Remenissions by Avenged Sevenfold

Avenged Sevenfold have been my favorite band for quite some time now, ever since the release of their 2003 album Waking the Fallen (which is still to this day their best effort, except maybe for 2010's Nightmare). I still listen to their early material, even from their debut album, and a lot of the songs still hold-up to their later stuff. But today I am going to talk about one song in particular, a hard-hitting metalcore track. Give it a listen first:

Remenissions

Like most of A7X's early material, it doesn't follow the rigid structure that most of their singles follow, being the intro-verse-chorus-verse-chorus-bridge-guitar solo-chorus format that they more-or-less typically adhere to (see Afterlife, Almost Easy, Nightmare, or Hail to the King). Remenissions instead takes us on a wild ride. It opens with a thunderous barrage of rolling drums and twisting guitar riffs accompanied by a trailing growl into a fist-pounding drum roll before we hit the first verse. The first two verses come up before any kind of chorus, and they consist of some of vocalist M. Shadows's best screams against a powerful thrash metal backdrop. After these two hard-hitting stanzas we break into a mellow reflection on memory and time that builds into an awe-inspiring warning to "keep away from me" that smoothly transitions back into metalcore territory with an insane drum solo. After the heavy breakdown we get a beautiful harmony from the guitars, then returning to the reflection on memory with more distortion this time (acting like a chorus but it isn't really), and then a thrashy finale fades out into silence.

Clearly, this is different than the mainstream A7X that most people have heard, not only for the harshness of their metalcore style, but notably for the odd song structure. It flows nicely but doesn't return to any of the previous melodies, except for the "chorus", which is unlike traditional rock songs. The track still keeps true to itself in terms of sonic quality and tone, and also with theme. I have to mention that this song has some of the best drumming The Rev ever laid down (may his soul rest in peace).

This also has some of the band's most philosophical lyrics, reaching into existentialist territory, and really shows off the angst they were feeling back in their younger punk years.

We may have created the beginning, mentally
We may have created the beginning, physically
To the end of our human existence

Certainly a question of who we are and where we come from. They touch on the question of God (not being afraid to explore religious ideas has A7X been), exploring ideas of morality.

If they didn't have One how would they act?
If we didn't have hope how would we behave?
Would they still feel remorse if they slaughtered innocent beings?
Or is hope the only thing that keeps you sane?

They end the poem on a final note claiming that no one really knows anything, most especially the songwriter. This could almost be a reference to Plato or Socrates.

I don't know the answers but neither do you

I've heard that Avenged Sevenfold have been performing Remenissions live again, but I have yet to see it myself (or any good quality versions on Youtube). Hopefully, it will be featured on an upcoming DVD in the future - I can only hope.

Dir En Grey - UROBORUS Live

Dir En Grey are one of those bands that have only become a favorite in the past few years and it was in large part because of their amazing live performances. The first one I stumbled upon was the epic ballad The Final and then went on to discover Vinushka (which I blogged about previously), an epic masterpiece of prog metal. After becoming slightly obsessed with their live performances and their superb song constructions (not to mentions Kyo's delightfully vast vocal range and powerful frontmanship), I gave in and ordered their UROBOROS -with the proof in the name of living - Live DVD from Amazon, which showcases their two-day show at the Nippon Budokan in Tokyo.

Obscure

This song almost fits into the nu-metal sonic atmosphere of a Slipknot show with its chugging guitar rhythm and deep bass drops, but don't let that fool you. Kyo lays down some guttural death growls throughout but lets his voice soar beautifully through the finale. This song is more in touch with the death metal side of Dir En Grey and yet still has that arena rock flare that gives them a wicked stage presence. Watch out for bass-player Toshiya at about 0:49 as he does an incredible bass swing.

Shokubeni

This is a perfect song to show off Dir En Grey's versatility and range, especially via Kyo's vocal prowess. He opens with a spine-tingling growl that opens into a cool nu-metal groove. The form of this song is brilliant, structured into a perfect buildup that exercises the band's unique talents and brings Kyo's vocal diversity to the forefront. The breakdown includes some of his best death growls and plunges into a truly powerful A Capella moment. Stick around for after the song and get a taste of the weird intermission performance of Inward Scream, a creepy vocal show of crooning, inhaling, and banshee shrieks. The strobe lights and generally spooky tone may make you think you're suddenly watching a scene from Alien.

Dozing Green

Another powerful performance that exposes Kyo's brilliant vocal abilities (did I mention that I love his voice?). He soars through the chorus here, hitting notes that seem to explode out of his lungs with a gusto that also holds a quality of anguish and hope at the same time. He really takes hold of me on this one and makes me feel something. Do you feel it too, or am I just talking out of my ass?

The Final

Finally, we have The Final. This is the performance that brought me to the realization of how amazing this band is (Vinushka also did but this came first for me). This is more of a pop-rock ballad that caters to the more mainstream audience of J-rock but still embellishes a few of Kyo's more classic screams followed by a rock n' roll guitar riff. It's the ending of this performances that really does it for me though and ends the show on a  note that superbly highlights Kyo's control and showmanship. He is more than just strong pipes and good music; he is a performer. This performance clearly elevates them to the highest quality of arena rock shows while still keeping their unique blend of pop, death metal, and prog-rock. Damn, they are awesome!

Cloud Atlas

I recently re-watched Cloud Atlas, which  hadn't seen since it was in theatres 2 years ago. Watching it a second time was a great experience as I noticed so much more than the first time around. The film follows several different stories that take place in distant times - the Pacific Ocean 1849, Cambridge 1936, San Francisco 1973, London 2012, Neo Seoul 2144, and far in the future 106 years after The Fall, an unnamed post-apocalyptic event.

Each story has interesting parallels within events, such as Adam Ewing (Jim Sturgess) fighting to help a stowaway slave on board the ship contrasted with Sonmi (Doona Bae) learning about the plight of her existence as a a human clone and leading her people in a revolution against slavery. The stories plots run along with each other, demonstrating one of the main themes of the film, being how past lives can affect those of the future, no matter how far apart they seem.

The film does a tremendous job structuring all of the scenes together, often cutting between moments of parallel action, indicating the ties between these characters lives. The stories can sometimes seem jumbled and confusing, as it jumps around so often, but I found on a second viewing that the pace of the film works quite well and I never lost interest in any of the many stories. The characters are interesting and carry us through each world seamlessly, with the editing adding a great level of style to how the plot moves forward. By the end of the film, not everything feels tidied up, and there is a feeling of emptiness, like we didn't get the whole story - who is Somni really and how did she become a goddess in the eyes of Zachary's people? What happened to everyone after the events of the movie? Why did people abandon earth after the time of Neo Seoul? The answers may not be important, as the film ends like we were being told a campfire story of many eras, and leaves us with the simple answer that the story is still going on.

One final note I must make goes to the acting and the make-up effects. Each actor portrays several characters over the many timelines presented and some of them are barely noticeable. Tom Hanks is recognizable in almost every role, but did you see Halle Berry as Ovid, the Korean doctor or as Jocasta Ayrs, the wife of the famous composer? What about Hugh grant as the Kona chief? 

Halle Berry as Jocasta Ayrs, left

Hugh Grant as Kona chief

A large part of this credible to the wonderful make-up team, but I also have to hand it to the actors for taking on such a large project and learning all of these different roles for the film, some of the them being vastly different. Many of them even use different accents, dialects, and languages between roles, let alone changing their ethnicity. Questions of morality aside, it is a fun exercise when watching the film to spot as many cross-roles as you can, and since the film is very entertaining, I would definitely recommend giving it a view, if you can spare the 3 hours running time that is. Over all, the film is imaginative in all its visual splendour, offering a diverse look at time and destiny.

More Shikari!

Destabalize/MotherShip

Destabilize is an epic metalcore track that mixes some hardcore dubstep beats into the wicked breakdowns. The thing I like about this song is how much fun the band seems to be having, exuding a huge amount of energy into their performance. Rou Reynolds doesn't have the best voice in the world but he makes up for it with a wonderful stage presence, taking time to swing over to the electronica controls and jumping around the stage. The performance takes a wild turn when it breaks into Mothership with the memorable string-inspired melody that introduces the track on their first studio album. This launches into a grimy dubstep intro they affectionately named Motherstep, groovy and deliciously deep-toned, wringing out some of the dirtiest beats I've ever heard. Funny moment: Rou smiling and saying "If that sounds heavy, that's because it is."

The Paddington Frisk

This isn't a live track, but the video is just hilarious. Enter Shikari produce a short PV for a Japanese audience and get the anime treatment. It's like a crazy Asian game show that ends in one of the most fun breakdowns they've ever produced. For a short song it packs a wallop!

Winny Puuh!

Ah! Music from Estonia! And not just any music - this is Winny Puhh! 

Are they metal? Are they hip-hop? Are they some new kind of music that no one has ever heard before? Probably the latter. They certainly warp the perception that most people have of music, especially with this live performance of Meiecundimees üks Korsakov läks eile Lätti.

It's almost like Naked City's song Bonehead that plays at the beginning of Michael Haneke's Funny Games (a great horror film if you haven't seen it). The vocals are perhaps the most dividing in terms of musical taste - the non-sensical (or not really because it's a foreign language) and screaming ludicrousness is an attack on one's senses and I can imagine a lot of viewers pulling away from their laptop screens covering their ears against this madness. But that is precisely why I enjoy this performance. Winny Puhh push the boundaries on musical art and everything from their eccentric showmanship (dangling upside down) to their bizarre costume design (are they Sasquatch's in athletic gear?).

Now check out the music video for Peegelporand:

This is an interesting music video. The song is much more hip-hop infused than the first video I included (although using non-traditional hip-hop instruments). The music itself is very Eastern European, harking to the Estonians' cultural roots but creating an upbeat tempo that matches the rap vocals nicely. This goes to show Winny Puhh's diverse range and interest in including various genres into their musical catalog. The video itself is quite reminiscent of European arthouse cinema, using eerie zoom techniques and tableau inspired compositions. Not to mention the creepy way the performers look directly into the camera like something out of Fellini's most bizarre work (see Fellini Satryicon for an example of this).

I Fink It's Freeky And I Like It A Lot

I know a lot of people will disagree with me on this, but I think Die Antwoord are some of the most creative artists around these days. I generally don't listen to a lot of pop music (including hip-hop and dance music) but every now and then something comes up that I just can't get enough of (usually everyone else I know gets sick of). This happened with Psy's Gangnam Style (I know, I know - but I loved it!).

So I first heard Die Antwoord's crazy tunes when I saw the video for Rich Bitch, which was kind of a history lesson on Yolandi's life and how she became a success. It's pretty ridiculous and when I first heard them I didn't really like it. Then I saw the video for I Fink You Freeky and my perception of them was turned out. This video is nuts! It's all shot from the same perspective, creating a tableau mise-en-scene a la Wes Anderson.

What do you think of this crazy video? Do you think it's just stupid and worthless modern music (if you dare call it that)? Or do you think this is true art and Die Antwoord are brilliant composers of the hip-hop/dance world?

Nightmare - Can You Do It?

Can you do it? Nightmare can. This is another one of those rockin' visual kei bands I have a taste for from our friends in Japan. Now, I haven't heard a whole lot of Nightmare's material besides this track but I keep on returning to this PV (promotional video) nonetheless. 

Visual kei - always looking like anime characters

First off, the song is pretty decent, despite being in pretty cookie-cutter form. Sure, it has some decent guitar playing skills and a cool rhythm but it really doesn't set itself apart from most other J-rock groups (the drummer has some promise though). I can see why I never really got into the band's other work due to this, but then why do I keep returning to this video? Honestly, it's for pure cinematic reasons. The footage they have here and the way they shot it is incredible. The lighting glints perfectly off the players' slick pseudo-trashy attire and gel-infused hair and the shot compositions are tight. This tight composition keeps each player within their own dedicated frame, fully capturing the energy and passion they are playing with. The wide crane shot makes sure to tie the group together, reminding us that they are a team, but it's the tighter shots of each player that sets this video apart. The guitarist lays down some slick guitar playing at the very end but it is the great shot and his framing that brings the virtuoso power out of the performance. This goes to show how much power the visual image can have in making band look incredibly awesome.

