Saturday, April 16, 2011

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.

Friday, April 8, 2011

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?

Wednesday, April 6, 2011

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.



Thursday, March 31, 2011

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.

Monday, March 21, 2011

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: