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(09/24/09 3:31am)
Album from the Vaults:Beck, Sea Change: From the opening guitar and pedal steel of “The Golden Age”’s drug-addled road trip to the embittered blues of “Side of the Road,” Sea Change is a powerful break-up album. Sticking to pared-down arrangements, Beck ignores the early period of hurled insults and explores the deep reflection of finding oneself in the aftermath of a great love.Movie from the Vaults:“Romeo + Juliet”: This 1996 twist on the Shakespeare classic features a fresh-faced Leonardo DiCaprio courting Claire Danes. When Baz Luhrman’s larger-than-life directorial style combines with the most famous love story ever told, crazy things happen — like cross-dressers, drug trips and shoot outs on Venice Beach. Oh, the trappings of young love.Events:FridayMaseratiLocal 506 | A force to be reckoned with, Athens’ Maserati gallops along on drums and dueling bass as its guitarists launch volleys of riff toward the sky. It’s big, it’s heavy and it’s a heck of a good time. Excellent Japanese experimental rock act Mono will add lush orchestrations as the headliner.10 p.m., $5SaturdayThe Minus 5Cat’s Cradle | For fans of Young Fresh Fellows frontman Scott McCaughey or just good rock ‘n’ roll, Saturday night Cradle is the place for you. Not only will you get the gorgeous country-rock landscapes of his excellent The Minus 5, you’ll also see him with classic rocking sports historical society The Baseball Project. The Steve Wynn IV also plays. 9 p.m., $15The Curtains of NightLocal 506 | Primal female screams like a pissed-off Mother Nature struggling to get past a wall of thunderous noise is the game that Chapel Hill metal duo Curtains will play Saturday, and they play it well. Fellow Hill hard rockers Black Skies headline. 10 p.m., $6SundayPink FlagLocal 506 | If you missed them Sunday at the Carrboro Music Festival, you’ll get a timely chance to rectify that this week as the spunky, angry and good-time-hungry pop-punk girl rock trio play 506. Atlanta’s The Coathangers will also be on hand. 9:30 p.m., $8TuesdayThe Pains Of Being Pure at HeartLocal 506 | Adapting noise rock to pop-melody teenage drama, Pains create a boiling soup of deliciously pent up emotion. Also on hand will be fellow New York critical darlings Cymbals Eat Guitars whose amalgam of gritty post rock and elements such as keys and horns create an intense package for Joseph Ferocious’ jigsaw puzzle of fractured narrative. The Depreciation Guild also plays. 9 p.m., $12
(09/24/09 3:26am)
The Informant!3.5 of 5 starsIn Steven Soderbergh’s “Ocean’s Eleven” series, George Clooney’s Danny Ocean is a calm, suave, master thief who excels in deceit and pretending to be someone he isn’t.In “The Informant!,” Soderbergh’s new comic tale of corporate crime, the main character is essentially a delusional nitwit who thinks he’s Danny Ocean. He has the veneer of confidence and calm but lacks all the actual skill and long-term thinking to get the job done.Based on true events, Matt Damon stars as Mark Whitacre, a high-ranking executive at Archer Daniels Midland, a real-life company whose products pepper grocery store shelves across the country. He exposes the unethical business practices in the world of food additives to the FBI, turning informer on his own company and its partners. The movie follows his years as part of the FBI investigation, until his own crooked deals and impulsive lying make him the subject of it.Damon owns the screen as Whitacre, creating a character that is sympathetic despite his often baffling actions. “The Informant!” is full of amusing moments, like Whitacre’s habit of spewing random facts about everything from corn to adoption or his inability to remember the exact amount of money he might have embezzled.While the movie is chock full of chuckles, it doesn’t have any moments of fall-on-the-floor hilarity, preferring to let small jokes add up over time. Unfortunately, it avoids becoming a direct satire of corporate greed and crime, which leaves an entire source of humor untapped.Despite its imperfections, “The Informant!” is a low-impact but still funny farce about a man who was never really cut out for the pressure of leading two lives. It may not be a hilarious send-up of Enron-style greed and corruption, but thanks to a strong performance by Damon and good direction by Soderbergh, it’s still well worth seeing. Mark NiegelskyJennifer’s Body3 of 5 starsYou don’t need to see the credits to know Diablo Cody is involved in “Jennifer’s Body.” Cody’s trademark snappy dialogue and sarcastic wit makes this comic take on traditional horror films work surprisingly well.Amanda Seyfried stars as Needy Lesnicky, a nerdy high school girl with a manipulative and popular best friend named Jennifer (Megan Fox). When the pair attends a concert for a strange rock band, Jennifer ends up as the victim in an occult sacrifice, and her body becomes the host to a demon that forces her to kill and eat hapless teenage boys for sustenance.Naturally, or rather preternaturally, Jennifer’s conversion into a demon strains the girls’ friendship, forcing Needy to fight back if she wants to save her boyfriend and the rest of the male population from slaughter.The film is essentially “Juno” meets “Species,” a hipster take on a basic femme fatale plot, but it manages to have two distinct personalities without feeling like two different movies.There are some laughs and scares, some good bit characters, and Fox plays a vapid demon-whore with disconcerting ease. The film also features the most amusing botched sacrifice at the hands of eyeliner-wearing indie rockers to date.Seriously, when you’re looking for a virgin to slaughter, the first place to look isn’t the school slut.However, the trendy slang and banter between Needy and Jennifer wears thin, and the movie never really produces a compelling reason why polar opposites are friends to begin with.