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The Oscar® Preview

Chad Benefield — Thu, 25 Feb 2010 14:38:17 GMT

Welcome to my attempt at joining The Psychic Friends Network®. The 82^nd Annual Academy Awards will be televised Sunday, March 7^th on ABC and I, as I typically do, will try to look deep into my crystal balls in an effort to forecast the winners. This will be an interesting year for the Oscarsâ. Gone is all the pretense of former Academy Awardsâ broadcasts. Out of Africa? Best Picture of 1985? Really? I mean, I love you Meryl, but could you pull the tranquilizer dart out of my neck? The English Patient? Best Picture of 1996? Really? I watched it and felt compelled to cut myself to feel alive? This year, the Academy, trying to steal some of the spectacle back from the Red Carpet outside, chose to name ten Best Picture nominees instead of the traditional five. The move was genius. Because, as you will see, some of nominees for Best Picture of 2009 were also some of the biggest blockbusters of the year. But who deserves to win? Any student of Academy Awardâ history knows that the person/film who deserves the trophy isn’t always the one wins it. I mean, Jesus! Halle Berry and Mira Sorvino have won Oscarsâ! I smell dangling chads!

BEST PICTURE

Avatar

The Blind Side

District 9

An Education

The Hurt Locker

Inglourious Basterds

Precious: Based on the Novel ’Push’ by Sapphire

A Serious Man

Up in the Air

Five of the movies listed (A Serious Man, District 9, Precious, The Hurt Locker, and An Education – January 2010 issue – ed.) actually hold down positions in my annual Top Ten list. But only one has a chance of actually winning the Oscarâ. If any film has the power to stop the box office battering ram that is Avatar, it is The Hurt Locker, Kathryn Bigelow’s gripping study of an American soldier with an insatiable need to tempt and cheat death. Avatar is on the precipice of box office history, though I honestly have no clue what all the fuss is about. While I appreciate James Cameron’s vivid imagination and his gift of the special-effects gab, I personally think the Na’vi look like gigantic Smurfs. But, what the hell do I know? Avatar is shattering box office records and is poised to win the big prize. That is unless history of another kind is made. No woman has ever won an Oscarâ for Best Director. But Kathryn Bigelow, who ironically is James Cameron’s ex-wife, could do it. If she does, she just may put the “hurt” on Avatar for Best Picture!

BEST ACTOR IN A MOTION PICTURE

Jeff Bridges – Crazy Heart

George Clooney – Up in the Air

Colin Firth – A Single Man

Morgan Freeman – Invictus

Jeremy Renner – The Hurt Locker

Jeff Bridges has been nominated for four Oscarsâ. He’s been nominated in the Supporting Actor category three of the four times (for The Last Picture Show, Thunderbolt and Lightfoot, and The Contender). In 1984, he was nominated as Best Actor for his role in Starman. After a nearly 40-year wait, he’s finally going to take home the top prize. For his role as fallen country music singer “Bad Blake” in Crazy Heart, Bridges has taken home nearly every acting trophy around. On March 7^th, he’s going to claim the only one he’s been missing.

BEST ACTRESS IN A MOTION PICTURE

Sandra Bullock – The Blind Side

Helen Mirren – The Last Station

Carey Mulligan – An Education

Gabourey Sidibe – Precious: Based on the Novel ‘Push’ by Sapphire

Meryl Streep – Julie & Julia

Though I realize it’s probably rude and insensitive to refer to Sandra Bullock and Meryl Streep in thoroughbred racing terms, the Best Actress category truly is a two-horse race. But, as we head down the final stretch, I think Sandra Bullock is the favorite among odds makers and the photo finish will show she wins by a nose! Bullock has been the unlikely darling of this awards season. She came out of nowhere really (did you see All About Steve?) to claim a Golden Globeâ and the Screen Actors Guild Awardâ and gave impeccable acceptance speeches at both events. And the Academy likes good acceptance speeches. It really, really likes them! Hollywood sweetheart Julia Roberts won her Oscarâ for playing the ballsy, sassy and brassy Erin Brockovich. It’s only fitting that Sandra Bullock, whose career, like Julia’s, has been a series of hits and misses, is going to claim her first trophy for playing the similarly ballsy, sassy and brassy Leigh Anne Tuohy.

BEST SUPPORTING ACTOR IN A MOTION PICTURE

Matt Damon – Invictus

Woody Harrelson – The Messenger

Christopher Plummer – The Last Station

Stanley Tucci – The Lovely Bones

Christoph Waltz – Inglourious Basterds

Quentin Tarantino’s Inglourious Basterds has been gathering steam as we approach the Oscarsâ. In fact, it won Outstanding Performance by a Cast in a Motion Picture at the Screen Actors Guild Awardsâ (their equivalent to Best Picture). I personally don’t get it. Tarantino has made much better films, likely the widely overlooked Kill Bill series. But for me, Inglourious Basterds had one saving grace and that was Colonel Hans Landa, the most glorious bastard of them all. As Hans, actor Christoph Waltz chewed up the scenery and his enemies and painted, like a genius, the portrait-perfect rendering of evil. Having won the Golden Globeâ and the SAGâ, Waltz is a sure bet to win the Oscarâ. But don’t expect to understand a damn word he says. I mentioned Sandra Bullock gives great speeches. Christoph Waltz is the antithesis to that.

BEST SUPPORTING ACTRESS IN A MOTION PICTURE

Penelope Cruz – Nine

Vera Farmiga – Up in the Air

Maggie Gyllenhaal – Crazy Heart

Anna Kendrick – Up in the Air

Mo’Nique – Precious: Based on the Novel ’Push’ by Sapphire

Maggie Gyllenhaal is surely thanking Jeff Bridges for her surprise nomination (it was believed Julianne Moore would get the final nod in this category for her work in A Single Man). While accepting his bounty of trophies, Bridges praised his co-star’s work in Crazy Heart endlessly and the Academy took notice. But notice is all Gyllenhaal will leave with. This trophy belongs to Mo’Nique, who, in Precious, gives a heart-breaking performance as a woman torn between the man she loves and the duties required of a good mother. Mo’Nique is so unbelievably convincing in this movie she manages to make a truly despicable woman worthy of our pity. It’s an amazing performance that will earn this stand-up comic Oscarâ gold!

Show Review

Paul Mattingly — Thu, 25 Feb 2010 14:36:46 GMT

Skelton’s Montourage Live @ Penny Lane

4 ½ stars

I have had the privilege of working as a Jazzflight DJ at WUEV 91.5 fm since 2007. I have met many great musicians and a lot of passionate jazz fans in the Tri-State. Presently the station manager and producer of the Afternoon Jazzflight on WUEV is Monte Skelton. He is also, among other things, the front man of Skeltons’ Montourage. Most of the fans in the area know Monte as a killer sax player, as well as a multi-instrumentalist. The Montourage is a unit comprised of some of the heart and soul of the Evansville jazz scene.

Filling out this fine band it Alex Smith (trumpet), Matt Courtney (bass), Jordan Green (guitar), Jeremy Stevens (keys), Eli Green (percussion), and last, but not least, Jon Kern (drums). Late last year they played at the Penny Lane Coffee House in one of the last gasps of music at this storied establishment. October 24 was the evening their music was recorded “live” for all to hear. Skelton’s Montourage Live @ Penny Lane was the effort and brain child of Ms. Robin Church to initiate the James W. Church & Gary Hester Jazz Assistantship at the University of Evansville. This project is part of an ongoing fundraiser to benefit the talented musicians at the university. It was also a labor-of-love that honors her late father and son.

Also featured on this CD is Tina Kern-Raibley (keys), Andy Gillespie (trumpet0, and Alex Schnaupz (baritone sax). It presents an interesting capsule of the band in its present form. The Montourage is a band that is a must-see, regardless of the venue. This evening they wowed the crowd and left us fortunate-few wanting more.

The Montourage rolls through the classics like “Blue Bossa,” “Afro Blue” or “Watermelon Man” with a modern flair that, at the same time, gives the respect due to the original intent of the composers. Their rendition of “Crazy,” the Gnarls Barkley tune is always a fan favorite. And when they kick it with “Frankenstein” and “Superstition” that’s when the dancing begins.

The recording and production was done by Greg Loomis. He had a small area to work with and handled the limitations of the environment as well as he could. The final product is a good snapshot of this band at that time. My only disappointment is that there is very little bottom and the “presence” of the actual performance is sadly lacking. But, all in all, it is worth being in my collection. Plus, mine is autographed!

Next time you see Paul and Heidi Krause of Penny Lane, thank them for all the great music they allowed the Tri-State to see and hear. And if you would like to get a copy of Skelton’s Montourage Live @ Penny Lane contact Robin Church at churchbird@insightbb.com

__________________________________________________________

Credit Facebook.com

CD's

People Who See Sound — Thu, 25 Feb 2010 14:36:06 GMT

Easton Corbin – Easton Corbin

(Mercury Nashville)

4.5

Easton Corbin makes his debut into the world of country music with a strong self-titled album, which features the single “A Little More Country Than That.”

The album opens with “Roll With It,” a laid back love song about falling more in love with someone through the simplicities of life. It’s hard to make a love song that isn’t so sappy you think your ears might actually bleed if you listen to much more, but Corbin seems to accomplish the task of a listenable love song not just once, but again with “The Way Love Looks.” The latter song is full of cutesy lyrics and an upbeat tune, and as Corbin personifies love in the line “I like the way love looks/The way he looks on you,” you can’t help but enjoy it.

Corbin’s strongest song is “A Little More Country Than That” in which Corbin paints us a picture of the country life that’ll bring a smile to our faces and a chuckle to our lips: “Picture a small town/With an old hound/Laying out front/Of the courthouse/While the old men chew the fat/I’m a little more country than that.”

“I Can’t Love You Back” is his forgivable love song. Although the song is cheesy enough to make anyone picture a couple dancing to it, the chorus has a kick to it with an increased melody and louder pitch; so just when you’re about to fall asleep listening to the verse, he kicks you in the head with a change in the frequency, and you’re released from your boredom.

Corbin does not disappoint with his first album as he sings us country fans into a reverie with his deep, country-twanged voice and catchy tunes. In this case, simpler is better.

-- Kristina Kercher

Nitzer Ebb – Industrial Complex

(Artists Addiction/Alfa Matrix)

In the roughly 15 years since the last new Ebb material, Nitzer Ebb's instrumentalist Bon Harris has spent time programming for bands like Smashing Pumpkins and Marilyn Manson, while vocalist Douglas McCarthy has worked with Ebb-inspired dance producer Terrence Fixmer, as well as Alan Wilder's electro-blues project, Recoil. But these influential English electro-dance-punks reunite with the impressively strong "Industrial Complex", and they do a right good job reclaiming the harsh sequencer-driven sound of their earliest work (a la "That Total Age"), especially on the energetic opener, "Promises" (which made it's debut on the "NCIS" soundtrack). The sloganeering and authoritarian ranting of their old days is gone, though, replaced by more developed songwriting and production. There are also softer electro ballads like "Going Away", which reminds of (old friends, tourmates, and collaborators) Depeche Mode. No coincidence that Depeche's Martin Gore himself guests on "Once You Say", which bears a similarity to Mode's "I Feel You" a wee bit. But that's not to say this is a mope-fest by any means. Cuts like "Hit You Back" are more rock-oriented, echoing their later work on albums like "Ebbhead". And the thunderous "Payroll", originally heard on the "Saw IV" soundtrack, is a welcomed injection of aggressive electronics and McCarthy's half-rap-shouted vocals. "I Don't Know You" is a retro-edged bit of synth-driven hypnoticism that shows Ebb's DAF-meets-Die Krupps roots more than amicably. "My Door Is Open" continues this trend, and is easily among the duo's more intense offerings since 1991's "Godhead". "Kiss Kiss Bang Bang" is another stomper that could be wicked on a dancefloor, but probably rocks too hard for most club-goers. It all ends on a lighter note with "Traveling", which is a more song-based piece that's as close to a pop song as this lot goes. Surprisingly good, sturdy, and potent work from a group that has successfully resurrected itself from the ashes.

--Todd Zachritz

Corinne Bailey Rae – The Sea

(EMI)
3.5

This one’s been out for about a month, but it’s a decent follow-up to her debut album. I don’t have much to say, other than that it’s worth a listen but maybe not a full-on purchase. As with most albums these days, I advise checking out the iTunes samples or tracking down the full cuts on YouTube before buying.

-- Doug Messel

Shrinebuilder – Shrinebuilder

(Neurot Recordings)

Heavy and and melodic psychedelic metal here, from a new project from prominent members of Om, Melvins, and Neurosis, with Wino (from the Obsessed) on vocals. "Shrinebuilder" draws on everything from stoner rock to classic metal to drone/tribal hybrids to lysergic improv, and to good effect. "Solar Benediction" evolves from heavy groove to mellow psychedelia in it's almost 9-minute duration, while "Pyramid To The Moon" is a huge and head-nodding slab of post-Sabbath groove, albeit with added space-out textures. "Blind For All To See" is a slow, churning drone-stone wanderer, sounding like a massive epic jam from another time and space. If big, monstrously heavy and monolothic doom metal is your thing, Shrinebuilder are certainly a must-hear.

--Todd Zachritz

Josh Turner – Haywire

(MCA Nashville)

2.5

After Josh Turner’s last album Everything is Fine went gold, Turner set the bar high for his following release; sorry fans, but Haywire falls way below that bar.

The up-beat opening song “Why Don’t We Just Dance” gave me hopes for a great album as I made the chorus my ringtone, but my hopes and dreams were shot as the music carried on. The whole album sounds like a soundtrack to a bad romance film; if you want nothing but sappy love songs, look no further than here.

“As Fast as I Could” is a potential hit-radio song, but as for the concept, I think it’s been done. The song reminds me of a happier-tuned Rascal Flats’ God Bless The Broken Road with lyrics like “I ran full speed ahead/ Without stopping to rest/ Not knowing where I was headed to/Now that I’m here/It is perfectly clear/That I was making my way to you.”

The album continues with a promise that each song will sound just like the one before it, and that each song will be full of lousy rhymes. The song “I’ll Be There” is a great example, and with lyrics like “I’ll be a tear dryer/A paper airplane flyer/A monster runner-offer when you get scared/I’ll be a sap/I’ll be a sucker/A story maker-upper” what kid wouldn’t want a song like this to take them to, as Turner says, “sleepy town?”

Other songs like “Friday Paycheck” and “The Answer” show Turner’s lack of originality. “Friday Paycheck” teased me with its title, as I was sure that this song would be cheesy-romance free, but I was yet again disappointed as Turner croons about needing his Friday paycheck because he has “a little hunny” depending on him, and how he needs the money to take her out on the weekend.

The album’s final song “The Answer” begins with the same piano chords and organ sounds as Garth Brooks’ “We Shall Be Free,” just lacking the choir in the background. After that beginning, I couldn’t get into the song knowing that a legend had been ripped off. (Also included on this album: an unworthy version of Don Williams’ 1987 Top 10 hit “I Wouldn’t Be A Man.”)

