to the somber emotion that flows throughout then entire song, and the vocals deliver the words and their meaning well. To lighten the mood, horns open for the next track, "Fight, Fight (Reach for the Sky), and proceeds to smoothly to a driving guitar rhythm, later rejoined by the drums. The chorus has a catchy timing that will stick in your mind even if you have no idea what the words are, with interesting wording that leaves you wondering what exactly this song was written about. "House of Hallways" delivers a softer sound that contrasts with the previous track quite a bit, almost sounding sad. The guitar and strings provide the beat and sound for this track, as well as harmonies layered behind the main vocals, leaving a somber feeling with you even after the song has finished. "Redemption in the Verse" introduces a solid vocals with an interesting guitar rhythm, eventually adding in a drum beat and a guitar riff with a bass part. The chorus carries the most weight in this song in my opinion, with a vocal part that catches your attention and holds it throughout the song, and a very unique bridge. With what sounds like a train blowing off steam slowly blending into a piano part kicking off this track, "The Truth Is" relies on the piano and guitar to hold the song together, with the vocals taking their own path to weave around the notes put out. The mixture of sounds used in this song create an almost-calming effect, with smooth transitions between the verse and chorus, as well as the chorus and verse. This track is the second single that was released off of this album, though the original single had no steam noises. The last track on Lucky Street is the original version of "Forever My Father (feat. Erin & Daniel Lancaster)", featuring vocals from all three siblings. Written and recorded after their father's viewing, this version, in my opinion, has more emotion communicated through the words, concluding the album nicely.

Lucky Street is definitely a true exhibition of the talent that lies within Go Radio, and the potential that they have to burst into the mainstream of the music industry. Although not every person likes the style of music that they have, this album appeals to quite a few different sides of the alternative genre, with slower songs and more upbeat songs. Each of the songs communicates a different feeling, and the lyrics themselves are unique and hold deeper meanings than many songs out there at the moment. Lucky Street is an album that will be on repeat for a while on your music player for sure. So enjoy some good music and take a walk down Lucky Street.

Movie Connection--Twilight

Album: Twilight Official Soundtrack

Artist: Various Artists

Tracks: 12

Released: 2008

"Supermassive Black Hole" by Muse is probably the most energizing of the album. Strong guitar tones overlayed with melodious vocals make for a truly out of this world experience. "Decode", a Paramore track, combines a haunting instrumental track with truly "Twilight"-versed lyrics. In general, the song pulls it off, but there's something missing from the chorus, as if there's a note that's been drawn out too long to fill empty space. "Full Moon" by The Black Ghosts provides a light indy/folk note to the album. The lyrics create an engaging story, and the instrumentals are simple enough to compliment it perfectly. "Leave Out All the Rest", penned by Linkin Park, adds a bittersweet element to the soundtrack. Emotional lyrics and subtle instrumentals allow you to feel the true impact of the track. "Spotlight" by Mute Math has a peppy beat accompanied by interesting sound effects. The vocals actually blend well with the pop rock instrumentals, and give a lighthearted touch to the scene. "Go All the Way (Into the Twilight)" by Perry Farrell was probably chosen for it's title and inclusive lyrics, however, the electronica/pop track does begin to grow on you after hearing it a few times. Though it starts slow, this track is worth taking a few minutes to hear. "Tremble For My Beloved", performed by Collective Soul, has amazingly long instrumental breaks between verses and lines, though if you had the patience, the song turns out pretty catchy. The lyrics are repetitive, but the instrumentals keep you guessing. "I Caught Myself", the second track by Paramore, has a less ominous tone than the first song. It floats somewhere in between peppy and emotionally confusing; the beat sells fun and energetic, while the lyrics tell tales of a confused teen. Overall, the effect is surprisingly impressive and definitely worth taking a few minutes of your time to listen to. "Eyes On Fire" by Blue Foundation seems to be an acapella track with instrumentals added as almost a side-thought. The lyrics are imaginative, and the vocal performer is engaging. "Never Think", performed by Rob Pattinson (pictured above, top), provides his unique vocals and an excellent guitar accompaniment. Though an actor, and not exclusively an artist, Pattinson has a lot of potential, as reflected in this track. "Flightless Bird, American Mouth" is definitely the feel-good track of the album. Whimsical, child-like lyrics and soft instrumentals help you find a happy place. "Bella's Lullaby" by Carter Burwell, adds a classical touch and an amazing closing to an overall very good album. Though a purely instrumental track, subtle hints of an orchestra's contribution add nicely to a piano dominated song, conveying just as much meaning as any lyrics could, rising to create happy elements and then slowly lowering to more somber tones.

A world-wide pop culture phenomenon, Twilight has taken the world by storm. The soundtrack was able to capture and better the scenes in which they were placed, though the movie itself may not have been up to par. If you're feeling adventurous, feel free to check out a Twilight movie trailer:

*Stay tuned to read the release of my Twilight movie review, coming soon