Dive TV for Mar. 15

By Anna Norris | March 14, 2010

Welcome to this week's edition of Dive TV, the one place for music videos on the Internet not currently devoted to a scene-by-scene analysis of Lady Gaga's new music video (although, for the record: "Bad Romance" video way more awesome than "Telephone"). First this week is the clip for Yeasayer's "O.N.E." This video from psychedelic rock-pop group from Brooklyn is pure sensory overload, from the shifting face of the main character, to the dancers in neon jumpsuits, to the futuristic crystal instruments the band play. I'm also getting a weird kind of Blade Runner-vibe going as well. But mostly I'm just trying to figure out where to get everyone's outfits.Yeasayer "ONE" By: Radical Friend from ODDBLOOD on Vimeo.The second video is from Toro y Moi's album Causers of This, for the song "Talamak." It features Toro y Moi's Chad Bundick on what appears to be a fall afternoon, setting off colorful smoke bombs with friends on a lake. It's a video as beautiful and mellow as the song itself.

Reel Deal: "Source Code" (2011)

By Rocco Giamatteo | March 5, 2010

You wouldn’t believe me if I told you, but the human being pictured to the side is the offspring of glam-rock starman David Bowie. No, his name isn’t Ziggy Stardust (though I wouldn’t put it past a fantastical celebrity to indulge in obscure nomenclature for his children.) He is Duncan Jones, the up-and-coming filmmaker best known for directing last summer’s critically acclaimed “Moon,” a sharp and imaginative sci-fi film that so keenly fleshed out dramatic suspense with one single character stationed on the moon (played by the always perfect Sam Rockwell). “Moon” was an impressive testament to Jones’ cinematic eye, featuring both his directorial and screenwriting acumen. Upon seeing the picture, I was fully convinced that Jones had found his niche in the sci-fi genre, having powerfully captured the awe-inspiring/maddening desolation of space that his father once sang about. Well, I was half-right. Duncan Jones will flex his sci-fi muscle once again in his new project “Source Code;” however, the infinite aura of space is being replaced with the mental frenzy of time travel. Let me explain. “Source Code” centers in on a soldier named Colter, who wakes up on a commuter train bound for Penn Station having no idea how he got there. He soon realizes that he is inhabiting the body of a man named Sean Fentress, but has no time to investigate because the train soon explodes into smithereens from a bomb set in place by terrorists. The end. Relax, I’m kidding (about the movie ending there, that is). Colter wakes up again in the same moment in which he originally found himself, seventeen minutes in the past, given the opportunity to prevent this tragedy from taking place again. With each reawakening, Colter explores the characters and surroundings of the train that may shed some light on the devastation.

Mixtape Round-Up: February 26-March 4

By Benn Wineka | March 4, 2010

The fictional group fronted by the former frontman of Blur, Gorillaz, drops their new album Plastic Beach next Tuesday. Featuring guests Mos Def, De La Soul, Lou Reed, Little Dragon, Snoop Dogg and more, this record is as dope as the last two efforts. Dive is going to review the album for its next issue, but before you hear what we say, why don't you make your own assessment. NPR is streaming the album in its entirety, so check it out over your break and check back in two weeks to see what Dive has to say about it.Stream Plastic Beach Here's some downloadable goodies to fill your iPod for a spring break road trip:Kyle Lucas It's Always Sunny in MariettaTony Williams Finding Dakota GrayXV 30 Minute Layover (The Prelude)

Music Review: Holly Miranda

By Anna Norris | March 3, 2010

Holly MirandaThe Magician's Private Library(XL Recordings)Sometimes it’s hard not to judge a book by its cover. The same can be said for an album and its title. But if you think think Holly Miranda's The Magician’s Private Library will bring a quirky, whimsical and interesting album, you’re in for an unpleasant surprise.The attention-grabbing part of this debut album is the arrangements. Synths, piano, and ambient noise swirl together, punctuated by a horn section that pops up every now and then to keep things interetsing. It creates a great atmosphere, due in part to producer Dave Sitek from TV on the Radio. But although TV on the Radio is known for their textured and layered compositions, Miranda’s presence is not strong enough to stand out against such a lush backdrop.Throughout the album, Miranda’s smooth and smoky voice almost never rises above a thoughtful mummer. It’s a baffling move – live performances like on the popular Black Cab Sessions, show she has a soulful and strong voice that will bring comparisons of Cat Power and Norah Jones. But here, it’s a droning afterthought on each song, hardly inviting you to listen to her lyrics.And yet there are flashes of what this album could be, if Miranda actually focused the spotlight on herself. “No One Just Is” is a dark, slow-building breakup song that allows Miranda’s voice to be at the forefront and bring suspense. And “Slow Burn Treason” lets Miranda showcase her range.The talent here is clear, but buried. Miranda is going to have to make some different stylistic choices in the future, because right now what she’s offering up is not compelling enough for listeners to put any effort into digging for it.