“Jennifer’s Body” also follows too many horror clichés, relying heavily on the “quick cut and loud music” school of scares, and for an R-rated movie, there is a dissatisfying amount of gore.It’s not a perfect mix of comedy and horror, but the film is never tiresome to watch.With a good amount of jokes at the expense of horny teenagers alongside serviceable scares at the spilling of their hormone-laden blood, there’s a little more to “Jennifer’s Body” than just Jennifer’s body. Mark NiegelskyLorna’s Silence2.5 of 5 starsAdding up the numerous pieces of information in “Lorna’s Silence” leaves its audience hanging on for answers. But the powerful acting makes deciphering the characters and their relationships worthwhile.Lorna (Arta Dobroshi) plays the Belgian emigrant and wife of Claudy (Jérémie Renier), a heroin addict pulled into Lorna’s scheme to climb the social rungs through a mob plan. Put into action by a Russian mob lord needing Belgian citizenship, Lorna marries Claudy for citizenship necessary to then marry the mobster and receive payment.Dobroshi provides a striking portrayal of a struggling emigrant. Her raw and believable depiction of the money-induced protagonist casts her in an unsympathetic light, that ultimately renders her character’s development more meaningful.Coupled with Renier’s harsh, realistic portrayal of heroin addiction, it becomes impossible not to support his crusade to gain Lorna’s respect.Juxtaposing the anxiety between Claudy’s heroin addiction and Lorna’s discomfort with the couple’s closeness, the directors force their on-screen chemistry into the light. It is unfortunate that an uncomfortable love scene, played with such grief and clinging desperation, only guarantees the lasting impact of 60 percent of the film. But the intricacies of Lorna and Claudy’s strange, unstable relationship are the only valuable connection established within the context of the film. The climax, which culminates in Claudy’s sudden death, leaves the rest of the film yearning for the same fulfilled character development, but “Lorna’s Silence” winds down in a tiresome onslaught of patched up plot leftovers. The film couldn’t stand on its own without the damaging and irreconcilable connection between Lorna and Claudy, and once the couple’s flame is snuffed out, the rest of the film drags restlessly on.Rachel Arnett
(09/17/09 3:12am)
The pneuroticssecond skinRock4 out of 5 starsA mathematician, his wife and a drummer — sure, it might not be the typical equation for a great rock band, but Chapel Hill’s The Pneurotics prove that despite their oddity, they’re not sacrificing any energy or intensity on their second album, Second Skin.To hear guitarist Rich McLaughlin shred, it’s obvious that The Pneurotics aren’t trying to cater to the soft, contemplative sound that’s trendy in alternative music. The band’s openly bass- and guitar-heavy music falls somewhere between Wilco and early ’90s grunge, steadily building from the first few moments of each track until the song reaches its peak.Opener “Just” explodes with a steady drumbeat, and a cowbell epitomizes this style. With the addition of wailing background vocals and Rich’s cry of “What more can I do,” the song thrashes on with force.While the trio produces a slew of songs with vitality and power, “Indian Tune” reveals the band’s deftness at shifts in mood and tempo. The ebb and flow of McLaughlin’s guitar, which eventually leads to a raucous break, never grows stale. Unlike solos that eventually induce yawns with the slow-moving majesty of a space shuttle takeoff, the line imbues the music with vivacious power.Whatever comprises The Pneurotics, Second Skin leaves little doubt as to whether they can rock. With ferocity and skillful instrumentation, the band’s latest album renders its members’ various identities insignificant, forcing the listener to focus on the music they can make.-Linnie GreeneSpider BagsGoodbye cruel World, Hello Crueler worldRock3.5 out of 5 stars“My life is lived between cigarettes and regret,” Dan McGee woefully barks in “It Always Loved To Happen.” He forgets the alcohol. The Chapel Hill band’s new album Goodbye Cruel World, Hello Crueler World is a battle with the bottle, a whole handle of whiskey consumed in one night, a liver-killing quest. And like a guy on that mission, it’s often a lot of fun to be around, but sometimes if falls on its face.“It Always Loved To Happen” starts out the depravity in fine style. Over galloping rock played through blaring amps, McGee bemoans how bad things always happen to him, declaring, “anything f--ked up is bound to end that way.”The album uses a mix of roaring rock ’n’ roll and delicate acoustic numbers to go right along as terrible ideas become drunken reality.It’s often a fun ride. “Que Viva Elrocanrol,” with its stumbling amble of a tune, is a hilariously inebriated response to a woman turning McGee down as he lashes out at everyone, including a duck — “The old duck song warbles, but I know what he really thinks.”But later, it becomes somber. “Hammers and Nails” is a barroom tale of a useless day. “I’ve had some dreams, but they’ve all gone to work,” McGee sighs over delicate mandolin and fiddle with so much passion that the listener can feel him bitterly choking down his ale.Cruel World is the sonic equivalent of your drunkest night, including the incoherent, frustrating parts that no one, including you, wants to relive. But in the heat of the party and the depths of the despair, it’s too expressive to ignore, even if it might make you quit the sauce.- Jordan Lawrence
(09/17/09 2:46am)
Album from the Vaults:Radiohead, Kid A: This creeping slab of gorgeous electronic rock from 2000 is great in its own right. But go grab a copy of Chuck Klosterman’s “Killing Yourself to Live,” where he explains a theory for how it predicts 9/11. Then listen again. Hearing it in this context is a trippy experience no Radiohead fan should miss.Movie from the Vaults:“Indiana Jones and the Last Crusade”: Trilogies rarely end this well. Buoyed by a hilarious turn by Sean Connery as Indy’s father, 1989’s “Last Crusade” is prime entertainment. It may lack the nuance of “Raiders of the Lost Ark,” but it’s still the esteemed archeologist’s biggest, most action-packed adventure. Events:ThursdayA Rooster For The MassesThe Cave | Raleigh’s Rooster delivers colorful social critiques with roaring arrangements that draw heavily on bands such as The Clash and U2 and the vocal blasts of singer Adam Eckhardt. 