TRANSVERSO

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The Top 15 Films of 2015: Transverso's 2016 Oscars Best Picture Picks

TV/Film ListEthan WilliamsComment

With the Oscars finally arriving tonight, it’s time to take a look back at the incredible year of film that was 2015. For every superhero sequel there were plenty of indie smashes, and it was easy to find art at the multiplex as easily as it was in your local arthouse cinema. So let’s look back at the movies that will shape the film world for the next few years.


15. Phoenix


A riveting psychological thriller set in the ruins of postwar Germany, Phoenix is a hypnotic slow-burn that builds its tension deliberately and devastatingly. Nelly is a Holocaust survivor who had her face disfigured in a concentration camp and when she returns to her hometown to find her lost love, she finds he may nothing may ever be the same. It takes cues from Rainer Fassbinder and Alfred Hitchcock, but manages to morph into its own cerebral mystery that results in an absolutely stunning final scene that’s among the year’s best.

14. Bridge of Spies

Steven Spielberg may be the closest thing our generation has to Frank Capra, a filmmaker who tries to unearth what it really means to be an American while not shying away from the darker underbelly of our culture. So while it might be interpreted at first as simplistic or unsubtle, Bridge of Spies is an intricate deconstruction of the peril that Cold War attitudes placed our world into. Given a biting wit by writers Joel and Ethan Coen, Spielberg uses America’s sweetheart Tom Hanks to craft a beautiful slice of Americana, bolstered by his confident direction and an excellent and understated Mark Rylance performance.

13. Sicario

Timely, nail-biting and cerebral, Sicario is yet another masterpiece of unbridled, heart-stopping tension from director Denis Villeneuve (Prisoners, Enemy). An unflinching look into the heart of darkness at the center of the Mexican drug war, Sicario keeps the audience in the dark just long enough until its razor wire tension explodes in a third-act confrontation that will leave your jaw on the floor. The Oscars should be ashamed for not nominating Brolin or Blunt but especially Benicio del Toro in one of the highlights of his career.

12. The Big Short

Propelled by one of this year’s sharpest and most inventive screenplays, The Big Short proves director Adam McKay’s talents lie beyond just Will Ferrell vehicles like Anchorman. The financial collapse of 2008 is a subject of fascination for McKay (touched upon in his underrated The Other Guys) and takes full advantage of the big budget and star-studded cast of The Big Short to tell this story in its entire tragic fullness. While some of the explanation may feel like condescension, the directorial flair that McKay presents his story with keeps things fresh and funny but with the dramatic weight the subject deserves.

11. Tangerine

As much as Tangerine could’ve just been “the movie shot on an iPhone,” it manages to transcend and become so much more. It’s an epic exploration of the Los Angeles underbelly on Christmas Eve, told through the eyes of two lovably rambunctious transgender prostitutes. The iPhone cinematography gives it a wonderful kineticism of life and verve, but its two leads give it a warm heart at the center. It’s hilariously madcap with just a hint of melancholy about finding your place in this world, but Tangerine is a sweet portrait of an unusual friendship told with some awesome filmmaking technique.

10. Love & Mercy

One of the best biopics in recent memory, Love & Mercy is a stunning recreation of the dizzying highs of creating one of pop music’s greatest records ever in Pet Sounds and the soul-crushing lows of Brian Wilson’s subsequent mental dissolution. By intertwining the two award-caliber performances of Paul Dano and John Cusack as two eras of Wilson, Love & Mercy crafts a heartbreaking arc of redemption through the power of love and music. recording sequences alone are worth the price of admission (supplanted by a great electronic Atticus Ross score) and it’s a career high for every actor involved, especially Dano and Cusack.

9. Crimson Peak

All of director Guillermo del Toro’s finest films are about the relationship of innocence vs. brutality, and Crimson Peak is indeed another visual masterpiece from one of the few living visionaries left in genre filmmaking. Moreso a Victorian melodrama than a straightforward horror film, Crimson Peak is a testament to Del Toro’s intricate craft, building another terrifying world within Allerdale Hall, full of shadows and ghosts. It's an old school kind of horror told with unapologetic camp and nobody is better at crafting atmosphere or creatures than Del Toro. Hail to the king, baby.

8. Mission: Impossible - Rogue Nation

While it may have been impossible to top the heights of the Burj Khalifa from Ghost Protocol, Mission: Impossible - Rogue Nation is a roundly satisfying addition to one of the greatest modern action franchises. Mission Impossible is a series that understands scale more than any other and once again crafts some of the year’s most awe-inspiring action setpieces that simply suck the breath right out of you. Tom Cruise once again throws himself in the jaws of death for our amusement and Rogue Nation takes the best elements from all four of its previous installments to form a supremely entertaining summer blockbuster and one of the year’s best action films.