Music Review: Efterklang

By Elizabeth Byrum | March 2, 2010

EfterklangMagic Chairs(4AD)On Magic Chairs, Copenhagen’s Efterklang employs a mesh of electronic indie pop, but without the same big band effect that normally occupies their upbeat musical playground.This trend is exemplified by opener, “Modern Drift”. As melodic keys build throughout, the band elaborates the arrangment with dreamy strings, strategically played synth and soft lyrics.While its energy may be subtle, the combination of optimistic instrumentation and barely there vocals draw the listener into a playful, yet relaxing atmosphere of assorted instrumentation.Throughout the entire album, the familiar characteristics of Efterklang are sure to linger—a strong and steady drum beat, bursts of trumpet, and tasteful electronic bits . But Magic Chairs contains only distinct traces of these elements and overall, the rest of the album is seemingly less lively than its opener.Songs like “Scandinavian Love” and “Raincoats” epitomize the overarching whimsical sound, with layers of sharp, clinky synth, hand claps and the chorus of vocals that consistently fills the album with a hint of energy. Combined with quirky lyrics, Efterklang seeks to create fun-filled nonsense that remains relaxed.While the album still creatively reigns in a variety of musical sources, the exhaustion of these sounds is lackluster. Efterklang employs the same techniques as usual, but with Magic Chairs, slows things down to a tempo that could ultimately use a little more spirit.

The Movie Trail for Mar. 2

By Mark Niegelsky | March 2, 2010

In the very first entry of this blog I posted the early trailer for the “A Nightmare on Elm Street” remake. Unfortunately, the latest trailer has done nothing to allay my skepticism of the film, primarily because the remake lacks the most distinctive element of the franchise: Robert Englund. Most slasher-movie villains like Jason and Michael Meyers are simply mute, hulking brutes whose personalities rely on appearances, not words. Englund’s Freddy Krueger is iconic, speaking frequently and creating a persona that was chilling and darkly comic. As this new trailer shows us, Jackie Earle Haley’s Krueger just can’t compete. Haley sounds exactly like the Rorschach character he played in “Watchmen” and doesn’t seem to bring any of Englund’s macabre wit to the screen. It may still be too early to judge, but this remake looks to be entirely disposable.

Dive TV

By Anna Norris | February 28, 2010

First video for this week is "Scissor," which comes from Liars new LP Sisterworld. It's a thoroughly strange clip in which a man stranded in a lifeboat at sea discovers his vessel keeps filling up with rocks. And those rocks don't take kindly to being thrown overboard. Watch:

Late Take: "Monty Python and the Holy Grail"

By Lyle Kendrick | February 28, 2010

Editor's Note: Late Take is a new semi-regular feature of the Dive blog reviewing the classic movies showing at Franklin Street's Varsity Theater.“Monty Python and the Holy Grail” reels in heavy laughs in its spoof of King Arthur’s quest for the Holy Grail by irreverently smashing the fourth wall, mocking social institutions, and ignoring logic altogether.The 1975 film opens with Arthur (Graham Chapman) and his servant Patsy (Terry Gilliam) using coconuts to make the sound of horse hooves.The movie’s continual dedication to silliness forces the audience to see knights and medieval adventure lampooned.The movie thrives in its ability to directly address the audience and occasionally cut into real time. An early scene shows a modern historian discussing King Arthur as he is mortally stabbed by a man dressed as a knight.This suspension of sense throughout the movie furthers its mockery of academia and lore.The film also regularly pokes fun at the time period’s religious importance. It is overtly derisive of Christianity with a cartoon representation of God, monks beating themselves with wooden planks, and a holy grenade used to destroy an evil rabbit.Chapman, Gilliam, and the rest of the Monty Python brigade succeed in conversing in a way that reflects the group’s strong comedic chemistry.Sarcastic dialogue about the origin of swallows, the role of government in England, and feudalism seem like the actors bantering without a script.While retaining a lighthearted tone, the movie captures the dark mood of the Arthurian legend through fog, horn-based music, and the British Isles’ landscape.Nearly 35 years after its release, “Monty Python and the Holy Grail” is a reminder that in the film industry, history and life, mockery is a timeless tradition.