Haywire also comes in a deluxe version that includes a live version of Turner’s previously released songs “Long Black Train” and “Your Man,” but I wouldn’t say that’s a selling point.

-- Kristina Kercher

Incognito - Tribes, Vibes, & Scribes

(Verve)

Incognito released its first recording in 1981 with Jazz Funk. By the time the band released its third effort in 1993, Tribes, Vibes, & Scribes, the band was becoming a force on the acid jazz scene. In the UK, this form of music was originally called “jazz funk.” There was a house music movement that combined the DJs and bands that morphed into what was called the “acid house movement.” Bands like Incognito, Brand New Heavies, and Jamiroquai where playing at these gigs. When the music was playing it was said that people got “high” on the dance floor. So was coined the term “acid jazz.” The release also ushered the band’s rise as a global phenomenon. The band's frontman is composer, record producer, guitarist and singer Jean-Paul 'Bluey' Maunick. In the over 30 years since the band’s first effort, Maunick has hosted some of the most impressive players and vocalists in the world of jazz, acid jazz, and jazz funk (over 1500 musicians in 31 years).

Incognito’s third album, Tribes, Vibes & Scribes (Talking Loud Records, 1993), gives creedence to the fact that this band is solidly grounded in jazz, funk, and soul. The 11-member band adds a Latin feel to the snazzy cover of Stevie Wonder's "Don't You Worry 'Bout a Thing," while "Magnetic Ocean" has a Weather Report ballad-like vibe. "Change" combines Maysa Leak's channeling Chaka Khan with a great backwash of strings. And "Need to Know" gives props to Roy Ayers and Rick James. The band is at its best showcasing Leak and/or featuring soloists, as on "Colibri" and the Mandrill-sounding "Closer to the Feeling." And while "L'Arc en Ciel de Miles" sounds more like Chuck Mangione than Prince of Darkness, it shows the band’s versatility. This cut also put an early mark on the fledgling smooth jazz scene.

The band flows with a soulful horn section, ready to get up and jump at any moment and still take the listener back with an original Motown groove. There is a lot of programming and synthesizer on this album. The audiophile of today takes that for granted. Over twenty years ago, Incognito was in the forefront of using this to produce the club and dance scene for public consumption.

The release features so many great muscians that I can’t spend space to individually credit and congratulate each of them. However, I must give credit and a great deal of love to Maysa Leak. After graduating from college, Maysa headed to California to perform with Stevie Wonder’s female backup group Wonderlove. While with Wonder, Maysa was a vocalist on the Jungle Fever soundtrack and performed on numerous television shows including Arsenio Hall, Oprah, and The Tonight Show. Maysa got the Incognito gig during an over-the-telephone audition. She then relocated to London and was feature on Tribes, Vibes, & Scribes for the first time. Since that time, she has appeared on seven of the band’s recordings.

Jean Paul ‘Bluey’ Maunick interest in music started in his childhood years while he was growing up on Mauritius Island near Madagascar. His musical desires were fueled by the sailors who'd visit the island, spinning exciting, harrowing tales of the Amazon, Bail, and the Nile along with the various beach musicians jamming throughout the seasons. Around 1967, Maunick and his mother moved to London when he was about ten years old. Becoming a part of the vibrant music scene, the guitarist formed the R&B/jazz band Light of the World in 1978. A pre-stardom Sade was featured on the cover of the band's debut LP, entitled Light of the World. Light of the World then evolved into Incognito. The two original members were Maunick and a 16 year old bass player named Paul “Tubs” Williams. Since 1979, Maunick has led Incognito, releasing thirteen studio albums, three albums of remixes and two other albums by bands largely made up of previous members of Incognito.

I am now a featured DJ on WUEV 91.5 FM with an “Afternoon Jazzflight” shift on Mondays (4-6 p.m.) and the “Jazz Café” on Fridays (3-6 p.m.). However, I spent a good part of my worklife on the railroad, traveling over the highways and by-ways in pursuit of the almighty dollar. During one stint of traveling, my work partner, a brother of a different color named Ralph, turned me on to this jam. It has since become one of my favorites. If you want to drive, dance, or… whatever you like to do, this is all-purpose love for your soul.

-- Paul Mattingly

Megasus – Megasus

(20 Buck Spin)

Dense, large, and rumbling aggro-doom-metal from some Rhode Islanders who collect their paychecks from ("Rock Band" and "Guitar Hero" video game developers) Harmonix, and a drummer who plays bass in Lightning Bolt. This is their debut, and it whacks handily with mighty riffage and pummeling drumming, akin to some of the better stoner-metal acts around. "Swords" is a massive, primal mountain of droning riffs and thunderous drums, laying waste to the modern world. It's not for the faint-hearted, for sure. "Hexes/Szaadek" is another behemoth of loud, bonecrushing aggression, like if Slayer teamed up with the Melvins, got high together, and then got into a raging fist-fight. "Red Lottery" is another speedy assault of dangerous noise and fury. This is some evil and engrossing metal of remarkable acumen. Fully worthy.

--Todd Zachritz

The Bird and the Bee – Guiltless Pleasures Vol. I: A Tribute to Daryl Hall and John Oates

(Blue Note)
4.5

When I first picked this up, I figured I’d hate it. I mean, I really dig The Bird and the Bee, and their song “F*cking Boyfriend” is one of my favorite tracks, but an entire album full of Hall and Oates? Really? I skipped straight to “Maneater” as a matter of pure curiosity and was underwhelmed. Surely that can’t bode well for the entire thing, right?

God, was I wrong. This whole thing (after much repeated listening) is great. A lot of the songs benefit from what feels like a stripped-down treatment, and Inara George’s vocals are pleasantly surprising. It’s an album full of covers, but a lot of these songs feel new and fresh in the group’s capable hands. When this thing comes out on March 23, go buy it. Immediately. I’ve been listening to it on repeat as much as possible.

-- Doug Messel

Wesley Willis's Joy Rides – DVD

(Eyeosaur Productions/MVD Visual)

Chicago-born artist and musician Wesley Willis passed away a few years back, but not before he found a receptive and enthusiastic international audience through his music and drawings. The unlikely (and self-proclaimed) rock star, who was tormented by chronic schizophrenia (and some tumultuous inner "demons"), brought a larger-than-life spirit and over-the-top personality to whoever would lend an ear. This touching documentary succeeds in capturing the essence of what made his life so unusual and so inspiring. It's a non-stop joyride, to use one of Wesley's favorite expressions. Seeing him hawking his CDs on the streets, or reveling in the audience's applause (or chatting with the barbers during a simple haircut) proves to be a funny, entertaining, and charming experience. His simplistic, sometimes-childlike songs were based around his day-to-day experiences, and he wrote songs for nearly everyone he befriended. Directors Bagley and Shively have compiled footage of Wesley in his later years, and it's a fitting tribute to the man and his legend, and includes interviews with Wesley's family, as well as his closest friends. It's evident the filmmakers were close to Wesley, as this loving portrait of an artist who, in his own way, changed the world for the better. He had a larger-than-life joviality and sense of wonder about the world that made him an icon and a character like no other. This DVD is a harmony joy bus ride.

--Todd Zachritz

A Hero En Route – therefore, I fled

(The Room Studio)

3.5

A Hero En Route’s therefore, I fled isn’t a bad album. It’s not great, either. The title names seem to follow the trend started by bands like Fall Out Boy and Panic at the Disco, wherein we have to use full sentences, but that’s not my only real gripe.

Most of the tracks on this EP seem derivative and really out of place, and by that I mean the whole thing should have been released about 7 years ago. It reminded me instantly of bands like Brand New, Thrice, and Finch—which wouldn’t be bad, if you ignore the fact that these bands reached their heyday in 2003 or 2004.

If I had to pick a favorite track, it’d be “Thick as thieves,” and that’s really just because I dig the opening bars.

-- Doug Messel

Beer

People Who Taste Hopps — Thu, 25 Feb 2010 14:35:07 GMT

TWO BROTHERS BREWING - THE BITTER END PALE ALE
(Warrenville, IL)

Jabez: 2.5

This beer had a nice copper color and I could smell a citrus scent to it. This is a very bitter beer. I didn’t care for it and it had an odd metal after taste to it. It had an average malty taste but the bitterness overpowered that very quickly. It was very disappointing.

Todd: 4

A nice, sweet, and floral aroma immediately permeates the air around this one. Certainly a promising opening! Tastewise, it's a smooth and hoppy character with a well-balanced malty presence that counteracts the more acidic and bitter elements that other pale ales exhibit. A standout, and a fine example of the style. Highly enjoyable.

Tom T: 3

Amber-colored ale with medium carbonation and a definitive hop presence in the aroma and taste. The hop levels are moderate, but they are too much on the sour, floral end of the spectrum for me.

Dylan: 4

Lovely amber color when poured into my trusty pint glass. The taste is reminiscent of other American pale ales I’ve had, and compares nicely. Fans of this style won’t be disappointed here.

MICHELOB - HOP HOUND AMBER WHEAT
(St. Louis, MO)

Jabez: 4.5

This was a cloudy amber beer. I had this before and I like it the more I drink it. I could smell a flowery hop odor to it that was nice. I could taste a caramel malt flavor to this beer and some nice hops flavors that flowed together. It is a nice refreshing beer. It is nice to see one of the big brewers make something like this. It was bottled by Michelob and rather inexpensive.

Todd: 3

A nicely clouded golden ale, this seasonal macro features a balanced blend of Northwest hops and sweet malts. It's an appealing combination with hints of citrus and caramel notes, and not as bitter or biting as the name suggests. Hop Hound is easygoing, and not too complex, but more than drinkable. A nice starting point for the inexperienced beer drinker.

Tom T: 3

A hazy, golden-amber ale with better foam and lacing than anticipated. A mild aroma of wheat, malt, and citrusy hops. Taste is crisp, slightly sweet, and mildly hoppy – unoffensive, but only average.

Dylan: 3

To paraphrase the old Wendy’s commercial: “Where’s the hops?” I expected more of the big floral wallop that comes with a heavy hit of hops, but this lacked said quality. But it’s a fine beer nonetheless, and I’d recommend it to someone wanting to graduate from watered-down beers to bottles more in the craft category.

BLUE DAWG BREWING - WILD BLUE BLUEBERRY LAGER
(Baldwinsville, NY)

Jabez: 3

I was really to rip this beer apart but I had to attempt to be fair. When the label says, “Wild Blue”, you have to expect some sort of funky beer. It didn’t look like beer when I poured it, it was a plum color. The flavor was more a weak grape taste than a blue berry. It tasted more like a wine cooler than a beer but what do you expect? I was ready to dump this one down the drain but my friend Joe convinced me to give it a chance. It was a little odd but the 8% alcohol was nice. It was OK for something different but you have to read the label before you drink.

Todd: 1

To start with, I adore blueberries. Fresh, ripe, and real blueberries, that is. Nonetheless, this Nehi grape-colored debacle may say it contains "natural flavors and colors", but beer it is not. And I question the "blueberry" content as well. Maybe the 8% ABV is meant to obscure the fact that this one commits abominable and atrocious acts on the tastebuds? It tastes like an alcoholic grape soda, with no discernable hint of hops, just a weird, artificial fruity flavor that lingers like a Wild Irish Rose in beer-like form. Ugh. Avoid.

Tom T: 2

Just a blueberry wine cooler and decent as far as wine coolers go. It does earn bonus points for being 8% alcohol.

Dylan: 3

I expected to dislike this (fruity beers usually suck in uncountable ways), but I was pleasantly surprised. The blueberry flavor was prominent, but not too forward, and the tannins of the fruit even lurked around in there. Pleasingly enjoyable.

SCHLAFLY No.15 ALE
(St. Louis, MO)

Jabez: 4.5

I am a fan of anything Schlafly puts out. This beer poured a cloudy orange color and had good carbonation. I could smell a fruitiness to this beer. I could taste some wheat with hints of nutmeg and other spices. I would consider this a lighter version of the Pumpkin Ale Schlafly puts out in the fall. It also had a creamy finish to it. I loved this beer.

Todd: 4.5

This nice amber wheat ale brings a frothy appearance and a fragrant spice aroma - delectable! The first impression is a well-balanced maltiness, with a hint of citrusy spice. Compares (very) favorably to it's mainstream counterpart, Blue Moon, and in fact, a source close to me (who happens to enjoy Blue Moon) rated this one better. I do, too. A wonderful beer -- not flashy or showy, just eminently enjoyable and steady. Pick of the month.

Tom T: 3.5

Pours a cloudy light amber color with a nose of wheat, fruit, and cloves. The fruits and clove come through in the taste. A decent beer, but lacked texture and character. A little too understated for me.

Dylan 5:

Yep.

Wine

Misc. — Thu, 25 Feb 2010 14:28:32 GMT

Know Your Kind of Wine Today

The right combination between food and wine is a source of ultimate bliss for every connoisseur. Both wine and food can benefit from the right pairing. The right wine can accentuate unexpected gastronomical aspects of food and vice versa, wine can shine in a new light when accompanied by the right dish. In order to savor the splendor of such combinations, one does not need to frequent expensive restaurants and buy overpriced wines. Rather, when combining food and wine it is one’s intuition and curiosity that are of paramount importance.
It is a pleasure to the palate and it teases the senses when you combine fine dining with a glass of good wine. White wine is excellent when you are dining on fish or chicken, while red wine goes perfectly with red meat dishes.

            You might be confused when it comes to classifying the kinds of wine manufactured by vintners.
            Wine-makers use the word “varietal” to refer to the type of wine made, as there are many variants to choose from.
            France and Italy are amoung the leading countries when it comes to exporting wine all over the world. In the United States, you can find great wine producers in California.
            Wines can be named according to the wine-maker, the vintage - which indicates the year when the grapes were grown - and the place where the wines were made.
            However, most wine names are derived from the grape they are made from.
            Here’s a quick look at the general types of wines that you can choose from to suit your taste:

1. Sparkling wine

This is more popularly known as champagne. Sparkling wine takes the form of a bubbly clear liquid which is most often used to signify a celebration.
They are further divided into different types. There is a type of sparkling wine which is very dry and they are light and a bit sweet when tasted. There are champagnes made from white or red grapes, and they are more popularly known as Blanc de Blancs.

2. Aperitif

These are wines drank as an appetizer before the actual meal. Vermouth and dry sherry are a couple of examples of an aperitif.

3. Red wines

Red dinner wines are best served with red meat dishes or pasta. Cabernet Sauvignon is a popular red wine brand.

4. Rose dinner wine

This is related to the red wine variety and is also known as “blush wine” or pink wine. It has a lighter color and a sweeter flavor than the regular red wine.

5. White wine

White wine best complements fish or chicken meal. It brings out the natural aroma of food and further enhances flavor when served chilled. Chablis and Chardonnay are examples of white wines.

6. Table wine

Table wines can be red, white or pink wine which have no more than 14% alcohol content.

7. Dessert wine

Sweet sherry is an example of a dessert wine which is mostly of the sweet variety.

From all these wine types and more – you get to take your pick of which bottle you would like to take home, sip and enjoy.

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Article credit: http://www.articlealley.com/article_111579_14.html

Film

Chad Benefield — Mon, 25 Jan 2010 11:51:03 GMT

FILM PREVIEWS

February 5th

From Paris With Love (Lionsgate)

Have I ever told you that I think John Travolta sucks out loud? Well, I do. And, here, Taken director Pierre Morel gets the honors of trying to turn The Boy in the Plastic Bubble into an action star. Travolta, alongside Jonathan Rhys Meyers (The Tudors), stars as an F.B.I. agent trying to stop a terrorist attack in France. Isn’t it a little ironic that Travolta, who’s a Scientologist, makes me crave prescription meds?

February 12th

Percy Jackson & The Olympians: The Lightning Thief (Fox)

Who names a kid “Percy?” Ugh! Can you imagine? What looks like a Harry Potter rip-off really isn’t when you consider that Percy Jackson is directed by Chris Columbus, the director who initially gave Harry Potter his big -screen identity. After all, it was Columbus who directed the first two Potter installments, Harry Potter and the Sorcerer’s Stone and Harry Potter and the Chamber of Secrets, before moving on. Here, he brings to life Rick Riordan’s novel about a teenager who discovers he’s the direct descendant of a Greek god. The average filmgoer will likely accuse Columbus of being a copycat. But, with Percy Jackson, he’s only copying himself.

February 12th

The Wolfman (Universal)

The smoldering Benicio Del Toro stars as Lawrence Talbot, a man cursed by the light of the autumn moon. His knuckles get hairy, his teeth get sharp, he has the undying urge to sniff butts. Yes! He’s a wolf! Director Joe Johnston (Jumanji, Hidalgo, Jurassic Park III) assembles a smoking-hot cast that includes Anthony Hopkins, Hugo Weaving (The Matrix, V for Vendetta) and Emily Blunt, who recently scored raves as The Young Victoria. Anyone who’s seen an Underworld movie knows that films involving werewolves can be downright silly. But this group of actors has the chops to pull one off!

February 19th

Shutter Island (Paramount)

The latest film by Martin Scorsese (The Departed, Casino, Cape Fear, Raging Bull) is the victim of a six-month delay. I first wrote about Shutter Island in my October 2009 column and the movie was quickly forced to the back-burner. (I know the way I phrased the previous sentence makes it sound like my column had something to do with that, but, trust me, I was no cause of that effect!) Here, Leonardo DiCaprio and Mark Ruffalo star as two U.S. marshals, who, in 1954, are sent to a gnarly-looking mental institution (of course, what was I expecting?) to investigate the disappearance of a patient. Shutter Island looks good. The trailer is interesting, creepy, even scary! So, what’s the hold up? Was it, like The Soloist, delayed because it’s really awful?

February 26th

Cop Out (Warner Brothers)

Bruce Willis (Oh, Dear!), Tracy Morgan (Are you f-ing kidding me?), and Seann William Scott (Shoot me now!) star in Kevin Smith’s new buddy-cop flick. As if the three leads aren’t reason enough to avoid the ticket lines, let’s talk about Kevin Smith, whose last movie, Zach and Miri Make a Porno, may have given me herpes.

February 26th

The Crazies (Overture)

Hey! That should be the name for all those psycho b*tches on The Bachelor! Timothy Olyphant and Radha Mitchell star in Breck Eisner’s remake of George A. Romero’s 1973 thriller, The Crazies, about a small town terrorized by mutants. To illustrate just how updated the new version is . . . Romero’s story took place in a small town in Pennsylvania. Eisner, who directed (pardon me if I choke on it) Sahara, sets his story in a small town in Iowa. He’s so brave to make that leap! What reinvention! What vision! He so crazy!

VIDEO REVIEWS

February 2^nd

Zombieland (Sony)

It was 2004 that the Brits decided that all the zombie movies had become really lame! And, with the exception of Danny Boyle’s thought-provoking 28 Days Later, I couldn’t have agreed more! So, they decided to lampoon said zombies in the occasionally hilarious Shaun of the Dead. Then, in 2009, proving that it takes nearly five years for Hollywood to get a British memo, director Ruben Fleischer unleashed Zombieland to theatres. The result? Yep! Something lame! Fleischer’s take is an uninspired and unfunny exercise in what to do and what not to do when approached by a savage blood-thirsty corpse. Wanna know what’s on my what-not-to-do list? Guess! Here’s a hint . . . GRADE: C-

February 9th

A Serious Man (Universal)

If you read my January column, you know that I listed some of my favorite movies of 2009 and the latest Coen brothers project was among them. But, now having seen all the contenders, I will go one step further. A Serious Man was my FAVORITE movie of last year! This hysterically funny morality play tells the story of Larry Gopnik (a brilliant Michael Stuhlbarg), a Jewish college professor whose Midwestern existence is cursed in every way imaginable! But instead of wallowing in self-pity and “Oy Vey’s” Larry tries, his damndest, to do the right thing! If you thought Larry was cursed before, just wait until he chooses, for the first time in his life, to blur the boundaries of good and bad. The consequences are Serious! I love this movie! I’m all verklempt! GRADE: A

February 23rd

The Informant! (Warner Brothers)

Hollywood loves dramatic stories about ballsy whistleblowers! Look at the list: Erin Brockovich, The Insider, Michael Clayton. All were thought-provoking, stirring. So, credit goes to director Steven Soderbergh for finding the funny bone in The Informant!, which is based on the true story of Mark Whitacre, who, by working with the F.B.I., blew the whistle on the price-fixing schemes of agricultural giant Archer Daniels Midland. Of course, the bipolar Whitacre was no saint and ended up doing time of his own for embezzlement. Way to go, Dumbass! There’s no question that approaching this story in a comic manner takes the dramatic punch in the gut out of it. After all, the price fixing involved had effects on commerce throughout the world. But Matt Damon latches onto the comedy and runs with it. In fact, he impressively sinks his considerable acting chops into the insanely quirky role of Mark Whitacre, a multi-faceted genius of a man way too smart for his own good! GRADE: B

February 23rd

The Box (Warner Brothers)

In 2001 director Richard Kelly secured his place in cult-classic history with his bizarre-romp Donnie Darko. A couple of months ago he secured his place on my list of the Worst Ten Movies of 2009. In fact, The Box came in at #5! Congratulations! Your movie blew! What is supposed to be a suspenseful reflection on greed, sacrifice and sin ends up being an exercise in really bad Southern accents (Yep, you Cameron Diaz!) and trying to control oneself when one is laughing uncontrollably at parts of a film that are supposed to be dramatic. The Box is terrible and there were times during the film that I truly hoped, that when Ms. Diaz and Mr. James Marsden pushed the mysterious button, that I would choke on a Snowcapâ and be spared the agony. GRADE: F

February 23rd

Cirque de Freak: The Vampire’s Assistant (Universal)

Or as I like to call it . . . Suck de Freak. Several things about this lame-o vampire flick are bothersome. First, I find it hard to believe that Oscarâ-winning screenwriter Brian Helgeland (L.A. Confidential) wrote the blasted thing. Second, I find it hard to fathom that this lifeless film is based on literary characters that spawned a dozen books. Third, I find it painful that vibrant actors and actresses like Willem Dafoe, Salma Hayek and Jane Krakowski are cast as mutant freaks but seem to get no joy or challenge from it at all. And, let’s talk about John C. Reilly (complaint number four, if you‘re counting), who, while playing a vampire, looks as if he’s stumbled out of the b-roll of Talladega Nights. If I had a set of vampire fangs, I would have chewed out my own jugular vein. GRADE: D-

Music

People Who See Sound — Mon, 25 Jan 2010 11:36:30 GMT

91.5 FM WUEV’s Paul Mattingly joins us this month to contribute notes on jazz. In an effort to show both new, old and in between, here he chimes in on an essential record for fans of the genre and its many forms.

Johnny Cash – American VI: Ain’t No Grave

(American Recordings/Lost Highway)

The last installment of the American… series, set to be released on February 26 – which would have been the Man in Black’s 78th birthday – begins with a line that somehow conjures every emotion: “Well there ain’t no grave that can hold my body down/When I hear that trumpet sound, I’m gonna rise right outta the ground/Ain’t no grave that can hold my body down.” Every syllable is, of course, pushed from the lungs of a man facing his own death; each line delivered with the real bodily pain of an artist in the very real twilight of his long, storybook life.

Recording sessions for Ain’t No Grave, under the gentle production of Rick Rubin, occurred during May 2003, less than four months before he passed and after his wife, June Carter Cash had died. “Johnny said that recording was his main reason for being alive,” said Rubin. “I think it was the only thing that kept him going.”

This time period has been well-documented. “There was a lot of stopping and starting, based on his health,” said Rubin. “But he always wanted to work. The doctors in the hospital kind of lectured me, saying, ‘He’s not going to stop, so you have to make sure he doesn’t work too much.’”

But work he did, and here, as with others of the American series, which began in 1994, Cash recorded cover songs that fit in perfectly with the themes, flow and overall narrative of the album. Kris Kristofferson’s “For the Good Times” is both melancholy and uplifting, reflective and forward-looking. “Redemption Day,” penned by Cheryl Crow, is a multi-shaded, minor-chord-verse to major-chord chorus that includes the lines, “There’s a train that’s heading straight to heaven’s gate/And on the way, child and man and woman wait, watch and wait/For redemption day.”

“Last Night I Had the Strangest Dream,” a song by Ed McCurdy, is a recollection – happy, in its own way – of a hopeful dream of impossibility. Impossible odds met with grit and optimism – something that can easily be said of Cash’s life and music, too.

Sung with that wavering, achingly elegiac voice “Oh death, where is thy sting?” on the never-before-heard Cash original “I Corinthians: 15:55,” the tone turns hopeful, arms open, spiritual: “Oh life, you are a shining path/And hope springs eternal just over the rise/When I see my redeemer beckoning me.”

I feel small trying to do justice to this work. All I know is what I feel, and listening to this makes me feel much the same way after listening to American IV: The Man Comes Around, which is simply that I felt it to my very marrow. The sadness and joy, and bravery and sorrow – sometimes all at once. This is what art is; this album is when art succeeds.-- Dylan Gibbs

Various Artists – 2010 Grammy Nominees

(Capitol)

4.5

Ignoring, for a moment, the fact that the Grammy Awards are kind of a joke anymore, this CD isn’t necessarily a bad compilation. Whoever put the tracks in order made the right decision in placing Black Eyed Peas’ “I Gotta Feeling” first. It’s arguably this year’s “party” anthem. Hell, I sometimes listen to it when I’m getting ready to go out with friends. It’s fun, ridiculous, and danceable.

Along with that track, there are quite a few serviceable hits from Colbie Caillat (“Fallin’ for You”), Green Day (“21 Guns”), and Lady GaGa. “Poker Face,” which hasn’t recently received the near-constant play that “Bad Romance” has, is still a good contribution.

Country isn’t left out either, with solid outings from Zac Brown Band (“Chicken Fried”) and Lady Antebellum (“I Run to You”). The latter is one of my favorite bands from last year. I’m glad to see them represented on this compilation.

There is a surprise, however. I expected to see Coldplay’s “Viva La Vida” on this one, instead of “Life in Techinicolor II.” Likewise, I was shocked to see a cut from Steve Winwood and Eric Clapton. I caught their performance on PBS a few weeks ago, and was really impressed.

In short, if you like popular music and haven’t picked up the singles/albums represented on this disc, it wouldn’t be a bad purchase. -- Doug Messel

Herbie Hancock & the Headhunters – Headhunters

(Columbia)

I love all music. But it seems I have gravitated to jazz as I have become more chronologically-challenged. This transition came with the prominence of jazz fusion in the 1970s. Jazz-rock, also called fusion, combines jazz improvisation and chord progressions with the rhythms of rock. It is usually more electronic than acoustic, featuring synthesizer, electric bass, electric guitar, electronically-processed woodwind and brass instruments, and a great deal of percussion. This is probably as much of a definition as you’ll ever need.

I was into AOR, Southern Rock, 50’s rock, the Beatles… you name it, and I liked it. Well, maybe not Sonny and Cher, but you get the picture. Then, some friends of mine turned me on to this music that I really didn’t understand. It had a groove and a heart I just couldn’t deny. Along with this “new” music, there was, as there is today, this beacon of jazz here in the Tri-State, WUEV 91.5 FM. And, as I have heard it said more than once, it is the only place for jazz in the Tri-State.

If you want to get a good vision on the history of fusion, you won’t get it here. Not today, anyway. That is what search engines are for. But I do want to talk about one of the first albums (gawd, is he that old) I ever really enjoyed. It was Headhunters by Herbie Hancock.

This was Hancock’s twelfth studio release in a career that was already heading him into the Hall of Fame. Released in October 1973 on Columbia, it is thought by many to be a defining moment of fusion. Though it only has four songs as its content, this slightly more than forty-one minutes would not only change the landscape of music forever but open my rock-sodden mind in a way that I would always appreciate.

The album was also the name of the sextet that Hancock fronted throughout most of the seventies. It included Bernie Maupin (Saxes, etc.), Paul Jackson (bass), Harvey Mason (drums), and Bill Summers (percussion). While they added Dewayne McKnight (guitar) on later releases, all the “guitar” parts on this project were done by Hancock with synthesizers.

Of the four tracks, the only one previously heard was the one that is probably the most famous, “Watermelon Man.” It was originally featured on the 1962, hard-bop release, Takin’ Off. Hancock and Mason reworked it and gave it an instantly recognizable intro featuring Bill Summers blowing into a beer bottle, an imitation of the hindewho, an instrument of the Mbuti Pygmies of Northeastern Zaire. “Sly” is dedicated to his funkiness, Sly Stone, while “Vein Melter” is a gradual pleaser that features Hancock and Maupin. And “Chameleon,” another jazz classic, features a funky bass line played with an early ARP Odyssey.

After its initial release, it was remastered and released in Quadraphonic, 4 channel sound. I am not an engineer so I won’t try to make you believe I really know what that was. But, it sounded great.

If you are starting a jazz collection, or adding those “classics” that round out a great set, then Headhunters is a must. And, even though it’s a “classic,” give it a listen; it sounds as fresh and vibrant as it did the day it was released. And then the next time you’re out at one of the local venues and you hear “Watermelon Man” or “Chameleon,” your music brain will cause you to jump into that river I like to call “Jazz and All Will be Fine.”-- Paul Mattingly

Will Kimbrough – Wings

(Daphne Records)

Most of the time I’d avoid something like this—even though Wilco’s one of my favorite bands, I can only handle some of their folksy stuff for so long—but Will Kimbrough’s Wings is a pretty impressive, solid album. It gives me this sort of Bob Dylan vibe, but not in a bad way. The first three tracks (“Three Angels,” “You Can’t Go Home,” and “Wings”) are a particularly strong opener, and the rest of the album follows through nicely. -- Doug Messel

The ishmaeLites – Comin’ Home to Indiana

(Weirdo Records)

From its opening strains (which detail a brief Biblical history from Adam to Ishmael), this interesting album sells itself as an “alternative epic of Indiana.” What follows that track is sort of a rambling exploration of state myths and “characters.” Musically, Comin’ Home… just isn’t much fun to listen to. It’s kind of a jarring, asymmetric adventure into how much you’re willing to put up with before switching tracks or just changing to something else. I suppose if you’re not into radio friendly, verse-chorus-verse, it might work. For me, it doesn’t. -- Doug Messel

Beer

People Who Taste Hops — Mon, 25 Jan 2010 11:27:02 GMT

Breckenridge Oatmeal Stout

Jabez: 4.5

This is a very dark black beer and a nice brown head. I could taste the oatmeal with the other flavors like the roasted malts. It did have some sort of twang to it that I couldn’t put my finger on. It seemed a little creamy to me but was very easy to drink. It had good carbonation and a nice dry finish.

Tom T: 4

Dark with a light brown head that fades a little too quickly. Chocolate, vanilla, cream, and roasted black coffee are all present in the nose and the flavor. Balanced with a moderately dry finish. It lacks the heaviness of a typical stout. It’s not my favorite oatmeal stout, but a satisfying beer nonetheless.

Tom F: 3.5

The nose is surprising with tart ripe fruit of apricot and prune. I recommend to nose it in a Glencairn tasting glass or other tasting glass which will allow the aroma to be present because you deserve to smell this. The taste is a pure and clean stout and feels velvety on the tongue. There is mot much of a finish, but it is pleasant and crisp.

Dylan: 4

A stout FOR the faint-of-heart, the guy has all the flavor and wonderful maltiness of quality stout without the “I just ate a loaf of bread” feeling afterward. A terrific American oatmeal stout.

Tsing Tao Pure Draft

Jabez: 3.5

This was a pale yellow beer. It had a bunch of carbonation and seemed much like a soda. It seemed to have a rice smell to it. Once I drank it, I could detect the rice and some pilsner hops. This was a very light tasting beer that didn’t leave an aftertaste. This beer had a little too much fizz for me and not much substance but still ok.

Tom T: 2

Dark straw yellow with some initial bright white head. Aroma is sour with a mild skunkiness. It’s overly thin and fizzy in the mouth. Flavor is better than expected, but that’s not saying much. It might be acceptable with a spicy Chinese dish, but otherwise pass on this one.

Tom F: 3

The nose is similar Heineken. I get a young wine flavor from the front end, then it peaks briefly with a little rush of flavor and levels off with light juiciness. Disappears into a dry finish with a touch of hominy. Not bad for a light beer.

Dylan: 2

I had high hopes for this but found it somewhat dull and lackluster. There’s nothing particularly wrong with this draft-in-a-bottle take this well-known import, but the flavor, aroma, texture and missed the mark for me.

Goose Island Matilda Belgian Style Ale

Jabez: 4.5

This beer is a brown/orange color, with decent carbonation. It had a sweet fruit odor to it. I really liked this beer because of the complex flavors I detected. It was sweet but also a little spicy. It had a sweet honey taste to start with but I could taste some coriander at the end. This beer had ample carbonation. This was a very good beer made by Goose Island.

Tom T: 4

Orange, amber under a creamy head. The nose is sweet, spicy, and fruity with a definite hop presence. It tastes like it smells. A smooth, creamy, and tasty beer. Goose Island does it again.

Tom F: 4.5

The nose is between a lemon and grapefruit. Fresh flavor, wow! The taste is floral, some subtle spiciness, and that delicious bread flavor from the yeasts. All the elements of an excellent Belgian beer and far lighter than some I've had.

Dylan: 4.5

A near-perfect Belgian-style ale from the US. Spicy but not overbearing, robust without dominating the palate, strangely refreshing and loaded with flavor. A big win here.

Atwater Block Brewery Vanilla Java Porter

Jabez: 3

This was a dark black beer with minimal head. I could smell the coffee and the sweet smell of vanilla when I opened it. The vanilla was the prominent flavor but I could also taste the coffee and malts. I felt like I was drinking a French vanilla cappuccino at the gas station rather than a beer. It just didn’t seem like beer to me.

Tom T: 2.5

Deep black color with a fading tannish head. Very weak nose of chocolate, vanilla, and coffee. No presence of that roasted barley porter flavor. It tastes more like a watered down iced vanilla latte, which matches its watery mouthfeel. This beer sounds good on paper, but it’s uninteresting and a bit disappointing.

Tom F: 2

The nose is full of the Vanilla, powdery, slight java. Taste is wet milky, light and not as much java as I expected. I thought the flavor would be more powerful due to the nose, but it wasn't. Not that impressive overall

Dylan: 1

The first sip was one of the most fantastic taste experiences I’ve had in a while. The second was as if I’d had the entire glass replaced by something else – something the same color that had been strained through a Sumo wrestler’s uniform. The third was sickly, skanky, and just plain foul. Couldn’t finish it.

Joining the brew-tasting panel this month is a familiar face and name, Tom Fischer of BourbonBlog.com.

Wine - Bubbly for Valentine's Day

Misc. — Mon, 25 Jan 2010 11:15:24 GMT

Bubbly is the classic romantic beverage of novels and movies and has earned its reputation. The very mention of Champagne and caviar evokes images of a suave, romantic interlude.

True Champagne is from France’s Champagne district from specific grapes. The final fermentation that creates the bubbles occurs in the bottle. Other sparking wines made the same way are identified as Method Champenoise or Champagne Method wines. They are similar in style and substance to the French wines. Champagne-style wines, harmonious and refreshing, are especially versatile in pairing with food.

Unfortunately, there is a bit of confusion. Many consumers use the term “Champagne” not only for French Champagne or even Champagne-styled wines, but also other sparkling wines. My friend, there are serious differences in style and flavor.

Pictured here: True Champagne is from France’s Champagne
district from specific grapes.

Many countries produce sparkling wines that are not made by Champagne’s method or grape varieties. Though thoroughly enjoyable, they may lack the same fine texture, elegance and complexity (layered flavors) of the Champagne-style wines and are often fruiter. They include the popular Asti’s and other Spumanti, Prosecco and many others.

Sparkling wines can range from the thoroughly dry Brut to dessert wine sweet.

There are many still (un-carbonated) dry white wines available to choose from, but a well-balanced, mellow Chardonnay is one that can help set an equally mellow mood. Paired with poultry, pasta with cream sauce, or succulently sauced pork tenderloin, you’re experiencing some beautiful, but not heavy, flavors.

A full-bodied red wine is a wonderful complement to many full-flavored foods, or can be quite satisfying alone. They best complement red meat and game, grilled foods, rich pasta dishes, and richly flavored cheeses.

Chocolate is to Valentine’s Day what turkey is to Thanksgiving. Port, especially vintage Porto, is a perfect pairing with chocolate whose flavors resonate with the fruit-focused red ports.

These suggestions are only a few of the choices available. Do thoughts of Italy, South America or New Zealand stir your romantic soul? What other grape or style of wine excites your senses and enflames the embers in your belly? A silky, intense Petite Syrah? Maybe a sweet Canadian Ice-wine will be the one to melt your lover’s heart.

Even if wine isn’t your preference, micro-brewed and imported beer, pre-mixed drinks, liqueurs and other spirits are available in incredible variety.

No matter which special wine or beverage you choose to share with your heart’s desire, it is your “aide-de-camp,” there to help you kindle the fires of passion and let them know how special they are.

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Photo Credit | wineloverspage.com

Film

Chad Benefield — Mon, 28 Dec 2009 12:48:30 GMT

THE GOOD, THE BAD AND THE JUST PLAIN FUGLY!

The 2009 movie season is over! Cue the Tabernacle Choir and tell those Mormons to belt out the Hallelujah Chorus! The movie year, for all practical purposes, was a disappointment. While I gave I Love You, Man an “A” way back in March, I didn’t assign another letter grade that high until November! 2009 was slim-damn pickins, Peeps! While there were lots of floating turds in the Hollywood waters, there were some shining stars. So, here goes . . . some of the best movies of the year (in no particular order) and some of the worst! Keep in mind, my deadline for this column was December 15^th and the true “best film of the year” could have possibly been released after press time!

SOME OF THE BEST

A Serious Man (Focus Features)

Though their No Country for Old Men won a Best Picture Oscarâ, the Coen brothers, Ethan and Joel, royally pissed off a lot of filmgoers with that movie’s abrupt and incomprehensible ending. In A Serious Man, however, the Coens save the best for last! Rooted in deep traditions of Hebrew storytelling, A Serious Man rolls out the Yiddish and presents us with the story of Larry Gopnik (Michael Stuhlbarg), a seemingly cursed Midwestern Jew who, for all he tries to be good, can’t escape the bad. Tempted constantly to do the “wrong” thing, Gopnik always chooses the noble alternative. That is until he’s just had enough and, for the first time in his life, chooses a dishonest path. In that very instant, two things happen. The phone in his office rings and a tornado brews outside. If Larry Gopnik thought he was cursed before, just wait to see what the angry gods have in store. This is Serious!

District 9 (TriStar)

If Peter Jackson (Lord of the Rings, King Kong, The Lovely Bones) throws his name and weight behind your film, you know you must be doing something right! And that’s exactly what happened to director Neill Blomkamp. Jackson fell in love with Blomkamp’s story, of an alien race of “prawns” who find themselves relegated to the ghettos of Johannesburg, South Africa, then made sure the rest of us got to see it. District 9 is startlingly original, political and moving. When I find myself crying for a creature that looks like a crawfish, I know I’m having a truly unique theatre-going experience. This is visionary.

Precious: Based on the Novel “Push” by Sapphire (Lionsgate)

Simply put, this movie is a showcase of powerhouse acting. Virtual unknown Gabby Sidibe melts into the title role. As Precious, a mentally and physically-abused 16-year-old Harlem girl who’s pregnant by her own father for the second time, Sidibe shines and inspires. And, at the end of the film, Mo’Nique, who normally makes her money as a stand-up comic, delivers a gut-wrenching monologue of admission, rage, and guilt that is so good she makes a despicable character sympathetic. And how about Mariah Carey? As Precious’ social worker, Carey gives a grounded, understated and multi-layered performance which proves that all that Glitters is sometimes gold!

The Cove (Roadside Attractions)

Louie Psihoyos’ takes on this heart-breaking story about dolphin capture and slaughter in Taiji, Japan much in the way John Carpenter would. He stages it like a thriller. One look at this daunting Japanese cove through Psihoyos’ lens and you just know bad things happen here. And Psihoyos, with the help of Richard O’Barry, who captured and trained dolphins for Flipper then had a massive change of heart about the true nature and consequence of captivity, is hell-bent on breaking Japanese law and exposing us to those horrors. The Cove is educational, infuriating, pulse-pounding and just downright bloody. The next time you have the urge to swim with dolphins or go to Sea World you should stop and consider the dolphins that didn’t make it out of The Cove.

An Education (Sony Classics)

Carey Mulligan, who snagged this season’s first Best Actress award from the National Board of Review, is turning heads in director Lone Scherfig’s tale of Jenny, a 16-year-old prep school girl lured away from her studies by the attentions and affections of an older man (Peter Sarsgaard). David exposes Jenny to society, art, culture, and wealth. But her real “education” is coming and those around her know it. Olivia Williams (The Sixth Sense) stars as Jenny’s teacher Miss Stubbs, who can’t fathom this talented and intellectual student wasting her potential on a man. Emma Thompson is devilish and delightful as the school’s headmistress, who is just waiting for her opportunity to tell Jenny, “I told you so.”

Every Little Step (Sony Classics)

In 1976, choreographer/director Michael Bennett took Broadway by storm with the Pulitzer Prize-winning musical A Chorus Line. Some thirty years later, directors Adam Del Deo and James D. Stern turn their cameras on the team in charge of casting the revival. Many members of that team are old cronies of Bennett and characters in A Chorus Line are actually based on their lives. So it’s fascinating to watch them audition hundreds and hundreds of talented hopefuls trying to find younger versions of themselves. That audition process is grueling and emotional. And, speaking of emotional, watch Jason Tam’s riveting audition as A Chorus Line character “Paul.” You will never see a finer display of acting.

I Love You, Man (Paramount)

Hysterically funny. And as refreshing as a Tiger Woods’ Gatorade. Oops! That’s off the shelves, isn’t it? Along Came Polly director John Hamburg saved the first quarter of the 2009 movie season with this side-splitting comedy romp. Paul Rudd

stars as Peter, who, because he has absolutely no candidates for a “best man” at his upcoming wedding, is encouraged by his fiancé to find some male friends. He eventually bromances Sydney, played by Jason Segel (Forgetting Sarah Marshall) and the two forge a friendship that is unconventional and hilarious. This is, hands-down, the funniest movie of the year and one of the best comedies of the entire decade.

Food, Inc. (Magnolia)

I said in my November column that I haven’t stopped thinking about Robert Kenner’s documentary on our nation’s food industry since I saw it. Since that column, I have watched Food, Inc. again and have lost even more of my appetite. At this point, I’m one more missed sandwich away from being an Olsen twin. I said a couple of months ago and am fully prepared to say it again . . . Food, Inc. should be required viewing for every carnivore in this country. Why? Because Robert Kenner takes his cameras deep into the chicken houses, meat processing plants, and food factories of America. His hypothesis is simple. The way we eat has changed so drastically because of industry that now we barely even know what it is we’re eating. Scary!

Invictus (Warner Bros.)

Nothing is more unifying than sports and newly-elected South African president Nelson Mandela knew it. That’s precisely why, in 1995, he looked to Francois Pienaar (played here by Matt Damon) and the South African rugby team to aim for the World Cup title. They won it and, in the process, united a nation and encouraged its people to celebrate beyond the bounds of color. The average theatre-goer will look to Sandra Bullock’s The Blind Side as the feel-good sports story of the year. But stellar direction by Clint Eastwood and an amazing transformation into Mandela by Morgan Freeman make Invictus the real touchdown. It’s rousing, politically-charged and triumphant.

THE WORST MOVIES OF THE YEAR

#5- The Box (Warner Bros.)

Question for Cameron Diaz . . . If I push that button what happens to you?

#4- Orphan (Warner Bros.)

One of best comedies of the year! Only, it’s not a comedy! It’s a suspense thriller about a serial killer with a rare form of dwarfism. Are you sh*tting me?

#3- All About Steve (20^th Century Fox)

Sandra Bullock “blindsided” us all with this romantic comedy attempt complete with three-legged babies, cicadas, tornados, crossword puzzles and Thomas Haden Church. And, let’s not forget my favorite line of the movie, when Sandra Bullock says to a trucker, “Thanks for not raping me.” Well, Sandra that’s a nice sentiment. But, I’m the one who needs a cotton swab in the cookie.

#2- Observe and Report (Warner Bros.)

Speaking of cookies, when Seth Rogen’s bipolar mall cop takes on a serial flasher, we get eye level with every inch of junk in the trunk. God help my retinas! There is not enough Visine® in the world to get this red out! A horrible movie that should never have gotten a studio green light.

#1- Year One (Sony Pictures)

If you read my October column, you likely saw this one coming. Director Harold Ramis’ (Analyze This, Bedazzled, The Ice Harvest) aimless and laugh-free “comedy” stars Jack Black and Michael Cera as two guys named Zed and Oh, who are forced out of their primitive tribe and embark on a journey through the early days of man. I have been in portable toilet facilities that stink less than this film. In fact, I once visited the North Rim of the Grand Canyon in the off-season and used one such facility that hadn’t been tended to in months. When I opened the door of that particular Port-O-Let, a swarm of 10,000 flies flew out of the structure onto my face. That was more pleasurable than this movie.

Beer Reviews

People Who Taste Hops — Mon, 28 Dec 2009 12:43:40 GMT

Amstel Light

Tom: 1

Straw colored with an almost "skunky" aroma and harsh carbonation. A lot of light beers are almost devoid of flavor. Unfortunately, this one is not. It’s been many years since I’ve had an Amstel Light and I now remember why.

Todd: 2.5

Pouring a clear pale gold (with little lacing), this unassuming and simple lager is crisp, light, and malty. It's well-balanced and not in the least bit challenging. A perfect example of a light lager, this one's more on the watery side. Likeable for what it is, though not one I'd seek out or stock at the house.

Jabez: 3

This is a slightly dark gold lager. This beer smelled a little skunky to me. It was hard to review this beer when I was drinking the others. It did have a light grainy flavor but nothing that stuck me very hard. It also has decent carbonation. It was very easy to drink and it was just your average lager.

Dylan: 2

Not really a craft beer, but I’ve always really enjoyed Amstel Light; it’s a good old lager that refreshes and stays clean, unlike the bitterness that comes along with another old fashion cousin, Heineken. Always has been a favorite of mine with a big meal, as it isn’t remotely heavy – but as light beers go, and like any regular Amstel Light drinker knows, it doles out more flavor than many (if not most) other beers in the “Light” category.

Goose Island Hex Nut Brown Ale

Tom: 4

Dark reddish brown with a decent tan head. Nice sweet, nutty malt aroma. Nicely textured with good carbonation and a nutty toasted flavor with a hint of hops. A very satisfying beer that I’ve had before and will have again.

Todd: 3.5

This brown ale gives the appearance of being almost a stout, with its rich and deep, almost black appearance. The initial taste heralds a malty chocolate note, with a pleasant sweetness that's not overbearing nor artifical-tasting. Tasty and enjoyable stuff.

Jabez: 3.5

This beer poured a clear brown with a small tan head. I could smell hints of caramel in it but nothing major. It was nutty and had some caramel in flavor also. Would consider this an average nut brown beer in this market.

Dylan: 3.5

Deep brown, near-black color with a creamy head. Initial shot of semi-sweet maltiness that lingers, but only for 10 seconds or so. Balanced – the malt/hop proportions keep it fairly middle-of-the-road – which suits me just fine. Compared to English brown ales, the “tone-downedness” of this one is tame, and suited for American tastes, but it still manages to be rich and flavorful enough to be quite satisfying.

Pyramid Snow Cap

Tom: 3.5

Deep brown color with reddish hints and a creamy tan head. The nose is surprisingly weak, but the flavor has a nice fruity maltiness to it that is fuller than the aroma suggests. A very drinkable winter beer.

Todd: 4

This dark, opaque amber ale hits the palate with a zingy citrus punch at first, followed by a hoppy bitterness and burnt nuttiness. Quite a unique and flavorful taste experience, this winter warmer is 7% but the alcohol presence is fairly obscured by what I call a profound "flavor roll", whereas different taste elements evolve on the tongue. An invigorating and impressive beer.

Jabez: 4.5

This was my favorite of the group. It was a very dark and clear but not cloudy. I could smell a little bit of bananas and cloves in this beer. I was presently surprised by the spiciness of this beer. I could also taste the cloves in this beer. It did have 7% alcohol content. This beer was very smooth.

Dylan: 4

Black in my pint glass with a thin head – aroma is musky, spicy, warm – traits associated with the winter season. Like the Goose Island Nut Brown, malt predominates, and is similarly tempered so as not to be “sickly sweet,” which can happen when a brewer gets too malt-happy. The G. Island is Pyramid’s closest counterpart this month, and is overall a more approachable dark ale, but Pyramid offers more start to finish satisfaction.

Mendocino Imperial IPA

Tom: 4

Medium copper color with a dense, lasting head. Strong, hoppy aroma with hints of citrus and a full, creamy mouthfeel. The sweet, hoppy flavor nicely masks the strong alcohol presence. A nice beer for this time of year.

Todd: 3.5

An intensely floral hoppiness emanates from the bottle at once, certainly a good opening scent. This one's a nicely amber-red in appearance. It's "only" 7.5% ABV, but this hop-monster packs a bitter wallop -- certainly not for beginners. Actually this is a pretty traditional IPA, and not too fanciful or unique. Solid, but not outstanding.

Jabez: 4

This beer almost appeared to have a dark orange color to it. I could really smell the hops but also could detect a grapefruit odor. This beer did seem to be a little syrupy. It did have a nice smooth caramel taste and the 7.5 % alcohol was nice. I could also detect a hint of pine for some reason but a very good beer.

Dylan: 4.5

Gorgeous deep-amber hue that starts cloudy and turns clear. Heavy hops give it the requisite floral nose plus a trace amount of an herbaceous aroma. The first sip reveals a complexity I didn’t expect from an India Pale Ale; the flavors exploit each taste receptor on the tongue; any given sip offers sweetness, bitterness, even a hint of saltiness – and each subsequent drink reveals different flavors in difference proportions. A surprise in each sip, and an impressive accomplishment by the brewmaster at Mendocino.

Wine - The Season for Luxury Spirits

Misc. — Mon, 28 Dec 2009 12:32:43 GMT

Varsity Liquors is excited to offer the largest selection of Luxury Spirits in the Tri State area. Whether enjoyed “on the rocks” or mixed in your favorite cocktail, the staff at Varsity Liquors will assist you in finding just the right fit for your personal tastes. Here are a few of the favorites.

The Old Rip Van Winkle Distillery is home to the highest rated whiskeys in the world. In a blind taste test of whiskey labels from around the world, The Beverage Tasting Institute in Chicago gave the 20-year old Pappy Van Winkle’s Family Reserve a 99 out of 100 rating, higher than any other bourbon whiskeys.

Behold the seventh bottling of the Pappy Van Winkle’s 23-year old Family Reserve which is in stock at Varsity Liquors and is sure to please while the 12-year old Special Reserve was recognized with the “Trophy for Worldwide Whisky” and a Best-In-Class Gold Medallion in the International Wine and Spirit Competition for 2008.

A limited edition Don Julio 1942 tequila is also available at Varsity Liquors. This tequila undergoes a second distillation in a special still known as Pot Still 6, which refines the flavors to add to its exclusivity. You will enjoy rich, sweet aromas of caramel and toffee layered with a fresh vanilla fragrance and hints of red fruits like cherry mixed with caramel and almonds.

The Tour Du Monde X.O. Grande Champagne Cognac is the Kelt X.O. Cognac. This extra old cognac is the on X.O. to be awarded a Platinum Medal in the World Spirits Championship. The taste is a dark, amber, mahogany with delicate scents of flowers: narcissus, jasmine and honeysuckle. The Kelt is velvety and sophisticated on the palate and is the model of balance between tastes and aromas.

Johnnie Walker Blue Label is the pinnacle whisky of the Striding Man Society-it is the epitome of blending. Created to reflect the style of whiskies in the early 19^th century, it is created using some of the rarest casks from the Johnnie Walker stocks, the largest in the world. Johnnie Walker Blue Label unfolds a slow, intense, rich, deep and multilayered experience. The layers of flavor develop and the finish continues with more and more flavors developing of smoke and pepper, ending with a glorious touch of spice.

You might also want to try the Gran Patron Platinum Tequila. This is the world’s finest agave, triple distilled and aged which creates the World’s Finest Super /ultra Premium Platinum Tequila. Every Bottle is handmade (lead free) crystal with an etched label, surrounded in a velvet bag .

For all of your Luxury Spirits and Liquor endeavors, come in and explore the possibilities at Varsity Liquors located at 687 N. Green River Road.

THE BEST MOVIES OF THE LAST DECADE

Chad Benefield — Mon, 23 Nov 2009 11:02:02 GMT

Greetings, Faithful Readers! 2009, a year which has brought us lots of tragedy (The Orphan and The Box) and a few gems (Every Little Step and I Love You, Man), is drawing to its close and I am just one month away from giving you my full assessment of the year that was. So, in preparation for the forthcoming BEST OF LIST, I decided to recap for you some of my favorite films of the past decade (not including 2009, of course, because the jury is still out and, in some cases, trying to see through those blasted 3-D glasses). Now, I realize fully that some of you out there value my opinions while others think I am full of the proverbial steaming heap that hit the fan. But nevertheless, here goes. I hope, at the very least, that you give the titles unfamiliar to you a shot. They are spectacular!

2000

Unbreakable (Buena Vista)

In 1999, Bruce Willis and a mind-blowing twist-ending to The Sixth Sense put M. Night Shyamalan on the map. One year later, the director many compared to Alfred Hitchcock, made his best movie, Unbreakable, and Bruce Willis once again climbed aboard the train. And a train is exactly what causes Willis’ character, David Dunn, to give into fate. After surviving a horrific train crash that claims a hundred lives, David learns that fate has a very important and noble role for him.

2001

Moulin Rouge (20^th Century Fox)

Baz Lurhmann’s dizzying spectacle revived and reinvented the movie-musical, a Hollywood art form that had, for all practical purposes, flat-lined! Throw in a sexy and sultry Nicole Kidman, the surprising golden tenor of Ewan McGregor and an all-you-can-eat-buffet-of-a-soundtrack and you have movie magic!

Memento (Newmarket Films)

Long before The Dark Knight, writer/director Christopher Nolan was a force to be reckoned with. And his screenplay for this head-scratcher is one of the most original works I have ever seen. Guy Pearce stars as brain-damaged Leonard Shelby, a man who must rely on notes, photos and tattoos to reconstruct the memory of how his wife was murdered.

The Lord of the Rings: The Fellowship of the Ring (New Line Cinema)

Peter Jackson’s epic endeavor gave us three straight years of Rings, Towers and Kings. Jackson’s Middle Earth masterpiece is engrossing, magical, mystical, and suspenseful. I have said this on my radio show, The Screening Room, repeatedly and I mean it. Movies haven’t been the same since Frodo Baggins and his pals left the cineplex.

2002

Road to Perdition (DreamWorks)

For all its Mafia-inspired intensity and suspense, Sam Mendes’ masterful crime drama is really a story of a father and his young son and the learning moments they share while on the run for their lives. Tom Hanks, Paul Newman, Jude Law and Daniel Craig shine. For me, this is a perfect film.

2003

Whale Rider (Newmarket Films)

Niki Caro’s tale of a young tribal girl (played sensationally by Keisha Castle-Hughes), who fully realizes her destiny and becomes leader of her Maori people, is one of the most uniquely inspirational films I have ever seen and it sports one of the best performances by a young actress ever caught on tape. This is a truly triumphant film for all ages and will make you weep with both sadness and joy!

Kill Bill: Volume One (Miramax)

No one tells a story like Quentin Tarantino and this is his BEST story. Uma Thurman stars as a bride gunned down on her wedding day (I hope she didn‘t spend a lot on a caterer!). The assailants, her ex-boyfriend Bill and his band of deadly assassins, leave her for dead. But she’s alive and scribing a hit list and checking it twice. She’s going to kill those who’ve been naughty instead of nice. This is raucous fun! **Also watch the fabulous conclusion: Kill Bill: Volume Two.

In America (Fox Searchlight)

With this semi-autobiographical film, director Jim Sheridan (The Boxer, In the Name of the Father, My Left Foot) gives us his most complete, moving and powerful work. The story of an Irish immigrant who moves his family of four to Manhattan so he can pursue his dream of becoming an actor is as reverent to the “American Dream” as it is realistic about it. In America’s plotlines are simple and familiar. This is a film every American can relate to.

2004

Closer (Sony)

Warning! This is not a date movie! Don’t curl up on the couch with popcorn and a lover and expect to enjoy this. Mike Nichols’ in-your-face expose on the pitfalls and myths of true love will challenge you and force you to examine the nature of your own relationships. Clive Owen, Jude Law, Natalie Portman and Julia Roberts (in her best performance) serve up brutal honesty about relationships, infidelity in them and the terrible things humans will do and say to people they supposedly love.

2005

Crash (Lionsgate)

Director Paul Haggis’ interwoven study of race relations in Los Angeles is a masterpiece. It’s a star-studded social commentary that is gritty, disturbing and painfully politically-incorrect. No movie this decade challenged my personal belief systems more. The performances (specifically by Matt Dillon, Michael Pena and Sandra Bullock) are superb and the film contains one scene so harrowing that it truly made my heart stop beating.

Broken Flowers (Focus Features)

Bill Murray is at his best in writer/director Jim Jarmusch’s quirky story of a womanizer who learns that one of his former girlfriends gave birth to his son some twenty years ago. Playing the old flames . . . Frances Conroy, Tilda Swinton, Jessica Lange and Sharon Stone. Subtle humor, subtle performances and pitch-perfect delivery make this one of the funniest movies of the decade.

2006

V For Vendetta (Warner Brothers)

I’ve never seen a movie quite like James McTeigue’s V For Vendetta. Penned by the famed Wachowski brothers (who gave us The Matrix), Vendetta paints a portrait of a world crippled by a culture of fear. Plague has wiped out the United States. England is the world’s new super power and, consequently, civilization’s greatest oppressor. One man, V (played by Hugo Weaving), vows to bring Parliament to his knees and does so in a triumphant display of fireworks, rebellion and freedom.

2007

Zodiac (Paramount)

David Fincher’s study of the San Francisco Valley’s famed Zodiac Killer proves that he is the master of the psychological thriller. Jake Gyllenhaal, Mark Ruffalo, and Robert Downey Jr. shine in this unrelenting hypothesis about the true identity of a killer never captured. John Carroll Lynch, who steals the show as creepy prime suspect Arthur Leigh Allen, gives the most frightening portrayal of a psychopath since Anthony Hopkins as Hannibal Lecter in Silence of the Lambs.

2008

The Boy in the Striped Pajamas (Miramax)

I am rarely stunned and NEVER speechless. But, when the credits rolled on Mark Herman’s powerful adaptation of John Boyne’s novel, I was both stunned and speechless. This harrowing tale of friendship set against the backdrop of a concentration camp in Nazi Germany tells its story through the eyes of a child. Young Bruno (Asa Butterfield) has no concept of the atrocities being committed by his Nazi father and the other soldiers around him. But that’s the point. Most adults can’t conceive such horrors, so how could a child?

CD Reviews

People Who See Sound — Mon, 23 Nov 2009 10:59:52 GMT

Slayer – World Painted Blood

(American)

Back in the late 80s, a kid from the neighborhood would show up at the bus stop every morning and say simply, “Slayer is rad.” He was talking about the now-classics, Reign in Blood and South of Heaven, and those of us of with similar feelings would nod in agreement. That was about all you needed to say.

After some missteps in the 90s – Undisputed Attitude, Diabolus in Musica, Divine Intervention – the band whose influence on modern metal is matched by only a handful of other bands came roaring back from hell with God Hates Us All and the outstanding Christ Illusion, which saw Dave Lombardo return to the drum throne. Now, with World Painted Blood, Slayer comes not only roaring, but careening from hell in a Dodge Demon with no brakes, a fifth of Jack in hand and an arsenal of weaponry in the trunk.

If it ain’t broke, don’t fix it. I hate using that phrase, but if it ever fits, it’s here – Tom Araya’s voice is as powerfully pissed-off as ever; Kerry King and Jeff Hanneman are writing and playing better and heavier than most of the snot-nosed whippersnappers who need to get the f**k off their lawn – and Dave Lombardo – a 44-year-old man – is drumming like he’s still 19.

Like those dismal mornings 20-plus years ago, there’s no point waxing on about the band. Slayer is still rad, and World Painted Blood will please fans of the band who were happily surprised and tantalized by Christ Illusion.

-- Paul Dockery

Yim Yames – Tribute To

(ATO Records)

Yames is a pseudonym of My Morning Jacket mainman (and Monsters of Folk sideman) Jim James (itself a stage-name). So you know to expect some righteous, heartfelt Americana from the wilds of Kentucky (well, if Louisville can be called wild, anyhow). So no real surprises here. This is James solo, and it's an acoustic, laid-back offering of six songs. As the title references, this is a re-interpreting of tunes, here all by the late Beatle George Harrison, shining a light on Harrison's oft-overlooked genius. "Long, Long, Long" is a lonely lament, and "Behind That Locked Door" is given a gentle, rural country vibe. "Love You To" is ghostly, with James' vocals drifting away in a dusty cloud, while "My Sweet Lord" resonates most with me, having heard it so often growing up in a Beatles' fan household. These tracks are very spare recordings, rattled off by James in response to Harrison's passing way back in 2001. They've only now been released.

Admittedly, serious Harrison fans may scoff at these low-key re-interpretations, but to a new generation unfamiliar with this under-appreciated Beatle's contributions, this could be a perfect jumping-off point.

-- Todd Zachritz

Deborah Martin & Erik Wøllo – Between Worlds

(Spotted Peccary)

The sound of "Americana" is really a new development, and though it does reflect many of our "roots" in this country, it's not altogether accurate. On this series of recordings, composers Martin and Wøllo pay tribute to the true Americana - the music and spirit of the Native Americans. The worlds of healing, magic, and ritual are reflected here in these compositions, and with fellow ambient/ethno sound sculptor Steve Roach assisting, the duo explores these ceremonial spaces with location recordings, native instruments, chants, and even old 1894 cylinder recordings. "In Between Worlds" is just that -- an audio travelogue examining the spaces between the inner and outer planes, life and death, and the natural and spiritual worlds. It's a fairly relaxing, ambient sort of sound here, and tracks like "Gathering at Sunrise" are simply beautiful and uplifting collages of chant, light percussion, and an irresistibly uplifting groove. These are songs full of reverence, light, love, and peaceful oneness. Wonderful.

-- Todd Zachritz

Cannonhands – Laughter, Blood and Spit

(Future Destination Records)

Some of my fondest memories of my time spent at the University of Southern Indiana involved Billy Perkins and sitting in the University Center and chatting about music. We were both young and excited about bands, new and old. Billy would sit across the table from me and say things like, “man, I’ve really been getting into Elvis Costello lately” and I would say things like, “you’ve gotta hear this new Anniversary record!”

Some things never change – only now, Billy is telling me to check out his new project with Jeremy Edmonson, another colleague who I’d remembered watching come up through the ranks of the Evansville music scene when I still thought playing ska made you cool.

Cannonhands is Billy and Jeremy’s new band and it’s proven to be quite the undertaking as far as Evansville is concerned. I can’t remember a release that’s assembled the cast of musicians this group has. Fifteen in all and what matters most is that Laughter, Blood and Spit comes off as a wholly organic body of work. It feels as though many of these musicians have been playing together for years.

Perkins has always been a great songwriter and over the years I’ve watched him mature from writing simply succinct pop songs to those that have more and more texture. The opening cut, “You Fought Wars” illustrates this perfectly with fingerpicked guitar, tambourine and Perkins’ emotive voice ringing out above the mix, cue the chorus as Edmonson’s drums explode and propel the song forward.

In a lot of ways, Billy’s approach to songwriting reminded me of Pete Yorn, but on Laughter, Blood and Spit he branches out, capturing the spirit of Morrissey or Echo and the Bunnymen on “Been a Long Time” or Whiskeytown on “Habit O’ Mine” featuring Christina D. Stupley on violin, hearkening back to echoes of Caitlin Carey and Ryan Adams fiddle-tinged duets.

“Wait for It” is a sonic blast, bringing in Bruce Nguyen in on guitar bringing back memories of the two performing as Moonlight Heist, but Edmonson’s drums take the song to another level providing the perfect punctuation to Nguyen’s onslaught of sonic discourse.

Really, my only complaint with Laughter, Blood and Spit is that in a way, it’s too adventurous. It’s not that Perkins and Edmonson bit off more than they could chew, they certainly deliver the goods, but an album chockfull of 15 tracks could’ve used a little bit of editing, such as “All Best are Off.” While, “I’m a survivor/Just like MacGyver” is a fun lyric, complete with the “oh no you didn’t!” bridge, it feels out of place on the record.

All in all though, it’s a minor complaint on a strong release. Once you get to the stunningly beautiful chorus of “Your Highways are Bare,” with it’s arching melodies, you’ll agree.

I’m very much looking forward to the next phone call or email from Billy and co. saying, “you’ve gotta listen to this!” because as it stands with the level of growth and maturation in his writing over the years, there are great things to come. -- Aaron Distler

Ethernet – 144 Pulsations of Light

(Kranky)

Using sound as a meditative or healing instrument isn't a new idea. In fact, this is likely among the earliest applications for music itself. Tim Gray (who is Ethernet) seeks to re-establish the self-healing and trance-provoking elements of ambient sound on his debut here. Beginning with the drones of "Majestic," Gray's shimmering pulses are grounded by an underlying 808 backbeat -- a singular, simplistic rhythm. "5 + 7 = 12" is almost melodic, as a lilting loop is placed among the electronic textures and field recordings. That dubby back-rhythm, combined with the trancey natural landscapes, reminds me a bit of the landmark work of Wolfgang Voigt as Gas, although Ethernet is more drone-based and hazy/distant. "Summer Insects" drops the beats entirely, and becomes even more effective and organic, like a paean to a lost rainforest. "Seaside" is a calming affirmation, while "Kansai" is more upbeat. The closer, "Temple," is a celestial gem that sparkles and gently lulls. This is some righteously beautiful and timeless work, and here's to hoping that Ethernet can continue on this splendid, nature-oriented path.

-- Todd Zachritz

KK Null – Oxygen Flash

(Neurot Recordings)

3.5

The Japanese icon Null (aka Kazayuki Kishino), for those not yet familiar, is a veteran guitarist who's resume reads like a "who's who" is avant/experimental/noise musics. He's led trash/noise groups like YBO2, Absolut Null Punkt (A.N.P.), and sludge-grind metallists Zeni Geva. He's also collaborated with just about everyone of note in the world of left field music for the past 25 years. This new solo release of 2006-2007 work eschews the guitar in favor of loud, unsettling electro-acoustic cacophonies. The nine untitled tracks here clock in at over 49 combined minutes, and they range from near-power electronics to overloaded, fractured, and amplified digitally-processed glitch - sometimes grating (and unashamedly so), yet rife with an ear for subtlety upon deeper absorption. Track four is a particularly monolithic slab of barreling, broken rhythms, and chaotic electro-percolations.

Track five is a stinging barrage of trebly distortions and proto-rhythms, sounding quite alien and disorienting, while track 6 is a hypnotic space-out collision of Geiger pops and squeltchiness. Other tracks are similarly foreign and, due to their rather extreme nature, difficult to ignore or relegate to the background. Null's skills are evident here, as in the hands of a lesser ear, this set could be indulgent and messy. As it is, "Oxygen Flash" is a highly immersive set of playful sonic compositions with much to offer upon repeat spins. Enjoyable and unforgettable work.

-- Todd Zachritz

Stationary Odyssey – Sons of Boy

(Joyful Noise)

Hailing from both Mud Center and Sprinklesburgh, Indiana, Stationary Odyssey have spent the better part of the 2000s creating sounds. “What a flatfooted statement,” you, dear reader, are thinking. Sound – or the oft-used word “soundscape” – offers the opportunity to wonder: What sound? Is it harsh? Pleasing? Melodic? Sensual? Abrasive? Gorgeous? In the case of Stationary Odyssey, the answer is and has been: Yes to all. With EPs such as Komondor in 2003 and the 2006 LP Head! Foot! And the Pink Axe as launching points for this, the collaborative effort of not only the heart and brains of SO – Aaron Tanner and Brett Siler – but of a cast of contributors new and old (Damon Dawson, Shawn Knight, Stephen Lang, Brint Powell, Scott Siler, Chris Schlard, Jackson Tanner and vocalist Veesugee).

“Torticline” is a cozy swing in a hammock-turned into a spinning-drunk skydive down an elevator shaft; “Johnfriend” is the song Sonic Youth was about to lay onto Daydream Nation but couldn’t quite pull together. “Chunk Feeder Blues” rocks as dirty as anything a band made up of Muddy Waters, members of Kings of Leon, early AC/DC and Black Sabbath might put together. The journey on “Brand of Shame” is reminiscent of – and in league with – Jeff Beck’s Blow by Blow, an album of all-instrumentals that belongs in the collection of anyone who needs their mind blown by incredible musicianship, expert arrangements and true creativity, which is a trait that’s sometimes difficult to find in the minefield of hackneyed musical disasters out there.

So is Sons of Boy. And that these songs were created from the ground up right here in our neighborhood is icing on the cake.

-- Paul Dockery

Harvestman – In a Dark Tongue

(Neurot Recordings)

Having heard a number of avant-metal band Neurosis' releases and side projects, I thought I'd had these guys pegged. Then I get this new release from (Neurosis frontman) Steve Von Till, and my preconceptions are blown. And in a wickedly good way. It turns out that this is Von Till's second release as Harvestman, and In a Dark Tongue is a trippy, oozing miasma of dark, psychedelic space rock with a healthy dose of krautrock dipped onto the blotter. But before you think I'm describing some kind of retro prog-rock silliness, let it be known that Harvestman's wide-open psilocybin-scapes are positively mind-altering on their own. The lengthy drones and overloaded effects on the thirteen-minute "By Wind And Sun" become a mantra of epic proportions, enveloping listeners in gauzy noise and guitars like a lava lamp set to "destroy". "Music of the Dark Torrent" is a stark, layered guitar piece that encircles itself peacefully until a series of disorienting digital tones take over the mix. Weird and otherworldly. "The Hawk of Achill" brings in Al Cisneros of Sleep/Om fame for a trance-inducing percussive assault that reminds of Amon Duul II-meets-Neu!-gone-evil. Amazing. The journey ends with the ambient electronics of "Centre of the World," tempering the fires that burned so intensely on this wondrous and truly hallucinogenic rock album.

-- Todd Zachritz

Collide – These Eyes Before

(Noiseplus Music)

4.5

This California group's fifth full-length shines a new light on the duo's darkly sensual grooves. Formed in the mid-90s amidst the industrial rock frenzy, programmer Statik and vocalist kaRIN have steadily built a solid reputation and audience, fully independently, and their work has been instrumental in diversifying an increasingly testosterone-laden electronic dance/rock scene. They have befriended and worked alongside artists like Tool, Skinny Puppy, and Prince, but fittingly, it's their own work that garners them the most attention.

These Eyes Before is a collection of ten covers, beginning with Pink Floyd's "Breathe," which is transformed into a lovely and fantastic soundscape with an appropriately spaced-out vibe, and of course kaRIN's smooth and ethereal vocals. The Moody Blues' "Nights in White Satin" is also respectfully updated, with a superb mix of organic instrumentation and sleek programming. Other standouts? Depeche Mode's "I Feel You" is trippier and better-produced than the original.

Bowie's amazing "Space Oddity" is given a wonderful modern electronic cyber-grafting, with kaRIN's breezy vocals pointed to the celestial heavens. Chris Isaak's "Baby Did a Bad Thing" effectively brings some smoldering, gritty rock to the table, and Fleetwood Mac's percussive "Tusk" is recreated, with actual marching band, and it all closes out with another Pink Floyd classic, "Comfortably Numb." Normally, I'd shout "heresy," as some things are just sacred, but Collide admirably pull it off, adding a cool and deep layer of mood to the song's already-potent melancholy. A superb release, and perhaps their best yet.

-- Todd Zachritz

Beer

People Who Taste Hops — Mon, 23 Nov 2009 10:58:00 GMT

MICHELOB - WINTER'S BOURBON CASK ALE (St. Louis, MO)

Todd: 3

A winter tradition at News 4U HQ, this seasonal ale pours a clean amber, and tastes smooth and sweet, with a rich, molasses-like maltiness that would be more palatable if not for the overbearing vanilla accents. Nonetheless, this is a decent and drinkable brew, not outstanding but not altogether awful, either.

Tom: 2.5

Golden amber with a weak nose dominated by vanilla. Thinnish and carbonated with a very light finish. The short, sweet flavor is not bad, but fades quickly and does not satisfy. Not a characteristic bourbon beer.

Jabez: 4

This beer appearance is medium brown, and I liked the roasted malt and light nutty flavor. It did have an odd flavor that I couldn't put my finger on, it was the vanilla. This was listed on the bottle, which I didn’t read until I was about done drinking it) It gave the beer a different flavor which set it apart from other beers I have been drinking. A nice change.

Dylan: 2

Take the vanilla party out and this would be perhaps my favorite of the bunch – the maltiness is perfect and rich, and the ale is beautiful in a glass, but I can’t get past the vanilla.