Schoolyard Heroes

Today I want to share with you one of my personal favorite music artists. I started listening to Schoolyard Heroes a few years ago and was sad to discover they had broken up after the release of the their third full album. 

The band, who can only be described as an alternative conjuration of horror punk, create a wonderful array of sounds with the macabre lyrics of Ryan Donnelly (who has a hauntingly weird voice on her) matched up with the sometimes-spooky-sometimes-hardcore punk rock of the guitar, bass, and drums. Their songs are obvious references to a slew of B-picture horror films ("Panic in the Year Zero"), or weird fiction stories by the likes of Stephen King ("Sometimes They Come Back") and Richard Matheson ("Nightmare at 20,000 Feet"). They may be the epitome of horror-themed lyricism in music, borrowing heavy hallmarks from previous groups like The Misfits or The Bauhaus. I'd like to share one song from each of their albums (which I just had to order online to have my own copies). Take my hand and listen, my friend, to the Schoolyard Heroes:

The Mechanical Man VS The Robot From The Outer Limits

from The Funeral Sciences

Nightmare at 20,000 Feet

from Fantastic Wounds

Cemetery Girls

from Abominations

PS: It was really hard to pick only one song from each album, because I truly love each and every song this group produced. In the future I may share a few other favorites. Cheers!

Grimes - Genesis

So this is unique. Grimes is a Canadian pop artist from Vancouver whose musical style can clearly be described as synthpop and dark wave electronic but Wikipedia goes on to include her genres as dream pop (which really defines Genesis) and also as "witch house". This is an interest genre term that I've never come across. Apparently it is defined as occult-themed dark electronic music with a visual aesthetic (see the costume design in the video). Witchcraft-infused trance music? Count me in! But let's look at Grimes for now.

The description of her music as "dream pop" sums it up perfectly. The music is hauntingly atmospheric with a synth-wave that carries you away into an ethereal dreamscape. Ambient music has always been a love of mine (having first immersed myself into Akira Yamaoka's haunting scores for the Silent Hill series and later discovering Brian Eno via U2) and I always felt it had a dreamy quality to the droning, floating progressions. Grimes' vocals hit the dream-zone spot on, being both eerie and sweet at the same time. I feel comforted but also a little lost in the way she sings. Her lyrics are nearly indecipherable, which can be off-putting for some listeners, but it doesn't bother me (I've listened to so much foreign language music and screaming metal that indecipherable lyrics don't detract from sound for me). The video here fits the bill of dream pop quite nicely too. The sunset landscapes are perfect for that dreamy quality, shooting right around "magic hour" (if you've seen Malick's Days of Heaven then you recognize the surreal quality that early morning can have on a cinematic image). However, it is largely the content of the film that creates a weird dream world - from the bizarre costume and make-up of the performers to their awkward dance routines. Characters stand still in unique postures while one person dances mystically, schoolgirls in rich cars play with large snakes, and a group of cybernetic females joy-ride an SUV dragging medieval swords along the desert. Am I dreaming? Yes, you're dreaming of Grimes.

Watch Genesis below.

I Am A Ghost

Finally a horror movie I am really excited for! I Am A Ghost has a pseudo-70's feeling that I am totally looking forward for. In a time when mainstream horror is full of remakes and uninspiring concepts, I have often turned to the indie and foreign market for my horror fix (where I discovered such great films as Martyrs and Dead Girl).

It has the feel of Rosemary's Baby, The Shining, and even such art-house films like Fellini's Juliet of the Spirits. Even the design of the trailer has a vintage quality. I am a huge fan of 1970's horror cinema and of psychological/atmospheric horror. The trailer compares it to a combination of Kubrick, Bergman, and Hitchcock, all who have done amazing work being some of the most respected directors in film history. 

The concept is simple: a woman is alone in a house and talking to a disembodied voice who says she is a medium trying to help her move on because she is a ghost. the film proclaims to be an experiment in memory. What does a person remember about their death after they have died? I am curious to find out. The film seems scary, experimental, and beautiful. This is the horror film I have been waiting for!

It was officially released in October 2013 but I just heard of it recently. Check out the trailer below!

 

System of a Down - Live at Whiskey A-Go-Go '97

System of a Down are easily one of my favorite bands out there. Their abrasive political views, their anger infused shouts for social equality, their bizarre lyricism, and just the awesome weirdness of the band members' personalities all combine to create one awesome package. Since the band took a hiatus they haven't created original music as SOAD, but Serj Tankian has had a solid solo career (not as solid as with System, although he is probably one of my favorite people alive), and Daron Malakian released the critically lackluster Scars on Broadway (which I found to be a lot of fun with some solid tracks). 

I will forever and always love the first self-titled album from System of a Down and once upon a time I stumbled on this early show they did at Whiskey A-Go-Go in 1997. The recording isn't great, the edit cutting needlessly between band and audience at a rapid pace, but the low-budget videotape of the 90's captures a unique quality to the image that harnesses the raw power of System's early material. Here are a few of my favorite performances:

Soil

This may be one of my all-time favorite songs from SOAD. The guitar-solo from Daron is fantastic, especially when it is coupled with Serj's wacky dance moves (he dances quite a lot like me actually). The raw power in Serj's early vocals is very unique compared to his later material, where he obviously screams and growls a lot less. What I like most about System is that they have a point they are trying to make, even if it is hidden beneath layers of symbolic absurdism and a wall of nu-metal sound.

Suit-Pee

I've seen a lot of Youtube comments discussing who the weird guy doing the deep nasally growls is during the breakdown, and a lot of people believe it is Sako - the guy named in Sugar that Serj bought a gun that fits in his pocket. I don't know, but I actually kind of like that part of this performance - the deep growls remind me of Halloween with the evil laughter and I think of the tree from Poltergeist. It isn't best example of quality death metal, but the coupling between the creepy bellows and Serj's incessant vulgarities is the heaven to the hell of the slow down-tuned instruments. Also, just before they explode into a deliciously heavy breakdown, Daron screams out "come on motherfucker!" and that cry of sheer empowerment just gets me pumped!

Mind

Repetition and pattern is a key to great art that has a message and this is demonstrated well here, especially in the lyrics. Serj repeating the line "look at each other" is something that I think society needs to hear, which is even more relevant today where almost all of us are absorbed into our phones and social media. Maybe we should all actually look at each other now and then. Serj's frustration with the state of people's minds is evident in his performance and it brings out the best within him, and some of his best death growls to date. He is angry at the world and he means what he says. Daron and Shavo, on bass, blast away through the metal riffage, adding a level of frantic energy that only seems to dissipate through Serj's (unique?) dancing.

Sugar

The classic song from SOAD that all my high school friends knew the iconic "sugarrrrrrr" from Daron Malakian. At 1:57 the lead guitarist unleashes a crazy banshee shriek and crazy eyes that just gives me goosebumps. It makes me think - what the fuck? - but it also makes me grin like an idiot. I love these guys! Shavo's bass line leads the group through the song coupled with Daron's medolies carrying the harshness of Serj's mantras. The end of the song ends with a repetition of "in the end it all goes away" with a hardcore nu-metal thrash-out. In the end it all goes away - this simple lyric has so many meanings, but none more than the fact that the System of 1997 are past this moment and living out another.

5 Movies That Scared Me When I Was Kid

Horror films were a big deal for me as a kid. I loved getting scared, having nightmares, hearing spooky tales. It was a great thrill. These films are all ones that profoundly scared me when I was a young boy, for one reason or another. They may not be great films, or even all that scary to me now, but I remember them vividly having an impact on me.

1 Jeepers Creepers

What scared me the most in Jeepers Creepers was the monster itself, the "Creeper". He drove a scary truck, wore a costume that hid any defining feature, and when you got underneath that he had leathery skin, cunning eyes and a mouthful of sharp teeth. He carried an array of grisly weapons to murder his victims, and even worse he would eat them. After eating his victims' bodies, he would regain a part of their flesh into his own and grow more powerful. It was eyes most of all that terrified me - those knowing, seeing eyes. As a young boy, it felt like he could see me.