10 p.m. , $5BellafeaThe Pinhook | Powerfully rendering post-punk into a tumult of unrestrained emotion, Chapel Hill’s Bellafea is one of the loudest, most moving bands in the state. Saturday the trio plays with Experimental Dental School and Mattress. 10 p.m.FridayThe PneuroticsLocal 506 | Led by Rich McLaughlin’s intricate and propulsive guitar work, the Pneurotics make stripped back roots rock with great melodies and a ton of passion. Friday they celebrate the release of their new CD Second Skin with the help of raunchy Chapel Hill rockers Rat Jackson and The Travesties. 9:30 p.m., $8Spider BagsNightlight | Like George Thorogood on amphetamines, Chapel Hill’s Spider Bags sing garage rock anthems about assaulting the liver with a masochistic glee that’s almost impossible to deny. Help them celebrate the release of the new album at 10 p.m., $5SaturdayLe Weekend Nightlight | Blending sunny pop melodies with the intricacies of prog rock, Le Weekend is a good bit of fun. Saturday you’ll also get a solo set from Todd Emmert of interesting experimental folk outfit Inspector 22. 10 p.m., $5
(09/10/09 2:45am)
Album from the Vaults: The Beatles - “Magical Mystery Tour”:
(09/10/09 2:43am)
To the mix CD mavens out there hoping to strike the right chord with that special someone, meet Billy Sugarfix (aka Billy McCormick). The Carrboro-based musician operates his Custom Serenade business in addition to recording songs he writes for himself, many of which are on his new album, Summer Tempests.In advance of his Saturday CD release party at Cat’s Cradle, Dive staff writer Luis Torres caught up with Sugarfix to discuss his business and his music video fame.Diversions: What exactly is Custom Serenade?Billy Sugarfix: It’s a custom songwriting business where basically people provide me with information, usually about a girlfriend or boyfriend or a couple that’s getting married or someone whose birthday is coming up, and I write a song based on that information. And I make a recording of it and that’s what they get for their money.Dive: How long have you been running this business?BS: Six years. The first time that gas prices spiked, it stomped on it pretty hard. The unemployment being what it is, I do just a few a month now. Dive: In your free time you’ve recorded your first solo album. Is that a breakup album?BS: That’s very accurate. There’s this whole chicken or the egg question that’s like, “Am I miserable because I listen to depressing pop songs or do you listen to that kind of stuff when you’re going through a breakup?”At the same time, it’s really comforting. I decided to just dive headlong into it and purge myself of this self-pitying victimization that you feel when someone breaks up with you. So I kind of unapologetically wrote the most depressing, heartbreaking songs that I could, which is kind of what came to mind. It was a cathartic process, but while I wrote the album I went to New Orleans and I really loved the place, and a month after I came back was right when Katrina hit. So that made them even more depressing. I went back and joined Red Cross, and I went to help.Dive: In New Orleans?BS: Actually, I went to Florida because a week after Katrina, Rita and Wilma hit, both in Florida. They sent me there and I just kind of got in touch with the dark side of my psyche.Dive: Where did your turn as a Beastie-Boys-style rapper for “It’s Carrboro” come from?BS: I had the initial idea, but it was really my roommate at the time Brian Risk’s thing. I was complaining about how I didn’t want to go all the way to Chapel Hill from Carrboro, and he thought it was really funny.Dive: What was the community’s feedback to the song?BS: You know, hot and cold. A lot of (businesses) were disappointed that they weren’t mentioned in it. We didn’t sit down and decide which places we liked to exclude.A song can only be so long. But most people were pretty excited for it. The mayor of Carrboro even came to the official first showing at the Cat’s Cradle.Dive: Going back to Custom Serenade, what’s the weirdest thing someone has ever asked you to write about?BS: There was this one time, a guy was going blind and he had gone around to see all the women he had dated to physically see them one last time. And in the process, he reconnected with one of the women, so I did a series of three songs for this woman from him as this guy’s eyesight was deteriorating more and more. Dive: Did they end up together?BS: They did. Oh yeah. They were engaged.Contact the Diversions Editor at dive@unc.edu.
(09/10/09 2:39am)
Keegan DewittIslandsPop4.5 of 5 starsKeegan DeWitt has embarked upon the third phase of his full-length career, and on Islands, his latest release, he demonstrates the dexterity of the highest quality musicians, crafting a menagerie of delicate, cinematic songs that beg to be explored.DeWitt’s voice, like a blanket on a cold rainy day, is the album’s biggest asset. From the first song on Islands, DeWitt’s purr instantly draws the listener in, transferring the emotion packed into the lyrics directly to his audience.Like Roman Candle, the band that produced Islands and with which he regularly plays, DeWitt never falters in intensity. Instead, he translates the frantic energy of his rock and roll counterparts and fellow Nashville crooners into a soft, powerful brand of pop.And while Islands utilizes a plethora of instruments, the album never loses its effortlessness. DeWitt maintains a nuanced softness that never sounds contrived or overdone — on the contrary, he makes harmonica-laden tunes like “Walk Alone,” a sorrowful song about the difficulties of starting anew after an unsuccessful relationship, sound perfectly natural.“Complicated” epitomizes everything that DeWitt gets right on Islands. From its initial chords, the melody transfixes as he sings “Need it, fake it, you can’t complicate it, it’s love.” The bittersweet lyrics and steady, building momentum create an incredible intimacy, especially when violins and trumpets whine slowly in the background.The depth on Islands — ranging from its haunting vocals to its multi-dimensional instrumentation — seems limitless, the kind of record that withstands multiple listens without ever growing dull. Islands is like an iceberg— and clearly, DeWitt aims to engage listeners far below surface level.