7. Inside Out

Just when it seemed PIXAR might be in a creative lull, a film as fresh, funny and inventive as Inside Out comes along. The concept of one’s emotions personified as little people inside your head is already quite a clever idea, but Inside Out’s screenplay grows this concept into one of PIXAR’s funniest and most moving films ever. It never offers easy answers to some of life’s toughest problems but is still a valuable portrait of how to deal with the combating emotions within ourselves. And with a cast this perfect, it’s no wonder it brings you to tears of both laughter and sadness.

6. Star Wars: The Force Awakens

It is a small miracle that The Force Awakens manages to feel so organic, natural and so thoroughly a part of the Star Wars canon so instantly. Yes it’s great to see more practical effects, location shooting and overall more competent direction, but the characters are what make us truly love Star Wars and The Force Awakens creates them with marvelous aplomb. It’s the most solid foundation fans could’ve hoped for and a cast and crew of marvelous talent did what most thought was impossible: make the entire world love Star Wars again.

5. The Hateful Eight

After a few false starts and script leaks, it seemed unlikely that Quentin Tarantino was ever going to get around to making his next Western, but somehow it arrived and was bigger and badder than anything we could’ve hoped for. Shot “In GLORIOUS 70mm” as the posters loved to proclaim, The Hateful Eight was incredibly heartening to see so many turn out for the roadshow 70mm film screenings, a cinematic event unlike anything seen in America for the last 40 years. Not to mention that the film itself is one of the director’s finest, assembling some familiar faces from the Tarantino oeuvre and shoving them in a snowbound cabin as their wits slowly whittle into blasts of blood-soaked brutality. Beautifully shot by Robert Richardson and given the year’s best score by the maestro Ennio Morricone, the elegance is contrasted by one of Tarantino’s screenplay, one of his most black-hearted treatises on the nature of humans. Three hours simply whizz by and we’re left with a landmark for Westerns, Tarantino and the medium of film itself.

4. The Look of Silence

Documentarian Joshua Oppenheimer’s follow-up to 2012’s groundbreaking The Act of Killing, The Look of Silence somehow manages to eclipse and become an even more important piece of cinema than its predecessor. The Act of Killing was a sickening snapshot of how people who committed some unforgivable atrocities manage to live with themselves, but The Look of Silence manages to make that pain even more immediate and disturbing by having a survivor of the massacre face his persecutors in front of the cameras. The interviews are pulse-pounding, cringe-inducing, absolutely revelatory bits of cinema and once again Oppenheimer has crafted a gorgeous, gut-wrenching document that is both important and artful. If you only watch one documentary from last year, make it this one.

3. Carol

Few movies are ever as gorgeously photographed as Carol but even fewer manage to pack such a devastating emotional punch. The forbideen romance between Therese (Rooney Mara) and Carol (Cate Blanchett) sounds like the stuff of pure melodrama, but becomes the most purely affecting relationship depicted onscreen this year. The breathtakingly composed shots are given the dreamlike qualities of memory, as if groggily recalling the nostalgic minutia of romance: the lingering gaze of a lover, the offhand smile, the squeeze of a shoulder. Not since Her has a film managed to capture the thrill of falling in love but also the heartbreak of separation. It's a gorgeously orchestrated piece of filmmaking, one that plants a tender ache in the heart that doesn't fade quickly.

2. Ex Machina

With all of the recent success of sci-fi on the blockbuster scale, Ex Machina is a refreshing reminder that the best science fiction stories are based in exploring big ideas and not necessarily on visual spectacle. First time director Alex Garland, screenwriter of such recent sci-fi classics as Sunshine, Dredd, and 28 Days Later, is certainly no slouch in the visual department, but Ex Machina is more interested in exploring the dynamics between its three main characters. It’s an absolute delight to watch its intricate plot unfold, throwing twist after turn up to one of the year’s most shocking endings. It’s heady science fiction at its finest and it rewards rewatch after rewatch. Drop everything and watch it as soon as possible.

1. Mad Max: Fury Road

Mad Max: Fury Road is a once in a generation event. A movie so pure in its unbridled creativity and filmmaking boldness deserves every amount of praise one can muster. At its core just a chase film with a feminist bent, it manages to transcend and become so much more. Director George Miller takes his incredible apocalyptic fairy tale begun over thirty years ago and creates even more dazzling mythmaking out of the nuclear wasteland. Visual storytelling is rarely this simple and coherent in a modern action film, but it’s also hardly ever this fun. No film was as viscerally exciting, visually bold and unabashedly badass as Mad Max: Fury Road.  It set the film world on fire and will probably dominate the conversation on action cinema for decades to come. Perfectly paced, perfectly shot, perfectly edited and bathed in sound and fury, Mad Max: Fury Road is one of this decade’s absolute finest.


Honorable Mentions:

Steve Jobs

The Martian

Spotlight

Amy

The Wolfpack

Bone Tomahawk

Krampus

The Assassin

World of Tomorrow

The End of the Tour

The Magnetic North Release Dreamy 'Prospect of Skelmersdale' Single "A Death in the Woods"

New MusicSean McHughComment
Screen Shot 2016-02-22 at 8.49.35 PM.png

“A Death in the Woods” is the lead single from British rock symphony outfit The Magnetic North’s forthcoming album Prospect of Skelmersdale, the second full-length installment from the Erland Cooper led trio - featuring Simon Tong (The Verve, Blur, Gorillaz, The Good, the Bad & the Queen) and orchestral arranger Hannah Peel. Prospect of Skelmersdale continues the band’s series of musical vignettes drawing from its eponymous village.

A mecca of the Transcendental Meditation movement, Skelmersdale, Lancashire was a haven for families to settle and continue their lives enlightenment and mediation. Included amongst these families was The Magnetic North’s own Tong, whose experience undoubtedly provided a wellspring of inspiration as the band worked to inhabit the spirit of Skelmersdale.

“A Death in the Woods” acts as the introduction to the overall motif for both the album and Skelmersdale. The video opens with bright flutes and twinkling guitar bouncing along as we’re introduced to a collection of Super 8 clips of what can be assumed as the titular town itself.

The lyrics feel like a sort of archival account of the initial pitch used to bring people to Skelmersdale way back in the 1960s, as Erland Cooper maintains a soothing timbre over the dream-like melodies. Ambient guitars drift and meander as Erland croons “The New World’s round the corner / They found a new world order,” and the track continues to slowly build sonically with each subsequent verse. The video exudes a sort of utopian uneasiness that comes to a head as the footage shifts its focus on the children from the Skelmersdale community, and suddenly breaks into the mellowest of electronic rampages until the song and video come to a close.

Prospect of Skelmersdale is out 3/18 via Full Time Hobby

 

Future Islands Side-Project The Snails Makes Playfulness Cool Again on 'Songs From the Shoebox'

Music ReviewWeston PaganoComment

Though formed as early as 2008, Future Islands side project The Snails had graced us with little more than 2013’s killer Worth The Wait EP before their full-length debut dropped ahead of schedule this week. (Even if you had never heard of them until recently, you may be familiar with the mollusk motif from the adorable smiling snails adorning the envelopes from past ticket giveaways.) Initially tracked back in 2013, Songs from the Shoebox was slowly overdubbed and mixed over the years in between their main band’s tours since.

This slimy supergroup brings members of Future Islands, Lower Dens, Wume, Small Sur, Wing Dam, Nuclear Power Pants, and Showbiz all together within one shell, and is led largely by the FI duo as Snailliam (William Cashion)’s signature rumbling bass grooves lend pulse and platform to Sammy Snail (Samuel Herring)’s delightfully raucous howls as per usual.

For the most, Herring tends to leave his dripping, guttural growls behind for a full showcase of his upper registers with uplifting roars of positivity on “The Tight Side of Life” and beyond, and his ability to shift between brooding poignance to unabashed fun deftly displays the emotional and modal versatility of a man who also doubles as an occasional rapper.

Opening with the sound of a balloon blowing up, Songs from the Shoebox has all the playfulness of the class projects we built in those same containers as we first learned to appreciate the fun of art all those years ago. The energetic collaboration brings the best side projects have to offer with that added bit of flair such freedom allows, as the Baltimore post-punk rockers swap their sultry synth for sweet, sweet sax.

Appropriately decreeing “We’re gonna take it slow / Real slow / Real slow” in the first track, they then transition into the whimsical "Barnacle on a Surfboard (Barnacle Boogie)" that ends with impressively committed snail sound effects, before "Shoebox" opens up cheerfully with the curious “It's a brand new day / Bring me my socks / I want to show you how I play.”

It’s the sign of a truly great musician when each and every song they put forth is of undeniable quality, no matter how obscure it may be (give Future Islands’s loose collection of non-album deep cuts a visit sometime if you haven’t already, and you’ll discover lesser known tunes that pack more punch than many indie staples’ peak singles), and even at their most casual they prove to make no exception, never skimping on earnest heart and movability no matter how silly the vessel for that drive may be.

Ending with the previously-released highlight "Snails Christmas (I Want a New Shell)" we find ourselves with an offering infinitely better than the half-assed holiday repeat covers we’re normally subjected to each winter, however strange it may sound in mid February. It’s also, notably, the first time the words “caviar” and “Roomba” have ever been sung in the same sentence, at least to my knowledge.

For a man usually known for physically beating himself as he figuratively (and through miming, literally) tears his heart out onstage, it’s especially nice that Herring of all people can remind us to sometimes take a step back and just enjoy the music.