2 Jaws

In Jaws, I felt a terror that was like being in the movie. The scene where a young boy is on a yellow flotation device and gets attacked, and all the beach patrons flee from the water, left me feeling sick. Then, even worse, the mother screaming his name looked almost exactly like my own mother, and she was crying, "Alex! Alex!," which is my little brother's name. It was horrific. This may have been my first view of of real gore as well, when the boys get attacked and you clearly see a human leg float down to the sea floor, trailing a path of bright blood.


3 Event Horizon

I don't remember much from my first time seeing Event Horizon, because I never got to see it all. As the terror built and I grew more scared, the film became almost to much for my childhood imagination. At one point my mom covered my eyes and I heard a family member say, "Oh my God, he's cutting his eyes out." My adolescent imagination was off to the races after that, and, horribly, my mom sent me to bed without knowing what happened next. Years later, when I watched the film in full, it was still a horrific sci-fi flick (and still really good, probably Paul W.S. Anderson's best work) but it did not have the same impact on me as it did back then.

4 Demon Knight

Another film about scary demons that terrified me as a boy. This time, Billy Zane is unleashing a pack of bloodthirsty demons on a group of innocent travelers. The demons are the main thing that terrified me. They shambled along the dark hallways, with glowing eyes, and dark oily skin, looking to eat people. Only the Blood of Christ could prevent them from entering doorways. The demon within Zane's character also tricked his victims into succumbing to death, by lying to them with false promises. This was a terrifying idea, and I had nightmares for a long long time. 

5 The 13th Warrior

This isn't really a horror film per se, but like Event Horizon, I never finished the entire movie until I was older, realizing it wasn't as scary as I once thought. Early on in the movie a group of Vikings find a family grotesquely murdered in a cabin in the woods. Their bodies were brutally torn apart. This was horrifying to my young eyes. Soon after, on a foggy night, the Wendol attack the group, and I distinctly remember one of the animal-carcass-wearing enemies grabbing the head of a Viking and twisting it off like a cork. The decapitated head is shown in gruesome closeup being carried around like a trophy.

Honorable Mentions:
Scream
The Ring
Surviving the Game
Poltergiest

Divergent

I went to see Divergent on the weekend. I read the original novel by Veronica Roth the week before, so I was familiar with the story and the dystopian world she created. I was very interested in seeing how the film captured Roth's vision of a degenerated Chicago split into five factions. Overall, I was quite pleased with the cinematic adaptation and it fleshed out the themes of the book very nicely.

The world of Divergent is split into five factions, each prioritizing different values: Abnegation - Selflessness, Amity - Kindness, Candor - Honesty, Erudite - Intellect, and Dauntless - Bravery. Each faction enforces these virtues upon its members, to the point of everyone wearing the same style of clothing, and segregating into separate areas of the city resulting in factions not interacting with each other, or at least in very limited and confrontational encounters. Obviously, in a future where peace is supposedly upheld, the society is actually under strain by the conformity it demands. This is where our lead character Tris comes in, whose aptitude test determines her to be Divergent - one who does not fit into any one faction. Her mind seems to encompass all the virtues (particularly bravery, selflessness, and intellect).

The idea of breaking out of conformity is a common theme throughout the film. It stretches through the corrupt society down to the main characters themselves, embracing the idea of being true to themselves. The Dauntless instructor, Four, has a strong sense of who he wants to be when he reveals to Tris that he has the tattoos of all the factions, quoting "I want to be brave, and selfless, intelligent, honest, and kind." He recognizes that these are all valuable ideals to strive for and he doesn't need a government to tell him what ones to embrace. A lot of the ides presented here feel similar to Thoreau's ideas in his essay Civil Disobedience. If everyone did what the factions told them to, there wouldn't be peace. The idea is to think for yourself. Don't blindly follow.