Reel Deal: "Captain America" Movie Buzz, John Krasinski Top Candidate for Lead Role

By Rocco Giamatteo | February 26, 2010

Alas, the most nationally treasured superhero ever to be sketched in American comic books is finally being transposed into cinema. Those of us who don’t make pilgrimages to Comic-Con (and more importantly, those of us who don’t know what Comic-Con is) can finally experience the full story behind this cultural icon in 2011’s “The First Avenger: Captain America.” Marvel Studios just needs to place this beloved character in the right hands and the star-spangled badass will have his glory. But oh, how Marvel Entertainment loves to take risks… First, the studio has hired the king of sub-par filmmaking, Joe Johnston, to direct the film. While Johnston has flexed his epic cinema muscle a bit with “Hidalgo” and wowed critics with 1991’s “The Rocketeer,” his last foray in revamping tradition (this month’s “The Wolfman”) was one of the most unnecessary remakes I’ve ever seen. Treating Lawrence Talbot’s character development as an afterthought and perpetuating the film with self-referential jokes in order to tell a 30-minute story in an hour and a half, Johnston took a poorly written script and remarkably made it worse. Fortunately, he might have a good script to spoil this time around, as screenwriting duo Christopher Markus and Stephen McFeely were hired to pen the screenplay. Having received much acclaim on the “Chronicles of Narnia” series and 2004’s “The Life and Death of Peter Sellers,” the writers just might be able to strike the balance between edginess and profundity that has marked great the few great films based on superhero franchises. Producer David Feige indicated that the character of Steve Rogers (Captain America) will most definitely be explored in this picture, with about half of it dedicated to the WWII era (during which Rogers partook in the life-changing top-secret defense experiment of creating super-soldiers) and the other half dedicated to present day America. Such character context has been the one common denominator of praiseworthy superhero films, such as “Batman Begins” and “Iron Man.”

5 Questions: My Boy Rascal

By Jordan Lawrence | February 25, 2010

Vinyl Records, the student label which has been hard at work establishing its presence since its inception last school year, is preparing for the debut release from its fourth artist. My Boy Rascal, the folk-pop vehicle of UNC senior Colby Ramsay, will celebrate the release of The Study of Animal Magicality EP with a party Friday at 8 p.m. in the Student Union's Cabaret. Diversions Editor Jordan Lawrence sat down with Colby Ramsay for five quick questions looking forward to the release.Diversions: Music has always been a big part of your life. What's the first instance you can remember in which music made an impression on you?Colby Ramsay: When I was maybe five or so, we had a friend who played piano. We were over at their house, and I got a chance to try it out. And after that I was really wanting to get one. So we went to this old piano dealership, and he had all these old pianos in the room, and the guy who was selling them could just play like anything. From that moment I just wanted to do what he did. It was really hard at first because neither of my parents knew how to play. They were like, "We can get you this piano, but we won't be able to teach you." But it was really neat as a little kid just figuring things out and just figuring out the instrument.Dive: Your MySpace says that your music explores "the trials and tribulations of love and life's absurdity." How do you think your music lives up to that declaration?CR: I think it's with the themes that the lyrics explore. A lot of the lyrics are relationship-based, and I think there are themes there that everyone can relate to. But there's also some other songs that maybe go a little bit further. There's one song, the song called "Bricks," the last song on the album. I wrote that one when I was in Ethiopia for a couple months. When I was over there, I had a lot of time to think about life and about what was important to me and just the differences between what life was like over there compared to over here in the Western World. A lot of things that seemed important over here were kind of trivial when I really thought about them, so I try to explore that with the lyrics of some of the songs.