Check out where The Snails will be leaving trails during their tour:

  • 3/4 - Philadelphia, PA @ Kungfu Necktie
  • 3/5 - Burlington, VA @ Signal Kitchen
  • 3/6 - Portland, ME @ Space
  • 3/8 - Providence, RI @ AS220
  • 3/9 - Brooklyn, NY @ Baby's All Right
  • 3/10 - New York, NY @ Mercury Lounge
  • 3/11 - Washington, DC @ Comet Pizza and Ping Pong
  • 3/12 - Richmond, VA @ Strange Matter
  • 3/13 - Asheville, NC @ The Mothlight
  • 3/15 - Athens, GA @ Caledonia Lounge
  • 3/16 - Charleston, SC @ Tin Roof
  • 3/17 - Wilmington, NC @ Reggie's 42nd Street Tavern
  • 3/18 - Raleigh, NC @ Kings
  • 3/19 - Baltimore, MD @ The Ottobar

Closing Remarks of a Reformed Kanye Apologist

EditorialSean McHughComment

I have been an ardent Kanye apologist for quite some time.

I would assert that Kanye’s production prowess transcended the confines of genre – from the formative days of College Dropout to the unmercifully avant-garde Yeezus  - in absolute awe of Kanye’s “scorched earth” approach to his craft.

I maintained Kanye’s status as the All-Father of modern hip-hop, his discography a compendium of templates to guide those who choose to emulate the various iterations of Kanye’s career.

I blindly ascribed the successes of Chance the Rapper, Drake, Kendrick Lamar, Danny Brown, Kid Cudi, A$AP Rocky, Childish Gambino, J. Cole, Travi$ Scott, Lupe Fiasco, Tyler, the Creator, Earl Sweatshirt, Frank Ocean, Big Sean, and Mr. Hudson to the omnipresent influence of Kanye West.

885.80 miles of America lie between Nashville and New York City, but I still managed to witness the live simulcast premiere of “Yeezy Season 3” at Madison Square Garden.

I considered him an indomitable ideologue that had eclipsed culture. While I have never even remotely considered purchasing any of the exorbitant pieces from his “Yeezy Season” trilogy (not out of sartorial revulsion, but out of financial prudence), I couldn’t help but applaud Kanye’s penchant for minimalism.

I was moonstruck by the impromptu nature of Kanye’s combination fashion show/album listening party for The Life of Pablo, and admired the magnanimous charity of Kanye whilst “passing the aux” to the likes of Young Thug and Vic Mensa in front of 20 million people.

I had unwavering faith that the release of The Life of Pablo would see Kanye silence his most ferocious critics, all the while summiting the zenith of the zeitgeist as the greatest popular artist of the new millennium.

I would treat Kanye’s exploits as supreme acts of a self-aware caricature; a master class so inscrutable, even the most astute of human behavior experts would remain confounded.

I was confident that upon the inevitable disclosure that Kanye’s much-maligned escapades were nothing more than performance art, his histrionics would become a bastion of artistic sovereignty

I was under the impression that those who bemoaned Kanye’s musings were simply out of touch and unfit for such brilliant satire.

It is because of the aforementioned defenses of Kanye that I write this article with a heavy heart, having come to terms with an objectionable truth – I must relinquish my title as a Kanye apologist.

The past month and a half of Kanye’s ubiquity has withered me to a troubling perspective of self-examination. The events surrounding The Life of Pablo have been an all-out media onslaught so pervasive that it has led me to falter in my continued support of Kanye.

I do my best to remain objective in most matters – maintaining an emphasis on universal understanding rather than blind faith – but Kanye’s recent behavior has led me to a fan’s introspective crises as opposed the usual eye roll and “I’m sure Kanye knows what he’s doing,” when he interrupts someone to perform a soliloquy at the VMAs, or when confronted with the realities of whom he chooses to share him name.

Now don't get me wrong, I am most certainly not about to come the defense of Taylor Swift or Kim Kardashian – I am of the opinion that Taylor Swift has a scandal lying dormant to the public eye capable of reaching Peyton Manning-sized proportions; and Kim, well, I couldn’t tell you much about her, but neither could she – but what many consider to be two more incendiary moments in Kanye’s career, I merely regard as mischievous self-expression, along with most other dubious actions throughout the years.

Kanye was nothing more than the occasional superstar scamp in my mind, so I continued to defend his behavior, chastised for such a decision on only a handful of occasions.

Somewhere down the line, however – sometime around the beginning of 2016 -, my spirited Kanye fandom became combative amongst some of my contemporaries. Where my delight in all things Kanye had once been nothing more than an exercise of personal taste, it had suddenly become an affront to other people’s existence; as if to insinuate I share the same outlooks as a mercurial music superstar. Kanye had suddenly become a combative subject, even if the discourse was purely superficial. But nonetheless, groups of people inherently abhorred anyone who even remotely enjoyed any aspect of Kanye.

And it was in that moment I realized just how silly all of the controversy of Kanye really was. Granted, there were technical aspects surrounding The Life of Pablo that were less than stellar (looking at you, Tidal), but getting caught up in who Kanye thinks owes him their career?

Who cares?

It’s a song for crying out loud.

If there are songs on The Life of Pablo some might find detestable, then those who have such an inclination would be best served not listening. Why look for something to gripe about when we’re all better off focusing on things that have more personal appeal?