MICHELOB - RYE P.A. (St. Louis, MO) (Available only in the Michelob Sampler)

Todd: 4

Deep red-amber with a rich, foamy head and nice lacing, this pale ale boasts of a fragrant hoppy aroma. Yum. Taste is a solid, bitter IPA with a strong rye spiciness - challenging and completely in line with what a sturdy IPA should be like. With the rye addition, this one's a real craft beer with higher aspirations. Superb.

Tom: 3.5

Bright amber color. Nose is sweet, but perfumy, with little hop presence for an IPA. Medium to thin in the mouth with evident carbonation and a mild creaminess. Taste is bigger than the nose suggests. Only a mild hoppiness, but surprisingly refreshing.

Jabez: 4.5

I just got this beer in variety pack that I purchase at Buy Low. It pours a dark amber color with a nice white head. I enjoyed the nice malty flavor and the spices from the rye. This beer was really easy to drink and look forward to purchasing more.

Dylan: 4

It’s kind of a shame this isn’t offered in six-packs. One of the more overall satisfying brews this month, I was impressed with the balance – hoppy, but not bitter, solid but not intimidating, strong-finishing but it doesn’t hang out too long on the palate too long like some others of its ilk. Good stuff.

SHIPYARD PRELUDE SPECIAL ALE (Portland, ME)

Todd: 3

Another clean amber ale, this one begins with a warm and comfortable aroma of clove and spice. The taste reflects this, with a strong spicy palate and smooth malty inclination. Unfortunately, there's little residual complexity. The sweetness is overpowering, rendering this beer decent, but not outstanding.

Tom: 4

Brownish, amber with a light tan head. Nice, sweet aroma that adds to the character and a smooth, medium mouthfeel. Flavor is sweet and complex – fruity, malty, spicy, and hoppy with an impressive lingering aftertaste. An excellent holiday beer.

Jabez: 3.5

This beer was a dark amber color. It had a light spicy aroma. It had a sweet flavor with a bit of hops. It also had a wine flavor to the beer, which I didn’t care for. The beer was ok, but the wine taste just turned me off.

Dylan: 3

The aroma and look are gorgeous, and evocative of the season. There are a lot of flavors competing here, though, and it’s as if the brewmaster couldn’t make up his or her mind, which is a pity, because there’s a lot of potential for greatness here. In the end, it’s the sweetness – too much of it – that makes this one a bit of a dud.

GREAT DIVIDE - HIBERNATION ALE (Denver, CO)

Todd: 3.5

A dark red ale with a massive foamy head and super-sweet character, this one's got a punchy, spicy taste-character that gives way to a firm, alcoholic burn (it's 8.7% ABV). This one's definitely a sipper - strong, potent, and hearty. Approach with caution.

Tom: 4.5

Dark amber brown with a thick head and an outstanding strong, malty aroma. Great texture and a full body. Flavor is complex, yet pleasant, with a strong dry hop flavor that lingers for what seems like forever. A great winter beer.

Jabez: 4

This beer poured a reddish brown with some what of and orange head. It had a nice fruity aroma which it had also a fruity taste to it. The 8.7% alcohol content was also nice, which I could taste. It also had a bit of cream chocolate flavor that I really liked. The bottle is a little blah looking compared to the others but looks were deceiving.

Dylan: 5

Great Divide’s offerings are consistently great, and this guy captures the spirit of the season perfectly. The high ABV warms, and balance of spice, malt and myriad intangibles conspire to create my favorite brew of the bunch this month.

Wine & Spirits

Laura Perry — Mon, 23 Nov 2009 10:55:45 GMT

Champagnes and Sparkling Wines have a long and illustrious history of celebratory events. The drink is characterized by tiny, fizzy bubbles that seem to add effervescence to any personality. Made to be aged for a few to many years, in many languages “Champagne” is synonymous with “party”.

Champagnes are made from one of three different grape types: Chardonnay, Pinot Noir, and Pinot Meunier. Blanc de blanc champagnes are made from all white grapes (Chardonnay) and are elegant and fine. Blanc de noirs is produced exclusively from black grapes (Pinot Noir/Pinot Meunier). Blanc de noir is concentrated with strong fruit flavors. If the champagne is not described as either blanc de blanc or blanc de noir, it is most probably a combination of All three grapes.

Varsity Liquors is excited to offer a vast and delicious selection of champagnes and sparkling wines for your holiday celebrations: Let’s review just a few choice offerings:

The Moet & Chandon NV Imperial Rose Nectar is red in color and the aromas are intense and deep with ripe berries and cherry, nuanced by herbal and heady flower notes. Rated “best tasting” champagne in a blind taste test, Nectar Imperial is a sensuous champagne permeated with the flavors of candied fruits.

Nicolas Feuillatte Brut Blue Label is an elegant wine suitable for drinking as an aperitif or for accompanying an entire meal. The wine is pale gold in color, with floral aromas of fruit with a subtle predominance of pear, apple, almonds and hazelnuts.

Schramsberg 2005 Blanc de Noirs is made primarily from the red grape, Pinot Noir, and is a complex, medium-bodied, brut sparkling wine. With proper storage, this sparkling wine will be delicious for many years, even a couple of decades to come. The cool growing season of 2005 give this wine flavors of sweet ginger, white gooseberry, and a dollop of mandarin orange. Aromas of Peach Melba and toasted almond introduce hints of fresh raspberry and Bing cherry.

Veuve Clicquot Brut Yellow Label is a beautiful golden-yellow, with a foaming necklace of tiny bubbles. It is initially reminiscent of white fruits and raisins, then of vanilla and later of brioche. This wine manages to reconcile two opposing factors-forcefulness and finesse-and hold them in perfect balance.

The N.V. Pol Roger Champagne Extra Cuvee Reserve is very crisp with a touch of almond, grapefruit and apple. With a golden straw hue and fine bubbles, this wine offers a bouquet of floral and fruity aromas.

Lastly, let us not forget the Dom... The Dom Perignon Champagne is the definition of exquisite luxury and taste. First introduced in 1936, the Dom Perignon name has become synonymous with class and stature. This champagne is only produced in exceptional vintage; in 2 styles, the Brut and the Brut Rose.

All of these champagnes and sparkling wines are available at Varsity Liquors, located at 687 N. Green River Road. We look forward to seeing you!

___________________________________________________________________

PHOTO CREDIT | champagnegiftideas.com

Movie Reviews: New Releases

Chad Benefield — Tue, 27 Oct 2009 09:47:12 GMT

November 3rd

Food, Inc. (Magnolia)

When I left the theatre after watching Robert Kenner’s new documentary about America’s food industry, my initial thought was the film lacked that big shock-and-awe moment. But, quite interestingly enough, I haven’t stopped thinking about what I learned from Food, Inc. since I saw it. And, now, I am fully prepared to declare this movie required viewing for every carnivore in this country. There’s an old saying you’ve heard before that suggests, “You are what you eat.” Robert Kenner takes his cameras deep into the chicken houses, meat processing plants, and food factories of America to show you what you’re eating. And, trust me when I tell you, it’s not always what you ordered. GRADE: B+

November 3rd

The Taking of Pelham 123 (Sony)

Director Tony Scott (Enemy of the State, Déjà Vu, Man on Fire) takes the reins in this remake of the 1974 thriller starring Walter Matthau and the redux has all of Scott’s trademark touches: the frenetic pace, the bluish hue, the obnoxiously amplified soundtrack, Denzel Washington. While I was actually excited about a modernized version of this story, of a disgruntled New Yorker who hijacks a subway car, this one has one major flaw. Drum roll, please! Yep! You guessed it. John Travolta! John, a lesson for you. A character like Ryder, in order to execute a plot to ground subway traffic in New York City, would have to be not only brilliant, he would have to be composed and infinitely pragmatic. It’s as if Travolta felt he wasn’t acting enough so he shifted that subway car into high gear and started spewing out ridiculous lines like, “Everyone owes God a death!” Well, congratulations! I’ll tell God you killed this movie! GRADE: C

November 10th

Up (Disney)

One of the biggest hits of the year and deservedly so. Co-directors Pete Docter (Monsters Inc.) and Bob Peterson (Finding Nemo) team up to bring us the moving story of 78-year-old Carl Fredrickson (voiced by Ed Asner), a widower bound for Paradise Falls. See, that trip was always the dream for Carl and his wife Ellie. They constantly saved for that vacation, but life always got in the way. In fact, it’s a home-video type review of the Fredricksen’s life together that explains this, as well as how they met, how they loved, how they lived and, ultimately, how Ellie passed. Nothing prepared me for the emotional impact of the sequence and it brought me to tears. Unfortunately, Docter and Peterson eventually tie helium-filled balloons to Carl’s house and float a bit off course. It’s as if they remembered Up was supposed to be a film for the kids and they started piling on the convention. But, for a while, this adult was lifted Up by a truly unique and special animated film. GRADE: B

November 17th

Star Trek (Paramount)

I said when I previewed this film that if anyone could reinvent the worn-out Star Trek franchise it was sci-fi pioneer J.J. Abrams. And I was right! Star Trek is back with a vengeance. What’s great about Abrams’ approach is that he reinvents these 40-year-old characters and stories from scratch! In a way, he’s given these old farts hip-surgery! He’s made them hip again! You can wander into his Star Trek without ever having seen the original series or knowing any of the original characters. And, you’ll be treated to great backstory, a cool new vision, razor-sharp dialogue, scary villains and eye-popping special effects. My only complaint is that, for all his new tricks, Abrams frequently resorts to one of his old standbys. The time-travel storyline in Star Trek wreaks of Lost. GRADE: B

November 24th

Angels and Demons (Sony)

Tom Hanks is back as world-famous symbologist Robert Langdon and he’s just in time. The Pope is dead and those pesky Illuminati are trying to destroy the Catholic church! And nobody is better at solving complex puzzles and mysteries than Robert! And, he’ll tell you. And he does. In fact, Robert explains everything to us as if we’re complete morons. Ladies and gentleman, I hate to break this to you. But Ron Howard, who directed this mess, thinks you all are idiots. He and Hanks spoon-feed us information as if we’re toddlers trying to learn why one shouldn’t touch a hot stove or eat the yellow snow. So, in closing, a message to Ron Howard from those of us who actually possess evolved powers of comprehension and revel in high-brow intellectual exchange. Hey, Opie! You can suck it! GRADE: C

Movie Reviews: In Theaters

Chad Benefield — Tue, 27 Oct 2009 09:43:14 GMT

November 6th

The Box (Warner Brothers)

In 2001 director Richard Kelly secured his place in cult-classic history with his bizarre-romp Donnie Darko. I’ll admit it. I didn’t get it. And the only thing that gigantic rabbit did was make me crave a bowl of Trix. But this month, Kelly has my attention with his new film, The Box, which centers on a young financially-strapped couple (Cameron Diaz, James Marsden) that’s just a push of a button away from a million dollars. But, they know, if they go all Press Your Luck on that box’s ass, someone in the world is going to die. It’s a fascinating premise that promises to have its audiences engaged in a big-screen game of Scruples. W-W-C-D? What would Cameron do?

November 6th

The Men Who Stare at Goats (Overture)

No! It’s not the true story of my college fraternity! Though we did love the farm animals! Grant Heslov’s (Good Night and Good Luck) The Men Who Stare at Goats stars his pal and frequent creative partner George Clooney and Kevin Spacey as soldiers involved in an experimental U-S military unit that seeks to harvest the powers of psychics. This looks very quirky and is loaded up with even quirkier talent. I can’t wait to stare at a goat . . . again.

November 6th

Precious: Based on the Novel “Push” by Sapphire (Lionsgate)

It’s never happened before in the history of cinema and film festivals! But it’s happened now! Lee Daniels’ new film about an overweight, illiterate and abused teenager won the audience awards at both the Sundance and Toronto Film Festivals. Not only is the film generating serious Oscarâ buzz, Mo’Nique, who stars as Precious’ abusive mother, is as well, for an image-shedding performance that will make people forget she‘s a comedienne. And check out Mariah Carey’s impressive performance as a dowdy guidance counselor and ask yourself, “This is the dumba$$ who made Glitter?”

November 13th

2012 (Sony)

Director Roland Emmerich (Independence Day, The Day After Tomorrow) must really hate the planet Earth. He’s always trying to blow it up and destroy it! And, in 2012, he gives it a big ole bitty-slap thanks to a Mayan prophecy which suggests that the world will end on December 21^st, 2012. Among the handful of survivors, John Cusack! I suppose it stands to reason that one of the Cusacks would survive global cataclysm, but I was really pulling for Joan.

November 20th

The Twilight Saga: New Moon (Summit)

When the Vamps are away, the Wolves will play! The Twilight Saga continues and Edward (Robert Pattinson) is forced to leave Forks, Washington to protect his beloved Bella (Kristen Stewart) from the hunger of his fellow vampires. Bella is comforted (Wink! Wink!) by her childhood friend Jacob (Taylor Lautner), who harbors a secret identity of his own. My, Jacob, what big teeth you have! Excuse me, Jacob! Did you eat my grandmother? Jacob, cool necklace! Is that a Hartz® UltraGuard Plus® Flea and Tick Collar?

November 25th

Nine (Weinstein Company)

Like a good little Pilgrim, I have compiled my Thanksgiving menu: Turkey and dressing, dumplings, sweet potato casserole, pumpkin pie, a couple of Native American friends and this, Rob Marshall’s (Chicago, Memoirs of a Geisha) new movie-musical, Nine, which stars Daniel Day-Lewis as Guido Contini, a film director (loosely based on Federico Fellini) struggling to make his ninth feature film while balancing the demands of all the women in this life. Suiting up to sing and dance their way into his hearts… Nicole Kidman, Penelope Cruz, Marion Cotillard, Kate Hudson, Fergie and more. Happy Thanksgiving!

CD Reviews

People Who See Sound — Tue, 27 Oct 2009 09:32:49 GMT

Ghostbird – Ghostbird

(BMI/Capricorn Studios/ Link Music Management)

4.5

Elusive and precise as the animal from which this band got their name from, the owl, Ghostbird’s sharp, expansive tunes stealthily assault the listener leaving behind only the whisper of a fading dream. The founding members of ghostbird, Trent Hancock and Mike Cooper transfused a hodge-podge of influences to construct the band’s maiden sound. Both Hancock and Cooper are deeply entrenched in the San Diego music scene which has allowed them to sieve their own cryogenic cocktail of surreal musicality. In short, these guys got it in the bag; “it” being the listener’s heart and mind which have been breached and blown.