(09/03/09 3:18am)
Circulatory SystemSignal MorningNoise-pop3.5 of 5 starsCirculatory System has to deal with a lot of expectations.Lead by William Cullen Hart of revered Athens, Ga., collective Olivia Tremor Control and getting frequent contributions from Jeff Mangum of Neutral Milk Hotel, the loosely organized group has the burden of living up to an incredible history.And while people looking to the new the band as a successor to last decade’s Athens bands will certainly be disappointed in Signal Morning, the band’s first album since 2006, those willing to accept an invigorating if flawed piece of genre-bending entertainment will find a lot to like.Unlike many of his aging contemporaries who avoid risks, Hart’s greatest strength, as well as his weakness, is his determination to keep taking as many as he can.“Overjoyed” bends a baroque bit of strings, a buzzing electronic bass line and a cavalcade of drumming into pure rocket propulsion that surges forward until it hits a wall of grinding, yet expressive noise.But while Hart’s desires for pop perfection and the avant-garde usually blend well, the gears do grind.With far too many sound effects at work and shot synthesizers that hit at much too high a pitch, “Blasting Through” has too many abrasive elements to be palatable.But with every achievement and mistake, Hart sounds like a vibrant artist, which puts him arm and leg ahead of most of his aging peers. And that should be enough to get an approving nod from any critic.Jordan LawrenceYo La TengoPopular SongsRock2.5 of 5 starsTo mark Yo La Tengo’s 25th anniversary, the group decided to chronicle both its own and pop music’s history on its new LP, Popular Songs. Cramming decades of song into one album. It’s a hard task and one which not even this mighty indie rock stalwart was able to tackle.The release starts off airy, failing to make the impact its subject matter demands. It’s not suited to either pop or Yo La Tengo’s legacy. While variety is never a bad thing, consistency should always win out. Through the first three tracks, the band ambles through limp atmospherics that are only able to make an impression because of James McNew’s invigorating bass lines.It’s not until the second third of that the group hits its stride.In addition to the raging 1960s-inspired romps “Nothing to Hide” and “If It’s True,” “Periodically Double or Triple” stands as the most historically accurate portrayal of pop music. With its “ba-dumping” bass line and screeching electric organ, the song could hold its own in any Frankie Avalon beach bash.But as the album winds down, the last three songs range from nine to 16 minutes in length, becoming background noise that’s not compelling enough to justify the long lengths.Unfortunately for Yo La Tengo, the role of historian proved too challenging. Popular Songs is mired in a lack of cohesiveness and suffers greatly from the weaker parts that bookend the albumBenn WinekaNursesApple’s AcreElectro-pop2.5 of 5 starsFrom the packaging to the content, Nurses’ latest release, Apple’s Acre, exudes eccentricity. The album art, a collage of vibrant colors and pictures of yarn-and-paper trees, reflects what listeners will find in Nurses’ music—frenzy, chaos, and occasional fragments of beauty.One of the first distinctions that’s noticeable is the MGMT-esque mix of electronic and falsetto. Vocals may charm for the first few tracks, but before “Mile After Mile,” the second track on the record, is over, Aaron Chapman’s yelps grow tiresome. Due to grating vocals and the electronic chaos of it all, a few minutes feels like an experience out of “Fear and Loathing in Las Vegas.” It’s vaguely trippy, but most of the time, you just want the ride to stop.It’s just all too disjointed to work. While a good beat has salvaged many a mediocre song, Nurses’ chaotic style adds so many drums and instruments that even the tempo gets muddled.Though Apple’s Acre leaves much to be desired, a few tracks demonstrate that Nurses could shed the frenzy of this album and refine their sound. “Lita,” a piano-driven song that successfully combines Chapman’s high-pitched wails with a coherent melody, is a prime example of Nurses’ potential for invention and effective songwriting. Broody and dark, it stands in sharp contrast to the chirpy, multi-instrumental character of the rest of the album—a much more real and original take on what elsewhere feels like a cotton candy overdose.Nurses’ latest release falls far short of its electro-pop peers like MGMT or Passion Pit, but despite its many flaws, Apple’s Acre provides sparse evidence of Nurses’ potential to one day create a sound that’s original but a little less frenetic.Linnie GreeneTaken By TreesEast of EdenPop/Ambient1 of 5 starsFor some artists, an exotic location can make what might normally sound commonplace into an interesting album. A recording session in the Middle East might have launched M.I.A.’s career, but for the lesser-known Taken by Trees, the expatriate experience gets lost in translation, resulting in an album that’s more alienating than alluring.While the percussion and instrumentation on East of Eden piques interest initially, the Middle-Eastern sound of Taken by Trees, the solo vehicle of Victoria Bergsman, eventually loses momentum. Once the initial strains of sitar fade into the early lines of opener “To Lose Someone,” Bergsman’s Scandinavian purr already sounds sleepy and disconnected from the music that backs her.“Wapas Karna,” which features a Middle-Eastern woman singing in Bergsman’s stead, seems to be an attempt to connect the album to the native sounds of where it was recorded. Instead, the track feels distinctly out of place, a sharp interruption that jolts the listener away from the rest of the album all too suddenly. There’s beauty in the anguished wail of a traditional songstress, but it’s incompatible with Bergsman’s airy, bubbly tone.But Bergsman’s voice also plays a large role in why this album feels tired and incoherent. Unlike Scandinavian counterpart Bjork, whose versatility gives her voice range and energy, Bergsman sounds as if she’s mired in fog.East of Eden might borrow its name from a John Steinbeck novel that found critical acclaim and commercial success, but the album of the same title doesn’t soar to such lofty heights. Instead, its blend of drowsy vocals and its unsuccessful attempt at transnational instrumentation never quite adds up.Linnie Greene
(09/03/09 3:14am)
Adam
(09/03/09 3:10am)