If Kanye’s behavior places such displeasure in your life, why bother spewing vitriolic epithets and the like when its so much easier to place your focus on someone or something else?

Ultimately, the World of Kanye is an exercise in futlity - whether you’re an avid disciple (such as myself) or one of his biggest detractors. Kanye is going to do what Kanye wants to do, and there’s no way around it. He is a self-fulfilling prophecy that continues to adapt and create, providing some with great joy, and others great irritation.

Its for these exact reasons that I rest my final defense of Kanye, and relegate myself from Kanye apologist to Kanye aficionado. 

But before I go, I just wanted people to recognize that Beyonce really did have the one of the best music videos of all time.


You can read our full The Life of Pablo album review here and "Kanye's Original The Life of Pablo Tracklist Analyzed in Three Acts by @NathanZed & @jonnysun" here.

Basia Bulat Makes Star Turn on 'Good Advice'

Music ReviewSean McHughComment

Imagine if Emma Stone was a good singer – more honey lined than husky – with the slightest of Irish sean-nos virbatto, as well as a proclivity for musical styling amalgam of Florence Welch and Natalie Merchant – or better yet, just listen to Basia Bulat. Questionable musical juxtaposition aside, Basia Bulat possesses a voice totally devoid of any real affectation, with the exception of an occasional emotional waver that’s reminiscent of a female Michael Stipe.

Part of a generational sundry of criminally underrated Canadian folk-singers, the Montreal-based Toronto native opted for a total overhaul of her usual bare bones, folk sound on her fourth full-length record, Good Advice. For someone who has spent 75% of her musical career working within the relatively restricting folk genre, Bulat has managed to incrementally progress the musicality of each subsequent release – though her narrative writing prowess remains her principal asset.

While carving out a unique role in an already over saturated market is admirable, there seemed to be an acknowledgement on Bulat’s third record, Tall Tall Shadow, that something more dynamic needed to happen.

Enlisting the direction of My Morning Jacket maestro Jim James, Bulat spent the better part of her recording time in Louisville, Kentucky; a far cry from her culturally urbane base in Montreal. Superficial metropolitan analysis notwithstanding, the change of scenery was a musically transcendent choice for Bulat.    

Good Advice continues the general trend of growth in Bulat, but with the assistance of James’ production finesse, the musical dynamism ushers in a new and exciting avenue for her to lay claim to.  The LP opens with the singular synth accordion heavy “La La Lie,” reminiscent of the opening of the Beach Boys’ opus, “God Only Knows,” only to break into a percussive drive as Bulat opines with great ambiguity, a hallmark of Bulat’s writing. Bulat’s lyrical preference is to skirt the line of desperation, hope, and despondence, shifting hook perspectives like “I la la lie, la la lie, keep lying to myself / While you la la lie, keep lying to yourself.” There’s an acknowledgement of apparent differences between the two protagonists within the song, with Bulat left to navigate the outcome on her terms.

“La La Lie” and its subsequent track, “Long Goodbye” are relatively similar in tone and pace. Both are slightly more developed than prior Bulat incarnations, her voice (both narrative and singing) is considerably more confident, asserting an understanding of expiring relationships. “ Furthermore, both exercise a fuller, more energetic sound, with heavy drums and synth work replacing the spacious folk sounds Bulat cut her teeth with.

Third track, “Let Me In,” steers Good Advice into more empowered territory, even despite the song’s theme of detachment. "Are you ever going to let me in without asking?" extends the sense of understanding that Bulat makes apparent in the first half of the album – coming to grips with that which is out of Bulat’s hands. “In The Name Of” is a search for purpose, an attempt to discern what influences one to continue moving forward instead of returning to what’s familiar and most comfortable.

James’ production is apparent throughout, but no more so than on the album’s strongest (and eponymous) track, “Good Advice.” James’ deft preference for glowing synth and strings sounds, building steadily on a singular bass tone while Bulat opines about her search for answers in terms of a relationship. The constant build is as constant and adroit, the eventual crescendo is almost instantaneous. The third verse is perhaps the most inventive moment in Bulat’s career musically, with her vocals not only leading the track, layering a response echo once unconsidered.

Following an almost incomprehensibly good track like “Good Advice,” it would be easy to place a less intrepid track in order to allow the listener to recover, but as this sentence conspicuously suggests, Bulat and James opted for the album’s single, “Infamous,” to follow. Placing a single in the seventh slot of a ten track record is certainly bold, but it fits the plucky, new demeanor of Bulat’s career trajectory. “Infamous” proclaims Bulat’s demands for a lover – current or past – to fully commit to coming back to her, though Bulat’s newfound confidence maintains she is not begging, stating "Don’t waste my time pretending love is somewhere else."

Through further examination, it becomes apparent that Good Advice is in fact a break-up album, though its arguably one of the most proudly valiant form of a tired concept. Lyrically, its quite apparent that there has been some degree of heartbreak, but the combination of Bulat’s inspired delivery of the lyrics and James’ impregnable production, it turns the form on its head. As an artist who has been criminally overlooked, Bulat has made a concerted effort to not only garner but also maintain the attention of many of new listener on one of the best albums released in 2016.  