“Toy Soldier” is comprised of tight drums, airy synth, and a melancholy piano accented by introspective lyrics and multilayered vocals. “Night Kills Day” boasts a reggae-like rhythm composition with edgy guitar distortion in the chorus and a clean tone in the verse. The drums are the true standout on this track, filling the downtime with a stilted, rich beat. “Caroline” has an upbeat, feel good tone which balances out the lonesome material in the lyrics. This track has a strong chorus. For a debut effort this album is well crafted and structured. The path this band is on is a promising one. -- Nick Durcholz

Massive Attack – Splitting the Atom

(Virgin)

I’m a pretty solid Massive Attack fan going back to 1998’s Mezzanine, an effort most recognizable to the general public as the source of “Teardrop,” currently used as the theme for acclaimed television show House, M.D. When I finally got the chance to sit down and listen to their newest release, Splitting the Atom, I was anxious to hear what it sounded like. It’s haunting. There are so many layers going on at once, my head nearly explodes. Splitting the Atom isn’t something you’ll want to listen to with headphones. It deserves speakers, and works better at a lower volume. Mid-tempo cuts like the title track and “Pray for Rain” are heavy on the bass. All the guest vocalists accent the instrumentals well.

If there’s any flaw in this EP, it’s the length. I almost want more of the dark sounds—the horn section on “Bulletproof Love” gives way to the steady low sound of a muted klaxon. If you’ve got a good set of speakers you’re willing to turn up just enough to hear the music, you’ll be good to go. -- Doug Messel

Portugal. The Man – The Satanic Satanist

(Equal Vision Records)

As far as appearances go, this band is a hipster’s wet dream. Musically though Portugal the Man is anything but superficial. This band offers a whole cart of sonic remedies from smooth guitar, tribal drums, to bittersweet piano. Founding members Zach Carothers (bass) and John Gourley (guitar) are up-and-coming poster boys on the alt-rock scene, understandable for the eccentric musical circus they have corralled. Other members of that circus include Ryan Neighbors, a one-man-band himself and more than a handful of guest musicians and vocalists. This album is the band’s forth effort to be released and for fans and virgins alike, it was made to please.

“People Say” starts off the album with a flowing, bluesy riff counteracted with a lighter, driven tone in the chorus and the verses. Lyrically, the chorus of this track really stands out. “Work All Day” boasts a back and forth rhythm which inspires soulful moves. The drums are simple and sharp and the vocals are solid. “The Sun” begins with piano in major accented by a funky baseline to bring in the soulful, uplifting vocals. The musical and lyric composition on this track is flawless. Bringing all types of funk, Portugal the Man is a band that should be on any music lover’s radar. -- Nick Durcholz

Black Cobra – Chronomega

(Southern Lord)

Bay Area duo Black Cobra's Southern Lord debut (and third LP overall) shreds from the very first track. "Negative Reversal" is a frantic, riff-heavy onslaught of sludgy doom/stoner wickedness – like the Melvins on a speed binge, perhaps. "Catalyst" begins with some subtle drone, but it soon erupts into another mammoth cataclysm of molasses-thick riff-n-spliff. "Zero Point Field" gets so sticky, it threatens to become total noise, but it never devolves quite that far.

Produced by the man-of-the-hour Billy Anderson (Melvins, Neurosis, High on Fire), Chronomega is a thick, bludgeoning behemoth capable of crushing anything in its path. I am duly convinced, and worship at the altar of Black Cobra. -- Todd Zachritz

The Fall of Troy – In the Unlikely Event

(Equal Vision)

The trio that is the Fall of Troy is an eclectic looking bunch of fellows. On first glance the listen questions how they would even be friends much less band-mates. Musically these three have an admirable range in rock and actually feed off of each other very well. They seem to blend the best parts of several pioneer acts in the past two decades. They sport rapid-fire drumming reminiscent of Fear Factory, piercing vocals of the Deftones or Glassjaw, and the guitar composition of Rage Against the Machine and Staind. Unfortunately, the vocals Thomas Erak come off too whiny in most cases but instrumentally this band is a fine-tuned, ear-assaulter.

“Panic Attack!” is an epic stand-out track for Erak on guitar. His riffs are heavy, intricate, and multi-rhythmic. “Straight-Jacket Keelhauled” is a straight out thrash-fest. The screaming vocals are appropriate for the mood of the song but almost take away from the compositional complexity of the track. “A Classic Case of Transference” flows well lyrically and the guitar is break-neck but again the vocals are very irritating at times. “Empty the Clip, the King has been Slain, Long Live the Queen”, again great instrumentally but the vocals are girlishly dramatic. The whiny, overly-aggressive vocals make all of this band’s songs sound the same, when instrumentally they are unique. The band needs to address this. One thing is for sure the Fall of Troy has an immense passion for music. -- Nick Durcholz

A Storm of Light – Forgive Us Our Trespasses

(Neurot Recordings)

This album serves as a warning and a document of mankind's widespread gluttony and greed over our own Mother Nature and the devastating effects of Earth tipping the scales back into her favor. And to capture that heavy-duty concept, the music needs to be grand, all-encompassing, and absolutely omnipotent. Forgive Us Our Trespasses comes mightily close, and in fact works quite well under that condition. Formed in 2008 by Josh Graham (ex-Battle of Mice, Neurosis visualist) and joined by Dominic Seita (Tombs, Asea), Andy Rice (Sinking Ships), and Joel Hamilton (Battle of Mice, Book of Knots), this incredible combo is primed to prove themselves juggernauts of environmentally-conscious, cerebral post-metal heaviness. The titanic rhythms and thunderous riffage of the aptly-titled "Tempest" envision a future wrought with apocalyptic cataclysm. The potent storms of doomy, slow, and tortuous grind here are melodic and dynamic, though, pulsing with ethereal undercurrents that envelop the monolithic slabs of pure, primal force. Lydia Lunch herself provides effected spoken parts through three cuts, and former Swans frontwoman Jarboe also adds her considerable vocal talents to a couple of songs, but this is really Graham's child, as he contributes just about every instrument to the mix, as well as conjuring the amazingly apocalyptic artwork on the sleeve and liners. "The Light in Their Eyes" places a mournful cello as the centerpiece, with martial drums and frightening soundtrack textures providing the color to the rendering. This is an album that warns of a possible, even inevitable, global environmental catastrophe. And the music provides a sort of soundtrack -- powerful, unstoppable, and ultimately sorrowful. This is a hell of a recording, and this group will be legendary if they can keep up with a creative zenith like this. -- Todd Zachritz

Green River Ordinance – Out of My Hands

(Virgin)

1.5

Still on the look-out for that truly awesome, original rock/pop band? Well these guys are definitely not it. Green River Ordinance has the instrumental and lyrical personality of a two-by-four. About the only saving grace for this band is the passion in their vocals and the clean structure of their tracks. This Texas-quintet had rich musical lives in the past but seem to have never wanted to reach beyond the status quo. This is what the album implies at least. It is bland, recycled, and leaves the listener thinking, been there heard that. Honestly, how good can any band be that has been featured on MTV’s The Hills?

“Outside” has a decent flow to it. The lyrics and music mingle well but it’s a polished, soft rocker trying to be hardcore and falls flat. “Out of my Hands,” one word: cliché. “On Your Own” boasts a melodic, bittersweet piano which is great but the lyrics and vocals are full of fluff. “Goodbye L.A.” may have a certain emotional importance to the band but damn, this song is extensively, terribly dreadful. “Different (Anything At All)” has good rhythm and energy but still the same reoccurring theme. If a listener is into processed pop/rock garbage with no soul, Green River Ordinance is their band. If not, do not so much as give a second thought or even a passing glance. -- Nick Durcholz

DJ Spooky That Subliminal Kid – The Secret Song

(Thirsty Ear)

Suffice to say this is possibly DJ Spooky (aka Paul D. Miller’s) most fully realized and wide-reaching release in his already deep and extensive catalog. He's got collaborators from nearly every continent (and genre) at hand. The list alone is impressive: Thurston Moore, Jungle Brothers, Rob Swift, The Coup, Mike Ladd, Sussan Deyhim, Abdul Smooth, Vijay Iyer, Zimbabwe Legit, and more. But the star of the show is unquestionably DJ Spooky himself, who takes the material from these disparate sources and creates a worldly, wise, and hopeful travelogue that traverses the fringes of culture(s). "Dazed And Confused Dub" is a massive rock symphony. "Where I'm At" is forward-thinking hip-hop.

"Heliocentric" is funky electro-jazz, and "Azadi" is full of smooth, sensual, Middle Eastern chants. And that's just a few of the 20 cuts here. DJ Spooky masterfully fuses the sounds of urban hip-hop, academic electronica, gritty rock, futuristic classical, musique concrete, and out-jazz, and in effect creates as close to a comprehensive modern-day pop music/sound collage as you're likely to hear this year. Or this century. Stunning and essential. -- Todd Zachritz

Voice of Eye – Seven Directions Divergent

(Conundrum Unlimited)

True to its title, this long-awaited new CD from New Mexican duo Voice of Eye wanders across the deserts alluringly, and in different directions. It's been many years since I last heard from the duo of Bonnie McNairn and Jim Wilson. Their 90s releases were incredible conjurations of primitive spirits and fleeting ritual ambiances that were simultaneously dark, seductive, and intense. With this release, they immediately go into a completely different realm with the opening track, "Gates of Mysterious Fire." It's a rhythmic track with McNairn's wispy, ghostly vocals. There are other tracks of earthy, narcotic, and psychedelic song-based composing here, reminding me a little of Charalambides' primitivist work, though VOE layer their tracks much more densely. As with their earlier work, all of the sounds here are organic/acoustic in origin -- no synthesizers were used, which seems incredible when you hear the sonic textures at work here. Indeed, Voice of Eye are masters of sound manipulation. "Golden Space Funk Transmission" isn't all that funky per se, but it is a solid bit of rolling ambient pop, both drifty and hallucinogenic. "Om Shanti" is a traditional Sanskrit mantra, and is a very enjoyable and meditational sound built on traditional instruments for an exotic, droning journey. The final track, the 18-minute "Transformational Birth," harkens back to the group's earlier works, and is a decidedly darker, ambient improvisation that sounds like a leviathan awakening from slumber -- edgy, majestic, and not least of all, frighteningly sinister. Beautiful work, and a hearty journey, indeed. -- Todd Zachritz

Beer Review

People Who Taste Hops — Tue, 27 Oct 2009 08:43:54 GMT

Bacardi Silver Sangria (St. Louis, MO)

Jabez: 4

This was a pretty standard “old school” wine cooler in my opinion. I actually liked it and I am not a wine cooler fan. Most wine coolers have some crazy flavors, but this one didn’t. I don’t care for wine, but this was good. It had a good balance of the fruity wine and the carbonated soda which made it easy to drink.

Tom: 2

This is more of a wine cooler than a beer, but if you’re into that sort of thing, this is probably not a bad choice. Ruby red with a stringent alcohol aroma accented with citrus and berry. Tingling carbonation—it tastes like someone spiked the punch. It may be decent on a hot day poured over ice.

Todd: 2.5

If it looks like a fruit punch, but smells like a wine, which is it? I can’t tell exactly what this one is, but I can report that this light and fizzy drink is not altogether awful. I detect flavors like berries and grapes alongside the more astringent sulfites. I’ve had several kinds of these fruity “malt beverages,” and most are horribly sugary and artificial-tasting. Sugary, yes. Artificial, sort of, but I could down it and not make sour faces, and that alone says something.

Dylan: 2

Surprise. I didn’t make one of those faces, either. As a sangria, it doesn’t really work, but as a tasty, refreshing and fizzy beverage if you’re in one of those moods, this ain’t half bad.

Berghoff Traditional Bock (Monroe, WI)

Jabez: 3

This beer would best be described as your average dark beer on the lighter side. It was a nice brownish color with the light sweet caramel aroma. The odd characteristic of this beer was that its flavor began to diminish the more I drank. Nothing flashy about this beer, it was average.

Tom: 3

The twist-off cap sets the tone for what to expect. Clear amber brown with a quickly disappearing thin head. Rather unappealing grainy aroma with hints of nuttiness. Watery and thin, yet still somehow bold, albeit one-dimensional, malty flavor. Not a bad beer, but for my money, I’ll have an Amber Bock.

Todd: 2.5

A traditional bock is, by nature, highly malted and this no-nonsense beer certainly fits that description. At the same time, the malt presence here seems to overload my taste buds at the expense of any other flavors. Pouring a deep brown/amber, Berghoff’s bock initially has a simple, rich caramel taste which permeates every subsequent sip. I sense no complexity, and this one-dimensional brew just doesn’t cut it with me.

Dylan: 3

Color me underwhelmed. I’m not a big fan of the malty/caramelness of a lot of bocks, but as the style goes, this one is balanced and pretty much what I expected – a straight-up bock-style brew that for me, counts as average any way you pour it.

Breckenridge Autumn Ale (Denver, CO)

Jabez: 3.5

This beer had a good malty flavor, but it also had an odd after-taste that I couldn’t figure out. The after-taste really took away from the other qualities of the beer. Nothing flashy with this one, just an okay autumn ale.

Tom: 4

Deep, dark brown with a creamy, but thin beige head. Nutty, sweet, toasted malt aroma and a nice, smooth, full body. The flavor is full, but very mildly pronounced. Warm and tasty with a pleasant lingering after-taste. A very balanced and drinkable fall offering.

Todd: 4

A nice and deep (almost black) opaque ale with a thick head, this one has a spice hint at first, with an almost burnt chocolate/caramel follow-through. It’s strong and malty, but the citrus-spice zing gives it an added dimension, and a clean finish. Attractive and tasty, this Breckenridge’s Autumn Ale is more than enjoyable, and an easygoing, yet still uniquely creative brew.

Dylan: 5

Complex notes that ring true of autumn are here, in this wonderful ale from the consistently great Breckenridge Brewery. While toeing the line at overdoing some of the flavors, this one step back just at the right time to give a overall satisfying, rich experience.

Goose Island Bourbon County Stout (Chicago, Ill.)

Jabez: 4.5

This is one of the darkest and thickest beers I have drank in recent memory. It poured a brown head but it faded fast with not much carbonation. I could taste a bunch of malt, coffee, chocolate, and the bourbon. This beer is 13% alcohol which surprised me. Most beers with high alcohol begin to take away from the other flavors of the beer, but this did not. I’ll have to go and get more of this.

Tom: 4.5

As my Dad used to say, “This’ll put hair on your chest.” A HUGE 13% ABV beer. Thick and black with a solid cocoa head. Heavy, creamy mouthfeel with an explosion of lingering flavor—chocolate, oak, smoke, bourbon, and who knows what else, but still manages a sweetness. This one is a sipper that’s not for the faint of heart.

Todd: 4.5

Ah, this one is a deep, charry black stout that pours from the bottle like viscous oil. The scent recalls sweet cherry, aged oak, and of course the sting of bourbon (this is aged in bourbon barrels, thus the residual flavoring). First tasting reveals a heavy, potent alcohol presence (it is a goliath 13% ABV, after all). This initial palate is followed by a smoky, rich maltiness that is simply overpowering. No session beer here, as this one’s best for sipping or sharing, unless you’re seeking a quick ticket to buzz-land. A stunningly strong beer, and a uniquely memorable “extreme beer” experience.

Dylan: 4

Whew. Damn. What they said. I can’t really add much to this review. Time to start a bonfire out back and throw some random stuff into it.