Album from the Vaults:The Smiths, The Queen is Dead: Exploring their tougher side, this 1986 Smiths album finds the band delving into British witticisms and a heavy dose of characteristic melancholy. Relish in the Smiths’ glory days, before Morrissey made albums with babies on the cover.Movie from the Vaults:“The Rocky Horror Picture Show”: An avant-garde masterpiece that’s remained a cult classic since 1975, don’t confine Rocky Horror to the status of mere movie — it’s an experience. It’s a film with a hefty dose of sex, dancing and fabulousness. Say what you will, but it’s never a drag. Or maybe it is ...Events:FridayColossusThe Reservoir | Powered by a heavy-metal hyperdrive, Raleigh’s Colossus is relentless as they attack with careening shreds of electric guitar and the banshee wail of singer Sean Buchanan. 10 p.m., FREESaturdayViolet Vector and the Lovely LoveliesLocal 506 | Looking for some retro? Well, 506 is your place Saturday night. With Violet Vector and the Lovely Lovelies’ candy-coated acid-pop following the roaring psychedelics of Atlanta’s Howlies and the polished pop rock of the Huguenots, it’s a packed bill. 10 p.m., $7SundownersNightlight | Comprising members of pristine Chapel Hill pop rockers Max Indian and the Tomahawks, the house band for Nightlight’s party in honor of its first year being the sole occupant of its Rosemary Street location should craft some pretty sweet melodies. 9:30 p.m., $5SundayDes ArkNightlight | While backing power trio is fantastically powerful, the solo version of Des Ark features Aimee Argote weaving heartbroken tales and vocal melodies over simple acoustic guitar. It’s quite a moving intimate experience. Brooklyn’s Little Gold also plays. 9:30 p.m., $5MondayCirculatory SystemNightlight | Circulatory System, the current vehicle of William Cullen Hart of Athens pop stalwarts the Olivia Tremor Control, melds Beatles-esque pop transcendence with brutal noise experiments for an attack that’s as sweet as it is striking. Nessey Gallons and Pipes You See, Pipes You Don’t also play. 9 p.m., $10
(07/15/09 4:00am)
4.5 of 5 starsThere is a profound difference between a kids movie and a movie about kids and the Harry Potter films have been tip-toeing this line for a while now.In the first two annoyingly candy-coated entries in the series" the story was thrown clearly into the realm of light-weight children's fantasy. All of the darkness inherent in the story was blanched out. Not even the first appearance from series villain Lord Voldemort attached to the back of someone's head registered much of a scare.But starting with 2004's ""Prisoner of Azkaban"" the series started a slow descent into real human drama and disturbing darkness. That journey has been completed, and the results are fantastic.Harry Potter and the Half-Blood Prince"" is a slow-burning dynamo that blends teenage drama and adult character exploration with spectacular visuals and action to create a piece of true movie magic.It's hard to decide who to congratulate most for this breakthrough" but let's start with director David Yates. Riding the fantastic cinematography of Bruno Delbonnel Yates creeps around Hogwarts School of Witchcraft and Wizadry transforming the bright homey structure of the early films into a gloomy catacomb full of gut-wrenching conflict.This conflict is carried to fruition by the actors. As the kiddies bubble with back-stabbing sexual tension Harry arch-enemy Draco Malfoy and the adults deal with moral dilemmas in a gathering storm of war to come.Daniel Radcliffe is supremely versatile as Harry equally good at dealing with pent-up heartbreak as he struggles to find the key to stop Voldemort as he is in a hilarious feel-good ride on a good luck potion.It's also invigorating to watch Tom Felton's Malfoy struggle with the moral implications of the assassination Voldemort has burdened him with. In every scene his eyes are alive with painful confusion.But the big names still bring down the house here. Helena Bonham Carter grows the exquisitely insane Belatrix LeStrange into a creepy sexual killer that's as entrancing as she is terrifying. And Alan Rickman whose Severus Snape wrestles with committing an unspeakable treason shifts between the Shakespearean menace of his previous teaching persona and the lighter tones of a man wracked with guilt.Combined with visuals that are grand but never overwhelming" ""Half-Blood Prince"" becomes a character exploration on a large scale. It uses impeccable action only to set the stage for the problems these characters must face.It's far from kid stuff. It hits hard and then burns with real emotion. The tight rope act is over. Ladies and gentlemen" Harry Potter has grown up.Contact the Diversions Editor at dive@unc.edu.
(06/24/09 4:00am)
3 of 5 starsThere are certain records that despite their flaws are difficult not to like. The result of charm good hooks or some other unbeatable quality these albums bore their way into the mind without a listener's taste having much to say in the matter.Uncanny Valley the second full-length from Raleigh rockers Birds of Avalon is one such album.After finishing up a session for what was planned to be the band's second album in January the group found they had more creative energy. Feeding off this high they borrowed producer Mitch Easter's 3M tape machine a version of which was used at Abbey Road Studios in the '60s and proceeded to record.Caught up in the excitement of making a record the way their heroes did the Birds throw all the psychedelic tricks of their forefathers at the tape.The result is a record that is thrilling in its ever-shifting sonic textures but that is also lacking in lyrical substance.For instance" ""Your Downtime Is Up"" sounds fantastic" as varied and enthralling as psychedelic rock ever gets. A hypnotic bass line gives way to grinding riffs and explosions of colorful feedback as echoing voices dance over the top. But those echoing voices do little more than repeat phrases over and over and while the effect is great for the first couple of listens it's hard not to start wishing that the song actually had something to say.The majority of the songs on Uncanny Valley follow this pattern either ignoring words altogether or including a few trite or meaningless lyrics usually garbled by effects.Despite this flaw the arrangements are invigorating and charming enough that you want to make it work. You can really tell that the Birds toiled over every single sound here" and that kind of dedicated craftsmanship is hard to ignore.The other thing that keeps this from becoming a throw-away experiment is the excellence of the few fully fleshed-out songs.""Eyesore"" sports a Middle East-inspired riff that's so viscerally propulsive it feels like it's jumping right through the headphones. It's also the only song that really utilizes Craig Tilley's rock god voice"" as the singer uses his fiery howl to hurl insults such as ""I can't wait till you finally go away/So I won't be distracted while I watch the buildings burn.""Songs like this and the roaring mock-protest of ""Student Teaching"" are sure to keep listeners coming back for more.So all told" this album isn't as good as the Birds' previous work. And it's certainly got points that are frustratingly hollow. But this band has the musical chops to make this experiment pan out and that's about as big a testament to their talent as any.Contact the Diversions Editor at dive@unc.edu.