The film follows the story of the novel quite well, although the pacing is wildly off. The novel slowly unfolds, allowing the characters to reveal some bits of information about themselves which is lost in the fast pace of the film (something that is usually a main difference between cinema and literature anyways). The world of the Divergent is created beautifully, presenting a vibrant world within a desolate Chicago that still thrives. The five factions are easy to tell apart based on their diverse styles amidst the ruinous city. For those who are worried that this is just another teen fantasy film, I must stress again the themes of corruptible society and civil disobedience. It is empowering for young people, and the characters Tris and Four are strong people who overcome a lot of hardships. Their positions in Dauntless force them to face their fears through a simulation program, presenting another major theme - facing your fears. The scenes of Tris fighting off flocks of crows, or being locked in a glass water tank are dream-like and eerie. Perhaps the most creative sequence in the whole film is Tris's aptitude test. She is transcended into a dream-state via a simulation serum, where she is surrounded by mirrors and talks to her own reflection. The sequence is high-tech in its visual execution and was, for me, the most unique sci-fi aspect of the movie.

Rejected

I remember seeing this delightful little short film when I was in high school and thought it was absolutely bonkers! Such absurd sequences with a fruit declaring "I am a banana!" and a little cloud puff freaking out because his anus is bleeding had my teenage version of myself laughing hysterically at something my parents and teachers would undoubtedly find appalling.

It wasn't until later in my life that I discovered the film had been nominated for an Oscar (Best Animated Short - 2000). I was shocked....and delighted! It reignited my hopes for the Oscars (which have since dropped again to the point I no longer watch them at all), but even more importantly it opened me up to discovering more of Don Hertzfeldt's fine work. In fact, he may be my favorite animation film-maker (Hayao Miyazaki comes close). But let's talk about Rejected.

Watch Rejected here first!

Hertzfeldt's masterful short is clearly a satire on the nature of advertising. The narration describes the work of an animator (Don) who is hired to create commercial work for a number of companies. The eccentric work features absurd characters in surreal scenarios that are all too bizarre for any corporate portrayal and thus get rejected by all the employing firms. By the end of the film, the rejected cartoon world begins to implode due to the mental degradation of the animator's psyche, resulting in the amazing finale. This is where Hertzfeldt's style shines, using the paper itself as a layer to the world - characters go flying out of holes and rips in the paper, ripples in the sheet are like tidal waves, and one character knocks on the medium making cracks as if he is trying to escape. This is surreal comedy at perhaps its best. Given the excellent animation work, the thematic undertones of advertising absurdity, and the memorable and often disturbing jokes ("My spoon is too big!"), I can see why Rejected is award-worthy. Don't you?

Polysics!

Whoa! I just discovered this crazy band from Japan called Polysics! They look like an Asian Devo but with more electro-pop fused into their sound. 

The front man explodes onto the scene with a ridiculous key-tar solo complete with a manic head twitching that looks like he is insane (maybe he is?). This song AT-AT really has a fun electro beat that carries thorough the song with a grooving bass line. The front-man cuts the song into segments with a few odd verses where he sings like a boy who had way too much sugar. I don't have much to say about these guys yet, but I think I may check out more of their stuff. I just needed to share this crazy video for now and let other people bask in their energetic antics. This is fun music!

Chasing Mavericks

This past weekend I watched the biopic Chasing Mavericks which tells the story of surfing legend Jay Moriarty. The film was co-directed between Curtis Hanson (who made the great L.A. Confidential) and Michael Apted (who directed the historical film Amazing Grace). The film follows the "rites of passage" story archetype, where a wet-behind-the-ears character (a young Jay) wants to surf the biggest waves, or mavericks, in Santa Cruz but must be trained by his wise mentor (played the rugged Gerard Butler). I really quite enjoy stories of this type, obviously because they are traditionally motivating and inspiring, but also because I find mentor characters in films to be interesting and entertaining.