Kanye's Original 'The Life of Pablo' Tracklist Analyzed in Three Acts by @NathanZed & @jonnysun

EditorialTransverso MediaComment

This is a guest post from @NathanZed and @jonnysun analyzing Kanye's original The Life of Pablo tracklist.


INTRO


"LOW LIGHTS" (Added Track) - Starts off with “I want to tell you a testimony about my life." This album, The Life of Pablo, is the testimony. See this as the introduction framing the entire album as Kanye’s testimony about his life. 


ACT 1


ACT 1 is Kanye on a crazy high off his fame, with excessive sex, drugs, money, and big egos. All the tracks from "Famous" to "Highlights" are upbeat and mostly bangers, indicating that he’s having the time of his life.

"FAMOUS" - He shows off his braggadocio side on "Famous." The very first verse shows how petty he is when it comes to fame with the infamous Taylor Swift line, "I feel like me and Taylor might still have sex / Why? I made that bitch famous."
 
"FATHER STRETCH MY HANDS Pt. 1 / Pt. 2" - The line “I just wanna feel liberated” is mixed between lines describing excessive sex and drugs. Like that… ”bleached asshole” line…

"WAVES" - Lyrics describing his excessive ego, “Step up in this bitch like / I’m the one your bitch like / Yeah I’m the one your bitch like / And I be talkin' shit like / I ain’t scared to lose a fistfight / And she grabbin’ on my dick like / She wanna see if it’ll fit right / That’s just the wave”

"HIGHLIGHTS" - This is the highest point that Kanye is at, ending the song with “I need every bad bitch up in Equinox / I need to know right now if you a freak or not.”
 
"FEEDBACK" (Added Track) - The first track with a beat that sounds more distorted and less straight forward. Lyrics describe an obsession with money, “Wake up nigga wake up / We bout to get this paper," “I’ve been outta my mind, a long time." This transitions into Act 2.


ACT 2


ACT 2 is him coming down from the high and waking up, having a moment of clarity, and realizing for the first time what his life has become. 

"FREESTYLE 4" (Added Track) - Starts off with nightmarish production. This is the craziest that Kanye's high gets, and he’s mumbling through the track talking about sex. The end of the track you hear him “waking up."
 
"30 HOURS" - Kanye waking up from this nightmare / his high and having a moment of clarity. First lines are,
“I wake up assessin’ the damages / Checkin’ media takeout / Pictures of me drunk walkin’ out with a bitch / But it’s blurry enough to get the fakeout"

"NO MORE PARTIES IN LA" - He’s realizing for the first time what his life has become. He begs “please baby no more parties in LA”.
 
"FADE" - The lyrics speak from themselves, “Your love is fadin’ / I feel it’s fadin’ / When no one ain’t around / I feel it’s fadin' / I think I think too much / Ain’t nobody watchin'" Towards the end, the gospel song “I Get Lifted” is sampled, presenting more gospel themes.


ACT 3


ACT 3 is Kanye then renouncing this life, & turning to God and religion for redemption.

"FML (For My Lady)" - A story of the difficulties Kanye faces as he tries to control himself and stay truthful to his wife, Kim.
 
"REAL FRIENDS" - A look at Kanye’s relationship struggles with his friends and family, which he blames himself for in certain lyrics.
 
"WOLVES" - He compares himself and Kim to Mary and Joseph, presenting more biblical themes. Ends with Frank's verse, “Life is precious / We found out, we found out"
 
"ULTRALIGHT BEAM" - Kanye finally turns to God and religion for redemption. Kanye revealed in his tweets that the “Pablo” in the title is not Picasso or Escobar (or at least not only them), but rather “PAUL” from the bible.

According to his tweets,

Before Paul became who he was, he was “Saul”, a sinner and someone who was persecuting God. “Meanwhile, Saul was still breathing out murderous threats against the Lord’s disciples.” (Acts 9:1)

In "Ultralight Beam," Kanye becomes redeemed for his sins across the album.  Take “The addict’s moment of clarity and redemption” and mirror that as a contemporary modern day version of "Saul the sinner turning into Paul." The song then ends with a prayer from Kirk Franklin, perhaps for anyone who can relate to the struggle shown in this album.
 


You can read our full The Life of Pablo album review here and "Closing Remarks of a Reformed Kanye Apologist" here.

'The Life of Pablo' Reaches Into the Backpack Days of the Life of Kanye

Music ReviewEzra CarpenterComment

The genius of The Life of Pablo is indiscernible from the album’s opening tracks, which boast intellectual assertions of the following quality: “Now if I fuck this model / And she just bleached her asshole / And I get bleach on my T-shirt / Imma feel like an asshole.”