Music Reivew: Shearwater

By Joe Faile | February 25, 2010

ShearwaterThe Golden Archipelago(Jagjaguar)Shearwater’s sixth album, The Golden Archipelago, is a symphonic piece composed of a delightfully brawny piano, a plethora of exotic utensils, and bi-polar guitar.The album’s seaside imagery conjures up visions of Jack Sparrow searching for the grandest booty of them all. He would have been stupefied if he happened upon Shearwater’s, The Golden Archipelago, but he sure wouldn’t be disappointed with what the X marked spot unearthed.Horns and strings accompany piano, guitar, and drums to create a strong piece of work with an ominous sound that begs to break from genre classification. The bottomless voice of Jonathan Meiburg accompanies the shadowed demeanor of the arrangements, entrancing the listener with glowing stories.The first three songs of the album sound completely irreconcilable and capture the band’s individuality and exceptional sound leaving the listener wanting to delve deeper. With every song divergent from its predecessor, The Golden Archipelago eloquently changes from a rapid roar to a guitar laden cry with incredible ease.The album is almost too overwhelming at points, generating tidal waves of overabundant instruments, which are hard to make sense of at first. As with a dense work of Shakespeare, appreciation is found after analysis and reflection, not necessarily after a single spin.Shearwater use myriad sounds to craft exceptional songs that mesmerize the listener. There is nothing out there like The Golden Archipelago, an extraordinary collection of music and a treasure to be found and cherished.

The Movie Trail for Feb. 23

By Mark Nieglelsky | February 23, 2010

A lot of people have gotten pretty excited about the movie “Kick-Ass,” but I haven’t really been one of them. The initial few trailers didn’t do much for me and mostly just made it look like an overly goofy faux-superhero movie. The latest red-band trailer does a lot to correct that, showing off parts that are profane, violent, and kind of disturbingly dirty. I’m still not sold that “Kick-Ass” will be great, but I’m now pretty confident it has more going for it than just Nicolas Cage and McLovin’ shooting people.In pretty much the same vein s “Kick-Ass” is “Defendor,” starring Woody Harrelson as a delusional vigilante who lacks any real superpowers and intelligence. The trailer looks offbeat, not particularly funny, and low-budget, and after coming off big roles in “Zombieland” and “The Messenger,” I haven’t the slightest idea why Harrelson decided to take this role. Maybe later trailers will be better, but I kind of assume that Harrelson needs money or is friends with the director or something. Check it out below.

Music News Monday: Feb 15-22

By Elizabeth Byrum and Jordan Lawrence | February 22, 2010

(Courtesy of Trekky Records)1. Chapel Hill's Trekky Records will curate a day of N.C. music at March's South By Southwest Festival in Austin. The Carolina Jubilee, co-sponsored by Merge Records, Holidays For Quince and 307 Knox, will be an afternoon-long display of what the state's bands have to offer. The details are as follows:Trekky Records presentsCAROLINA JUBILEEThursday, March 18, 2010. 2-7 p.m.Hyde Park Parlor - Austin, Texas6:00 The Love Language5:15 Lost in the Trees4:30 Hammer No More The Fingers3:45 Schooner3:00 Caltrop2:15 Birds and ArrowsFree to all! No SXSW cred needed.(via Trekky Records) 2. Gayngs, the collaboration of Megafaun, members of the Rosebuds and Bon Iver, as well as a dozen other musicians, is set to release its first LP on May 11. Mixing a collection of “psychedelic” elements, the project that originally began as a sort of joke will finally come to fruition. Indiana label Jagjaguwar will be releasing the album.(via Independent Weekly)

Dive TV

By Anna Norris | February 21, 2010

First up this week is the new video from Raleigh's Bowerbirds. The clip for "Northern Lights," just about the best song on last year's Upper Air, debuted today over at Pitchfork.com. A calm and beautiful set of images, the clip sets Phil Moore's incredible love song to a rustic setting complete with a piano and guitar performance and a spin around a lake at what appears to be dawn. These guys really dig nature. Like a lot.