(06/10/09 4:00am)
If you showed up to the new location of Trekky Records in a secluded house right on the Chapel Hill side of I-40 you'd find a perfectly ramshackle encapsulation of the mission for its second annual TRKfest.The quaintly overgrown house strewn with mastertapes and miscellaneous furniture as the label moves in has been a local music house since the '90s. Long-installed Chapel Hill band Sorry About Dresden once called the house home and Erie Choir the solo vehicle of the band's Eric Roehrig still practices there.And as the label settles into a location to live and record that weaves them into the historical fabric of Triangle music they will also attempt to create a living tapestry of its own musical community.This year's TRKfest will take 12 local bands back to Pittsboro's Piedmont Biofuels on Saturday for an all-day" all-night party.""These are our people" these are the people we hang out with" Trekky cofounder Martin Anderson said, presenting it as an opportunity to have fun with friends, make new ones and use local music to give people a genuine festival experience. These are people that would react to that environment well"" like playing out a diesel compound with hippies in this like human rubber band thing.""With ruckus-rousing acts such as Durham's lively folk band Megafaun and cathartic rockers Hammer No More The Fingers on tap" it should certainly be a party.And in the light of last year's attendance of about 300" this year Trekky seeks to turn its fundraising bit of fun into an even richer experience than before.""We're not Bonnaroo" and we know that" fellow Trekky cofounder Will Hackney said. But we're giving people the festival experience for real cheap and also with bands that they can really connect with from around here.""Along with activities such as the Pants-Off-Dance-Off" which last year featured Megafaun's Brad Cook and Independent Weekly music writer Grayson Currin stripped to their underwear" this year's TRKfest promises plenty of surprising thrills.""It was so much fun"" said Duncan Webster of HNMTF, who also played last year. Just hanging out all day"" playing volleyball and eating vegan food and hearing a lot of bands.""And though its organizers know people will have an idea of what to expect this time"" they promise this year will be just as spontaneous.""We've intentionally tried to put some mysteries and some question marks into what we're going to do" Hackney said. I'm doing a Cool-Kids yoga session with the whole festival" and I have no idea what I'm going to do. And I'm not going to think about it until I get on stage.""Contact the Diversions Editor at dive@unc.edu.
(05/27/09 4:00am)
Grizzly BearVeckatimestPsychedelic4.5 of 5 starsAs it has been since its inception the goal of psychedelic music is the trip — a total immersion in sound that transports the listener to another world full of blissful or sometimes scary wonder.Filled with colorful melodies entrancing sounds and a plethora of invigorating and ever-shifting ideas Veckatimest the third album from Brooklyn's Grizzly Bear takes its listener on a lush engrossing musical journey that in every way lives up to this ideal.Pulling from a large range of styles including jazz and rock" the group expands its pallet far beyond the psychedelic folk brand it has often stuck with. By so doing it creates an album that captivates by consistently delivering that additional melodic thread or shocking sound that turns its good songs into superlative compositions.Opener ""Southern Point"" is a perfect example. Built from a jazzy intro that sways about lazily and seductively on acoustic guitar" the song is soon caught up in caterwauling percussive elements that vary from drums to piano and gaudily gorgeous overdubbed harmonies.Purely based on sonics it's a juggernaut that surrounds the listener with so much attention-grabbing sound he is hopeless to escape. But like most everything here it has words and they're pretty great too.After issuing an ethereal siren call about a vacation spot on the title locale Daniel Rossen sings out" ""I never found any other I could ever"" with incredible conviction over strings and piano that stampede toward heaven. It's a place so dear to him that he can't even finish a thought about losing it"" and the music is so propulsive you can't help but be dragged right into sympathizing.The immediate standouts share this larger-than-life feel. Lead single ""Two Weeks"" builds from a hopelessly catchy bounce of piano and harmony into a spaced-out acid trip filled with distorted keys and harmonies that arch over it all. Like its fellow big" jaunty numbers it can sometimes overshadow the subtler and weirder material in the listener's mind once the album is over.But it's the softer weirder songs that serve as the mortar for this castle" cementing it as a self-contained whole.Opening harmonies that imitate the chiming of a bell and bold slashes of acoustic and electric guitar allow ""Fine for Now"" to balance incredible beauty and foreboding menace. But the precarious balance doesn't last as the song gives in to a roaring guitar solo that aches with every bit of Rossen's well-sung fear in the face of time's continual passing.And though only a few of the songs have received mention here" while you're in the middle of it each song feels like the best and that's why this record is so successful. Each moment is as luscious and invigorating as the last making Veckatimest one endlessly enjoyable trip—and one you want to keep taking again and again.Contact the Diversions Editor at dive@unc.edu.