One of the main themes throughout Chasing Mavericks is fear and overcoming it. Frosty, the wise mentoring surfer dude, tells Jay about the Four Pillars of Strength: Physical, Mental, Emotional, and Spiritual. The film tackles each of these very wisely, except for the last one - there is one scene where Frosty denies his belief in God and this is really the only point the film touches anywhere on spirituality. Without the film-makers becoming too preachy, the film still manages to inspire the viewer through the other three pillars, mostly through the lectures of Frosty and the trials of Jay. The physical trials are obvious, where surfing is shown to be a difficult sport, fighting against the power of the tides and the intense training the characters have to go through. The emotional trials are shown through the relationships between characters, especially with Jay's mother and the childhood friend he struggles to build a romantic connection with. In an unexpected turn, Frosty demands that Jay write him a series of essays on observation and the impact of fear, showing that these surfer dudes are more than just stereotypical beach bums and they can actually think intellectually. The film goes to show that athleticism can be more than just being good at something physical and that there is a mind aspect to this lifestyle as well.

The film's structure builds well, creating a cycle of trial and success through the many conflicts Jay has not only with his mentor, but with friendships, family, love, and the sea itself. The cinematography captures some beautiful images of the sea, both at it's calmest and it's roughest, allowing some interesting choices for the edit of the sequences. The crash of the waves and the calmness of the sea become a metaphor for the path through life: sometimes it is smooth sailing and you can clearly see your goal, but other times you have to fight just to stay on top and the chaos keeps you from keeping your bearings. The editing choices I briefly mentioned also utilize this contrast in the mood of the surf: after the sudden death of a character, the film cuts to a calm sea, brilliantly lit with the white light of the sun - seeming to comment that there is silence now and that a death has occurred without needing to come right out and telling the audience. Another brilliant moment of editing choice is when Jay finally connects with his romantic pursuit and after the girl tells him she loves him they lean forward and kiss in a tight two shot - which deliberately cuts to a crashing wave, the embodiment of Jay's passion. 

The film ends on a low note, however, jumping seven years into Jay's successful surfing career when he drowned in 2001.  This final scene seemed like an out of place footnote to me, being a stark jump from the victory of his maverick conquest. It was difficult to feel a connection to his death as it felt so unemotionally tagged in at the end, and it kind of breaks the pacing of the whole work. The film adds on an inspiring interview clip with the real Jay Moriarty, redeeming itself to expel his life motto: 

"It's about finding that one thing in life that sets you free, but you need to believe in yourself or none of this matters."

Wilz - Get Looney & Ghost

I've posted some stuff on music here, both music videos and live performances. As you may have noticed, I like a lot of weird music so sometimes I stray into the foreign markets (I particularly enjoy visual kei bands from Japan). I decided to share some local music this time. It's nice to see some quality hip-hop coming out of our own province.

Wilz is a hip-hop artist from Saint John, New Brunswick (my hometown) and I actually went to high school with the guy. Below I have selected two excellent music videos produced locally and directed by my talented friend Steve Doiron. I have worked on a number of film projects with Steve and he is an awesome film-maker.

Ghost

First up is Ghost. I love this track. One thing I hear from people about Wilz is that he is very similar to Eminem. I definitely agree with this, but I think a lot of people end up saying this because he is a white rapper and Slim Shady is just one of the most famous. Sure he's white, but Wilz doesn't really compare to other famous white rappers (I wouldn't dare compare his sound to Vanilla Ice for example). The video is shot in downtown Saint John, featuring a drab setting that totally fits the mood of the song. Steve, the director, gets a cameo at the end getting out of his car (haha!). Wilz has a lot of charisma in the video, lyrics reflecting some deeply personal anguish, and the sung chorus has a raw power to it without over-exerting itself (the over-toned whispers adding a question of doubt to the character).

Get Looney

Get Looney is definitely a much more upbeat song. The video is very cool, particularly from a production stand-point, representing a post-apocalyptic world where people trade batteries for currency. For having a modest budget, as most productions in NB have, Steve Doiron sure knows how to make something from very little. There's a few local talents recognizable in the video such as Peter Doyle who made the Saint John-based film, Hometown. I'm in the video too towards the beginning (I get choked out in the fight). The beat is fun and Wilz spits his ryhmes with frantic pacing. Another bonus: the video shows off his break-dancing skills.