A very Warhol evening

By Robert Turner Story | February 21, 2010

Duke Performances and the Nasher Museum of Art presented Dean & Britta doing 13 Most Beautiful… Songs for Any Warhol’s “Screen Tests” on Thursday Feb. 18, 2010 at 8 p.m., as part of an ongoing series that Duke is doing that centers on Warhol and his circle.I arrived at 8:10 p.m.A gripe before I begin: arriving absolutely no more than 15 minutes after my ticket said the performance was supposed to begin; the Dookies were going to make me wait outside until an intermission (of which there wasn’t one, with only minimal talksets between songs).Luckily my usher (out of the 4 or more there, who guarded the 3 doors of the Reynolds Theater, located in the Bryan Center) wasn’t clued into this rule so I got in halfway through the first screen test/song.In case you aren’t aware, Any Warhol (1928-1987), had a significant role in steering the direction that the American concept of cool has taken: from the disinterested look of a model and the nature of the New York art scene to the tattooed reproduction of Warhol’s painting Crosses that rapper Lil Wayne features on his right foot.Warhol, who painted series of paintings on things like Marilyn Monroe and Campbell Soup Cans, was largely – if not solely responsible – for the creation and popularity of the Pop Art movement in the United States. A flamboyant character, painter, and avant garde filmmaker (he once made a film titled "Empire," which was an eight-hour long shot of the Empire State Building in New York City) his 1963 Eight Elvises painting sold for $100 million – putting him on the same level as Willem de Kooning, Pablo Picasso, Gustav Klimt, and Jackson Pollock.Between 1964 and 1966 Warhol shot close to 500 Screen Tests with subjects ranging from the famous to the anonymous. A powerful keylight was used to create a stark contrast with light and dark, which is captured well by Warhol’s immobile 16mm Bolex camera. The silent, black and white 100-foot-rolls yielded two-and-a-half minute film reels that were screened in slow motion, creating four-minute filmic portraits of Warhol’s subjects.The first screen test showed a man, who stared defiantly at the audience. Not without mystery, the indie-rock mixed with synthy electronica wasn’t nothing too exciting, although I did miss the very beginning.

Reel Deal: Hanna-Barbera's "Yogi Bear" Movie

By Rocco Giamatteo | February 19, 2010

“The Simpsons Movie” was inevitable. An animated series with such cultural importance deserves nothing less than a silver screen adventure. Looney Tunes, South Park, The Flintstones, and SpongeBob Squarepants have all earned big screen features for this reason (the name “SpongeBob” doesn’t even trigger a red spell-check squiggle in Microsoft Word.) But who the hell has been waiting for a movie about Hanna-Barbera’s Yogi Bear? Warner Brothers has been developing a 3D live-action/CGI adaptation of the series, scheduled for a release on December 17, 2010. This constitutes the eighth major film production based on a Hanna-Barbera cartoon series, the most recent one being (cough) “Scooby-Doo 2: Monsters Unleashed.” While we’re on the subject of movies featuring universally forgotten celebrities… Warner Brothers has enlisted pastime SNL star Dan Aykroyd to play the titular character. This makes perfect sense, as Yogi’s signature ever-crescendoing, semi-New-Yorker, drunk sportscaster voice falls within the wide vocal range which Aykroyd has demonstrated in his extensive past of animation projects. What doesn’t make sense is the casting choice for Yogi’s miniature buddy, Boo-Boo. This sidekick was presented in the original series as a bowtied tagalong with a drowsy, intellectually monotonous voice. So how does pop personality Justin Timberlake fit? Unless there’s such a thing as post-adolescent puberty, Timberlake can only offer the voice of late-teenage boy, which will strip Boo-Boo of his wise but passive voice-of-reason charm.

Music Review: Islands

By Seth Leonard | February 18, 2010

IslandsVapours(Anti)Returning to simple guitar-pop roots bodes well for Islands in their third full length.Thanks in part to the return of drummer Jamie Thompson, Island’s newest album takes on a breezier tone than their previous Arm’s Way. Stripped down tracks composed mostly of synths, guitars and drums give Nick Thorburn’s (aka Nick Diamonds) voice room to soar with Bono-like bigness.Vapours’ is a refreshing mix with a large range of sounds. “No You Don’t” thrives off a simple message and synth-driven arrangement, while later songs like “The Drums” utilize Caribbean rhythms.The beauty of the spartan composition used throughout Vapours is a welcome contrast to the cluttered overproduction of Return to the Sea, the band’s 2006 debut. The crunchy guitar and popping synths combine for a full but not overwhelming sound that is perfect for relaxing days by the poolside or as bright backing music for a day at work.But there are still storm clouds amongst these rainbows. The vocoder effect of “Heartbeat” strips Thorburn’s voice, one of the group’s best elements, of all of its magnificent range. Islands should remember to let their front man’s pipes do the work they are more than capable of.Catchy lyrics and a pleasing variety of styles give Vapours a depth that reveals itself more and more with each listen. It’s a formula that should extend their appeal beyond that of an 80’s wannabe pop band and into the rock mainstream.