No, Kanye West’s seventh album does not impress early on with auto-tuned vocals, mumble-rap contributions from unknown Future impersonators, or with the trap percussions upon which both parts of “Father Stretch My Hands” build. On the contrary, they show West indulging in the contemporary hip-hop trends that are dissolving into cliché, demonstrating fad as opposed to the zeitgeist which West’s more ambitious works so precisely captured. The beginning of The Life of Pablo appears to confirm fans’ worst fears about an album whose title was only finalized hours before the songs premiered. It suggests a lack of censorship, slipshod compilation, the work of an artist whose ego has been fed to the point of complacency – a food coma in which the artist is too bloated to move towards innovation.

What innovation there is on The Life of Pablo is subtle: impressive use synth-feedback on “Feedback,” various samples’ distorting spatial effects. It is the first album in which West does not overtly challenge norms of culture (The College Dropout), genre (My Beautiful Dark Twisted Fantasy), or politics (Yeezus). But granting fairness to Kanye West in consideration of his past several releases beg the questions “How much more room for innovation (in music at least) is there for an artist who has already produced four albums in the seven years of the current decade?” “What reason is there to innovate when the most loyal sect of his fan base has fervently demanded the Kanye of old?” By the time the instrumental on “Famous” kicks in after Rihanna’s vocals, Kanye’s response to the predicament, along with his genius, becomes perfectly clear.

What validates Kanye West’s latest release is the effortlessness of its creation. The Life of Pablo is an album in which Kanye relies on his proven studio techniques and battle-tested ear for what captivates to produce an album that is easy to enjoy. The album is nostalgically reminiscent of Kanye’s rise in hip-hop, evidenced first by the resemblance between the instrumentals of “Famous” and “Get Em High” from The College Dropout. Everything from and between the percussion pattern, the vocal melody and cadence, and the arrogant bravado of the song’s opening line: “I feel like me and Taylor might still have sex / Why? I made that bitch famous,” harken back to Kanye’s idiosyncratic presence in the bling-era of hip-hop.

This reminiscence is not short-lived. “Highlights”’ instrumental arrangement is similar to “I Wonder” (Graduation), “Real Friends” is carried by the cadence of “Big Brother” (Graduation), the various interludes on TLoP reemploy Kanye’s early contextual framing techniques, and even the soliloquy on “30 Hours” reminds us of a young Kanye with a burgeoning desire to engage his listeners in dialogue, no matter how one-sided that dialogue would be or would become. While remaining faithful to his own tradition, Kanye also draws from the fundamentals of his art form. “No More Parties in LA,” which features a guest verse from Kendrick Lamar, is a quintessential boom-bap track and the drums on “30 Hours” are undeniably influenced by the most revered and most sampled drum track in hip-hop: James Brown’s “The Funky Drummer.”

Though The Life of Pablo embodies the classic standard of Kanye West production, it does not achieve greatness by tracing its artist’s laurels. The album does indeed suffer from a lack of editing. Kanye’s choices on what songs to include on the album sometimes enhance its rap appeal (“No More Parties in LA,” “30 Hours”), but other times degrade the album’s intellectual premise (“Freestyle 4,” “Facts”). What we gain from this excessive over-inclusion are glimpses of the genre-defying, experimental Kanye West of Yeezus alongside the hit-maker of his first three albums.

While the forty-four second lament/gloat of “I Love Kanye” may not seem like the most stimulating track to be featured on The Life of Pablo, it offers the album’s most profound truths. Yes, we did miss the old Kanye. Yes, we hate the new, always rude Kanye. Yes, every rapper to come after Kanye in some way derives his or her art from Kanye’s advancements. It is ironic, unexpected, and fortunate that we are given an album in which the old Kanye remerges. However, in typical Kanye fashion, he ignores pleas for decency and self-control. As far as personality is concerned, he is still very much the new Kanye. But can we blame him? We never hold him accountable anyway. Our praise has enabled the flamboyance we’ve grown to despise. We have fed his ego enough to assure him that he can do absolutely anything. Fortunately, a return to his old style lies within the parameters of what we have empowered Kanye to do.  He is, and has been for a long time, that much empowered.

Similarly, The Life of Pablo is music to feel empowered by, for the sake of self-esteem, self-exploration, or mere enjoyment. Its palate satisfies in nearly every way a Kanye West album should, in modes of both old and new. Reflect fondly on the pink polo you bought once upon a 2004, which is by now stashed somewhere deep in an old dresser or donated to a local thrift store. This album will offer you bittersweet memories. 


You can read "Kanye's Original The Life of Pablo Tracklist Analyzed in Three Acts by @NathanZed & @jonnysun" here and "Closing Remarks of a Reformed Kanye Apologist" here.

Has Father John Misty Lost His Humor With Lana Del Rey's "Freak"?

New MusicSean McHughComment

Grab the hotsauce from your nightstand and pour it down your throat, because Lana Del Rey has a banging new 10 minute music video / tour-de-farce. Hipster lore and teenage phantasm reach critical mass on Lana Del Rey’s “Freak,” off her 2015 release, Honeymoon.