(05/27/09 4:00am)
3 of 5 starsSalvation is right.Twelve years after the first two remarkably good entries in the Terminator series"" 2003's ""Rise of the Machines"" proved the shtick of having Arnold Schwarzenegger don the leather and fight another adversary from the post-apocalyptic future had become as outdated as his killing-machine-meets-biker mystique.It was a parade of ridiculously hokey fight scenes that was simply unbelievable" and it left the granddaddy of all sci-fi action franchises in serious need of saving.With his fourth installment new director McG rights the ship by placing the audience in the middle of the war between man and machines in 2018. After Skynet — a central defense computer designed by the military — destroys most of humanity in a nuclear holocaust John Connor (Christian Bale) and the rest of a somewhat organized resistance struggle to survive against a slew of robotic killers.When a signal is discovered that shuts down the machines like hitting a switch the resistance decides to mount an offensive and try to win the war for good.McG's greatest success is selecting Bale to play Connor. Pushing the near psychotic fury that has always been his trademark to perhaps its highest level yet" Bale vividly channels the pain of an orphan who is fighting against the unstoppable force that tore his family apart.""You killed my father. You killed my mother. But you won't kill me"" Bale's Connor says at one point, with eyes full of an anger that reveals that he actually cares more about killing his enemy than saving himself.Riding this turn and a similarly great performance from Australian newcomer Sam Worthington, who aches with guilt as an executed murderer who has been transformed into a machine, McG succeeds through most of the movie as he uses the world after its end as the backdrop for a terrifying thrill ride.When Marcus Wright (Worthington) and his traveling companions are attacked by an enormous robot that tears apart a gas station with the mindless ease with which a toddler throws around its play things, the grittily realistic special effects and McG's knack for capturing the kinetic intensity of his action make the scene reverberate with awe-inspiring terror.Unfortunately both the riveting suspense and the crispness of the computer images leave Salvation"" during its finale. Thanks to a shockingly poor" completely unnecessary computer-rendering of Schwarzenegger's original Terminator and a failed attempt to remove all of Wright's delicious ambiguity and replace it with a preachy moral about the goodness of the human heart the end turns what was a forcefully shocking roller-coaster ride into a convoluted mess.But taken as a whole" ""Salvation"" is a mostly entertaining blockbuster that delivers thrills that should rejuvenate the franchise and give McG another chance to truly realize the considerable promise he both proudly displays and nearly squanders with his first attempt.Contact the Diversions Editor at dive@unc.edu.
(04/22/09 4:00am)
Kingsbury ManxAscensuer Ouvert!pop
(04/22/09 4:00am)
It's hard to think of anything more Southern than sitting on the front porch strumming a guitar. The idea of a warm summer afternoon spent on wide boards of wood rocking in a chair and picking away at steel strings is quintessential in the land of Dixie.It's appropriate then that UNC's Center for the Study of the American South would choose the porch setting to delve into the process of four area musicians.On Friday Chapel Hill musicians Heather McEntire Eric Roehrig Adam Price and Lee Waters on the porch of the Love House and Hutchins Forum the Franklin Street home of CSAS. The event is the second installment of Music on the Porch" which is put together by the center's Reid Johnson.""People had mentioned that since I was a musician I should get some of my friends to play"" said Johnson, who is also the lead singer of Chapel Hill pop band Schooner. They were like"" ‘You could play outside on the porch or something.'""Johnson" who was one of the four musicians that played the first show in September" said he avoided the idea for a while because he didn't want to do something that could come off as self-promotional.He gave in when he realized the potential benefits of such an event.""What would make it make sense to have it at UNC besides it just being a concert?"" Johnson said"" explaining that this was the question he had when he started planning.""I thought it would be cool to hear from the musicians because you don't get to do it a lot" and if you do get to do it" it's getting to hear artists lecture in a formal setting.""At Music on the Porch" the four musicians play sets and in between" moderator Katherine Doss asks them about their process and allows the audience to interact as well.""She's a folklorist"" Johnson said of Doss, who also works at the center. She's really good at engaging somebody at whatever she wants you to talk about.""Roehrig" who plays in the Chapel Hill bands Eerie Choir and Sorry About Dresden" said he's interested to see what happens when he has to respond to questions.""I haven't had to do that too much"" he said. Maybe I'll have a lot to say or maybe I won't.""Johnson" who plans to repeat the event more frequently next year" had mixed feelings on what having the concert on the porch means.""One thing that I get self-conscious about is that that front porch" it can evoke different reactions from people he said. On that front porch it looks a little" slightly plantation-esque.""In the end though"" Johnson said he thought the dichotomy between the symbolism of the porch and the viewpoint of the musicians shows how far the South has come.""I like the concept of putting a lot of my friends which are more progressive and buck the idea of the old South that bring up those negative images" he said.When you can recognize your more shameful past as well as who you are culturally what you've contributed in a positive way" there's a more reality based understanding of who you are. You kind of own it.""Contact the Diversions Editor at dive@unc.edu.
(04/15/09 4:00am)
The rush to categorize music into neat little genres has created some silly classifications.But doom-pop? Steve Brooks lead singer of Atlanta's Torche a band that has received this distinction in plenty of reviews of its latest album Meanderthal" is as confused as anyone about this seemingly contradictory descriptor.""All that stuff is stupid" Brooks said. It's rock. I don't think we really put it into categories. Any of that s--t" it makes no sense.""Full of soaring guitars and Brooks' even-higher-soaring vocals" Torche's heaviness is immediate but the just barely subterranean pop sensibilities give the band its tough-to-pin-down sound.But for God's sake" don't call it metal.""We listen to all kinds of s--t" Brooks said.I'm not a big fan of metal I like the '80s stuff the thrash stuff" but metal died in the early '90s. Everything has been done. That form of music has just been so limited. We just do whatever we want.""Those impulses have gained the band plenty of acclaim" earning them spots on several publications' (including this one's) best-of-2008 lists" a fact that is also pretty surprising to Brooks.""It was a surprise. We weren't expecting anything"" and for (the album) to be on a lot of people's tops list is pretty cool.""That attention has been a long time coming for Brooks" who said he has been tirelessly touring since the late '90s. But to hear him tell it" there's no secret formula for finally breaking in. It just takes patience. And plenty of work.""We did it the hard way. It's pretty funny how you get a lot of attention really quick" he said.But I've worked my a-- off" and I do it because I love to do it. And it's not like we're rich. We're still struggling.""Torche has become a hot commodity for festival organizers" landing several appearances at prominent metal festivals in the last year. And despite his attitude about the genre as a whole" he welcomes the prospect of playing these shows.""All the bands that play those things are friends of mine"" Brooks said. I just end up just talking the whole entire time.""Brooks said plans for future touring will be with more rock-oriented bands. He specifically mentioned garage rock freaks Monotonix as possible partners.""There are a lot of bands that I love seeing that I'd like to get tours with"" he said. A lot are more rock bands. I don't really care to tour with metal bands in the future.""But for now"" Brooks said Torche will continue making the music it wants to make. Genre classification be damned.""We're kind of doing our own thing and it just comes different to different people. We started doing what we're doing years ago. I'm glad people are catching on.""ATTEND THE SHOWTime: 7 p.m. April 21Location: The Brewery" 3009 Hillsborough St." RaleighInfo: www.myspace.com/thebreweryContact the Diversions Editor at dive@unc.edu.