Mixtape Round-Up: February 12-18

By Benn Wineka | February 18, 2010

Mikkey Halsted is one of those homies that has been grinding for so long and has little but internet cred to show for it. For someone that worked with Kanye before he was Kanye and gotten props from a million other popular MCs, you'd think he'd have some more to show for it by now. But as Mikkey himself says, some of his songs may go over people's heads. I wouldn't go that far, but there's a lot to love in Mikkey. He's a gifted lyricist and by the likes of these unreleased tracks done between The Darkroom and The Photo Album, there's still a lot of gems. What's Good?: All of itTracklist and Download link for Best You nEver HeardI'm sure most of you out there are acquainted with Philadelphia's Freeway. Part of the State Property camp and once prodigy of Jay-Z, Freeway is the type of rapper that owns instrumentals. This project is comprised of original Eminem tracks, and while I'm not going to say he outdoes Em - it's not easy to do - with his comanding delivery and veracity he does make them his own for three minutes at a time. This was done in anticipation of Freeway and Jake One's new project, but you should cop this for free too.What's Good?: "Role Model," "Freeway's Beard"Tracklist and Download link for FreelapseEl Prez, a fairly fresh face on the national scene, hails from SoCal, so it becomes obvious why his new album - yes, album - was conceptualized around In-N-Out Burger. But just as dope as the food inspiration is the laid back tracks and flow of El Prez who has brought some fresh flavor from the often over-played-gangster niche LA takes. To go along with Prez, guests include Freddie Gibbs, Diz Gabran, Donwill, Shawn Chrystopher and more. Real nice listen and something to vibe on.What's Good?: "Inglewood" Feat. Shawn Chrystopher, "2 Livc/Die in LA" Feat. Diz Gabran & TunjiTracklist and Download link for Animal Style!

Lakeside love

By Dive Staff | February 17, 2010

Lake Inferior - Local 506 - Feb. 14 Excellent experimental Chapel Hill band Lake Inferior paid an opening stop at Local 506 this V Day. Dive was there to to get some pics of the sweet musical love.

The Movie Trail for Feb. 16

By Mark Niegelsky | February 16, 2010

In “Forgetting Sarah Marshall,” Russell Brand’s supporting turn as crass British rocker Aldous Snow was hailed as one of the funnier roles in the film. In “Get Him to the Greek,” Brand reprises his role and will have to see if he can stretch his act into a feature-length film of its own. Jonah Hill, a bit player in “Sarah Marshall,” co-stars as the intern assigned to deliver the relapsed Snow to his concert date. The trailer has its moments, and small roles for P. Diddy and Aziz Ansari look promising, but nothing made me crack up entirely. It’s too early to judge, but I’m worried the “uptight schlub in the party scene” shtick could wear thin pretty quickly. You can judge for yourselves below. A movie with a role for Edward Norton in it is usually a pretty good movie. So a movie with two roles for him should be pretty damn epic, right? That seems to be the logic behind “Leaves of Grass,” an upcoming comedy where Norton plays both a classics professor and his backwoods, drug-dealing twin brother. I’m wary of any movie that involves identical people switching places (thanks, “Double Take”) and dysfunctional family issues, so I’m somewhat suspicious of this project at the moment. Nonetheless, Norton rarely delivers a sub-par performance and watching him act like a hick could be pretty amusing. Did you like “King Arthur” and “Gladiator?” Are you excited about “Robin Hood?” Do you wish that all three films could be rolled into one indistinguishable mass and have their budgets slashed? If so, “Centurion” might be for you. The trailer shows us that director Neil Marshall looks ready to bring us more of what’s already been done, despite his previous ingenuity directing the campy cult film “Dog Soldiers.” Fans of “The Wire” will immediately realize that McNulty is in this, which is about all “Centurion” has going for it right now.

DIVERSIONS