Sarcasm aside, the video features the misanthropic matrimony between two of music’s most aloof artists - Lana Del Rey and Father John Misty. A video sure to be misinterpreted by throngs of YouTube-ing teenyboppers, “Freak,” offers a glimpse into the pseudo-story of a cult chieftain (Lana Del Rey) and her ardent disciple (Josh Tillman AKA Father John Misty ) as they blur the lines between liturgy and carnal desire.

An unwarranted combination, the pairing represents a potentially troublesome career choice for the Father, whose career prior to his “star” turn in “Freak” was predicated mostly on skewering the life of the pseudo-ultra-apathy of “indie” pop queens such as Del Rey. Its perplexing as to why Misty would agree to involve himself in something that seems so ludicrously serious – not in the sense of importance, but rather self-perception – though, perhaps the ambiguity of Misty’s tenure throughout the video is his ultimate act of satire.

There are scenes of sacramental exchanges of acid tabs, a presumably unholy red concoction, and sultry corporeal cavorting, as doyen and disciple traipse through a hallucinatory spectacle that is Topanga, California. Supposedly inspired by Tillman’s past experience with acid (purportedly, at a Taylor Swift concert in Australia), the music video portion ends with Tillman and Del Rey dancing in thick smoke, holding hands and walking into the void.

Following the music video portion, the remaining 5-ish minutes are filled with the aforementioned harem of women swimming in a pool while “Clair de Lune” plays, eventually joined by Del Rey and Misty. Is there a more divine purpose to the video? Who knows? Is wild speculation and purveying ones own inaccurate notions abound likely? Yes. Either way, the video is a spectacle in and of itself, much to its own bemusement, and 10-minute time allotment. Here's hoping Father John Misty has reached peak prankster and not descended to half-assing apathist like his newfound contemporary. 

With 'Hail, Caesar!' the Coens Don't Want You to Get the Point of Hollywood, and That's the Point

TV/Film ReviewDanny BittmanComment

When I saw Star Wars: The Force Awakens in December I also saw the trailer for Hail, Caesar! and remember thinking that this could be one of the Coen Brothers’ best films. That first trailer portrays so many different movie genres, and something about the title screamed classic to me. I pictured future electronic textbooks saying, “The Coen Brothers dominated story telling with their chameleon-like tastes, but once they released Hail, Caesar!, the world simultaneously bowed down in awe of their skills.”

Well, I can’t say I’m not still bowing down to the duo, but at the same time I have no idea what I just watched. The entire film seemed to have been made just to make fun of itself and the film industry. It was like watching a well-produced Adult Swim movie.  But it’s elusive point can be summed up in one of the beginning scenes, where producer Eddie Mannix (Josh Brolin) asks men of multiple faiths whether the movie he’s creating, Hail, Caesar!, will offend anyone religiously. Instantly, one of the men states that a scene in the film where one person jumps from one chariot to the other is not realistic, which leads to the men arguing over who or what God is, and whether Jesus was the son of God. No resolution to Eddie’s question is given, and that’s the point.

Stars such as Scarlett Johansson and Channing Tatum give us truly impressive introductions to their fictional movie star characters as they dance and swim on fake sound stages. But after that they disappear from the plot entirely, only to be given extremely outlandish conclusions at the end of the film that we the audience just have to accept actually happened. There’s not a solid plot to the entire story, and it’s all in the name of the Christian film that Eddie Mannix is producing with the clueless actor Baird Whitlock, played with ease as always by George Clooney. It’s Just so comical to watch though, because every character seems to have no idea how anything truly works, and yet the point of Eddie’s film is to try and explain who runs the universe to the masses.

But I doubt that this movie will offend people religiously, because the Coen Brothers are literally telling us that films shouldn’t try explaining religion, by simply giving us the story of the incompetent filmmakers who try. 

The reason I really enjoyed this film was because I left the theater with a better understanding about society that has illuminated aspects of spirituality for me more than any religious film I’ve seen before. This is also why I love the Coen brothers. Their “point” is elusive, but it still exists. Overall it’s a fun ride of a film, but if you have absolutely no idea what happens behind and around the camera in order to make a movie, some of the key jokes will go right over your head. It wasn’t the classic that I thought it would be, but as long as you don’t take anything in this film seriously, (seriously anything), you will enjoy Hail, Caesar!.

Hail, Caesar! In Theaters February 5. http://www.hailcaesarmovie.com Four-time Oscar®-winning filmmakers Joel and Ethan Coen (No Country for Old Men, True Grit, Fargo) write and direct Hail, Caesar!, an all-star comedy set during the latter years of Hollywood's Golden Age. Starring Josh Brolin, George Clooney, Alden Ehrenreich, Ralph Fiennes, Jonah Hill, Scarlett Johansson, Frances McDormand, Tilda Swinton and Channing Tatum, Hail, Caesar!