(04/15/09 4:00am)
Maybe it's the gluttonous nature of America. Maybe it's the desire for bigger louder and more intense. Hell maybe it's conventional wisdom. But most people just don't think a duo is a viable band configuration.Eleni Vlachos says that's changing to some extent" and hopes this weekend's third installment of Duo-Fest in Durham will help quell the notion that a pair of players can't do enough to satisfy.Vlachos is now back in her home in Durham after seven months touring with her husband as Beloved Binge and screening her documentary on vegan activism. She said this trek included fewer inquiries about a missing bass player than ever before.""It's really the ultimate insult"" she said. But this time out we heard it a lot less.""The reality" she says for the 16 duos who will be taking over Bull City Headquarters Saturday is that limited numbers do not equal limited ability or creativity.In fact the duo dynamic increases the need for both" as she's seen in her three years organizing the event.""The sort of general mindset is that you need to have all these multiple layers"" she said. But duos work because people are willing to start from a minimal base and expand upon it.""But they are certainly not limited to the drum-guitar configuration that seems most logical. That musical diversity is one thing Vlachos finds most intriguing about the groups playing this year's Duo-Fest.""What I usually see is the sort of experimental sound with technology" that has served the duo using laptops. Others have standard drum and guitar" or you play two things at the same time. It's just a lot of interesting songs.""This year's undisputed headliner is Vancouver's Mecca Normal"" who made special arrangements to include Duo-Fest as part of their current 25th anniversary tour.""It's so crazy that they're still out and touring after 25 years"" Vlachos said of the group, whose feminist stances made it an early influence on the riot grrl movement.For those that work up an appetite, there will also be a vegetarian/vegan potluck, which Vlachos sees as an important part of the fest's sense of community.It's a nice time to socialize and meet some great people and eat some really great food.""All that after getting your fill on music. Just think of the whole day as controlling portions without sacrificing taste.
(04/01/09 4:00am)
Two nights. Two venues. Nine bands. A Viking theme fully fleshed out with costumes a theme song a light show and props that will turn the Duke Coffeehouse stage into a Norse ship complete with an unfurled sail.That's the recipe for Viking Storm" the most ridiculously outsized and ambitious CD release celebration that has likely ever been slated to hit Durham. And it's that fact that makes it a perfect match for the city's Hammer No More The Fingers.""If we could sustain like this" every show would be a huge fun rockin' time" said Joe Hall, guitarist for the trio, clearly disappointed that the band can't make every show a warrior-themed spectacle. It's just something you have to prepare for for four months.""Looking around at the three men with nervously adventurous eyes and huge smiles sitting on the screened-in porch of drummer Jeff Stickley's rural Durham home" it's hard not to believe they would have it that way if they could.But in the real world the event will only happen once as the Triangle Brewing Company sponsors the two-show mini-festival Friday and Saturday at Durham's Pinhook and Duke Coffeehouse respectively. The shows will celebrate the release of Hammer's first LP Looking For Bruce.Hammer will headline the Saturday show while the first night will be held down by Durham metal colossus Tooth.The idea for a Viking festival first struck the band in December as they hung out in Stickley's backyard" which is essentially the middle of the woods.""We were like the great explorers going out"" Hall said, explaining how Vikings first came up. We were talking about going back and clearing out some trees"" setting up a stage and just having a festival in Jeff's backyard.""And in keeping with this theme" the festivities will be full of the trappings of Viking-dom. In addition to the decorations the second night will feature free Viking Storm Ale brewed by Triangle Brewing Company and costumes are encouraged both nights with awards being given Saturday for the best. If you're worried that you won't be able to come up with a costume" have no fear. There will be a costume-making party at Durham's Scrap Exchange at 4 p.m. Saturday to get you dressed up. But drummer Jeff Stickley said dressing up like a Viking is not so hard.""Basically fur" just some fur" he said. And some horns. And some bones. And some metal. Maybe some leather.""But throwing Durham's best-ever costume party wasn't Hammer's real intention in having the two-night blowout. What the band really wanted was to show off the bands it loves and that have helped them most.""We want people who have been the hardest-working bands in Durham and been doing the most. We want them to be part of the show"" Stickley said, explaining why the event is two nights long. There are just too many.""In addition to bands from Durham" Hammer has invited three bands from one of its favorite cities to visit and play: Washington" D.C.""We want to do what those bands have done for us in their town" Stickley said. I feel like people deserve to like their music around here" hear it at least.And the love here is certainly not one-sided. Durham bands Tooth and the Future Kings of Nowhere wanted to play Hammer's release festival so badly they each made special arrangements to do so. The show will be Tooth's last before a summer-long hiatus and the Future Kings will return from a long break to play their first show since December on Saturday. ""We adore Hammer as guys and as a band"" said Shayne O'Neill, singer and guitarist for the Future Kings. Their music is some of the best in North Carolina" if not the East Coast" if not the U.S. It's going to be a real treat to be there at their celebration party and party on with them.""But when the two nights are over"" Hammer said that it really just wants Viking Storm to have been one huge party where everyone is able to let loose and indulge in some barbaric fun.""We've become so comfortable with our society" with our light beers and s--t Stickley said. We need to take it back to pillaging of North America and Canada. Just go back put chunks in the beer" you know.""Contact the Diversions Editor at dive@unc.edu