Tuesday, March 31, 2009

HERE COMES A CHOPPER TO CHHHHHHHHH

A few weeks ago, a friend of mine brought to my attention an off-broadway production of every high schooler's collective favorite dystopian future novel, 1984. I, not being one to miss such a heroic attempt at live-action, low-budgeted adaptation, sought to buy tickets to see a Saturday matinee performance of it. At a paltry $25 per ticket (plus applicable convenience charges), this 80-minute uninterupted spectacle of postmodernism is well worth the price of admission.

Without spoiling too much, this envisioning of the 1949 George Orwell novel does a more-than-adequate job at capturing the disconnected, lonely feeling of Winston's troubles throughout the course of the story. Naturally, minor details are cut in favor of cramming the main plot points into something that's just barely under an hour and a half, but the important bits are there. It's done by a group of artists known as the Godlight Theater Company, who have worked on similar adaptations of other novels such as Blindness, Slaughterhouse Five, Farenheit 451, and so on and so forth. I could go over their merits as a company, but to be honest this is the first time I've ever heard of them, so if you're so inclined to learn more about them you can just click on the link. That's the magic of Al Gore Presents : The Internet, Hard at Work!, hard at work.

The acting was delightful, especially the pasty, soft-spoken yet intimidating man who played O'Brien, although Julia looked somewhat similar to a girl I once dated who dumped my loser ass swiftly, so that totally took me out of it. I also very much liked how the actor who played Parsons reacted in an explosion of nervous fury when he was sentenced to Room 101, as his sentiments very closely parallel mine whenever I'm told I have to go to school, or work, or outside, or basically anywhere that involves leaving my basement.

Perhaps the most interesting of design choices involved the lighting - there was often a square of light in the center of the stage, which was treated differently in each scene (for example, in one scene it's treated as an imaginary table). The telescreens were depicted by four women standing at the outer edges of the stage, quietly chattering away as the action unfolded in the center and wonderfully illustrating the claustrophobic feel Big Brother hammered down on the doomed city.

It's currently being shown at 59E59 on 59th Street between Madison and Park, and it's a grand old time and highly recommended by this sci-fi fart in the wind, so take that as you will.

Thursday, January 29, 2009

ALBUM REVIEW: STRIKE ANYWHERE - TO LIVE IN DISCONTENT


Website: http://www.strikeanywhere.org/ // http://www.myspace.com/strikeanywhere

Wikipedia?: Yes.

The buzz: A melodic hardcore band from Virginia with strong political undertones. They've been featured on the soundtracks of three different Tony Hawk video games.

Sounds like: A thousand pop-punk bands local to the abysmal New York scene. What if Fugazi had suddenly decided punk wasn't worth it? Well, they probably have already.

The verdict: This album is aptly named, for I will no longer live in content after hearing this mess of off-key distortion. I hate to use an old cliché, but each song is basically the same four chords over and over again. You know it's bad when the irritating electric guitars suddenly give away to a heartfelt acoustic performance as the outro.

Strike anywhere? Strike my house and put me out of my misery.

Wednesday, January 28, 2009

ALBUM REVIEW: MARIANNE FAITHFUL - KISSIN TIME


Website: http://www.mariannefaithfull.org.uk/ Warning: flash

Wikipedia?: Extensive.

The buzz: Who the fuck is this and why are there so many guest appearances on this album? Beck's entire Midnite Vultures-era band appears on a number of tracks, including Beck himself. Billy Corgan is on a bunch of tracks as well. Even Blur makes an appearance. She fucking covers "Nobody's Fault" off of Beck's Mutations album. What the fuck? Who is this?

Sounds like: If Beck, Billy Corgan, and Damon Albarn were all old women who smoked three packs a day then that's exactly what this sounds like, except sometimes she's more Enya than 90's-alt-rocker.

The verdict: I don't even know what's real anymore! Everything on here sounds like a bizarro version of every song I've ever heard. I'm going to go ahead and say this rocks and it's iPod worthy. Marianne Faithful, I'm not sure if you've ever made it big, but you are a classy woman.

Final Answer: Hey, whatever.

Tuesday, January 27, 2009

ALBUM REVIEW: CHOMSKY (SAMPLER)

About chomsky: It's been a long time, but we're back to rock the kids and olds alike. Come with us as we ride the wild horse or "punctual rock" like it's 2000 all over again! Now with Kung-Fu grip and nachos!!!!

Sounds like: It's been a long time, but we're back to rock the kids and olds alike. Come with us as we ride the wild horse or "punctual rock" like it's 2000 all over again! Now with Kung-Fu grip and nachos!!!!

The verdict: "Texas rockers" is a phrase that should only be followed by any combination of "Butthole" and "Surfers". Otherwise we get shit like chomsky. Although this is only a three-track sampler, I feel as thought years have been taken off my life. It ends with a track called "00:15:00", in which the lead singer screams about how he has fifteen minutes to rock. What a coincidence. I only have fifteen minutes to live.

Anyway, hate to break it to you, but no awful band gets a pass by naming themselves after famous linguists.

Monday, January 26, 2009

ALBUM REVIEW: FIELD MUSIC - FIELD MUSIC


Website: http://www.field-music.co.uk/ // http://www.myspace.com/fieldmusic

Wikipedia?: Yes.

The buzz: According to the promo sticker, it's for fans of bands like Spinto Band, Pinback, and The Sea and Cake. Great. I don't know any of those dudes. Apparently the trio is on break because they're sick of their own music.

Sounds like: Airy English Indie band with very minor influences in Britpop, with crying guitars over weepy string ensembles.

The verdict: There are many songs on this album, most of them averaging at the 3:15 mark. They're nice enough tunes although occasionally they sound like ditties, as if the songwriter wanted to quickly move on to the next track and get its point across as quickly as possible. However, it feels more like over-saturation, resulting in nothing that is particularly memorable but instead dozens of memories slowly fading away. The perfect euphemism for the singer's despaired vocals drowning behind twinkly pianos, xylophones and harmonica symphony. It's kind of like Beta Band mixed with Sufjan Stevens if they wrote an album for The Sea and Cake. Sorry.

Probably: good, who knows? I'm sad, for some reason.