Pixies– U-Mass (1991)- One of my favorites from one of my favorite bands.
Gheorghe Zamfir– The Lonely Shepherd (don’t know actual year of release, but it appears on the Kill Bill Volume 1 sountrack, released in 2003)- Epic as fuck!
Mark Sultan– Cursed World (2007)- A decent tune from one of my top singers.
Dinosaur Jr– Pieces (2009)- Solid opener from last year’s Farm.
Arctic Monkeys– Cornerstone (2009)- I love this song! My favorite from also last year’s Humbug.
Tool– Parabola (2001)- Tool (and I feel like this song specifically) always seems to come up on these shuffles :)
Big Black– Bazooka Joe (1986)- Another fucked up, but sonically sound number from one of the best bands to come out of the 80s by far.
Lou Reed– Perfect Day (1972)- Lou’s finest solo work.
Black Lips!– Transcendental Light (2007)- Ian on Vocals! which we will be seeing again soon :)
Weezer– Island in the Sun (2001)- A fairly decent song from post-classic Weezer.
Dayemmm, look at all those hunnies! I just purchased the American Graffitti soundtrack (a review will be arriving shortly) and I’m addicted to this song!
So, I’m back with another list of my “Tops of Twenty Ten.” This time it is films. It should be known up front, I have only seen a few films released this year and by no means am an authority on what “The best” films of 2010 are. This is simply a list of my favorites from this year and I do think they are each unique in their own little way. Here we go!
5) Machete:
Director(s) : Ethan Maniquis and Robert Rodriguez Comments: This is vintage Rodriguez here. Nothing more than campy, B-Movie, exploitation fun! Boobs, bullets, and buckets of blood make this the greatest action flick all year. Grade: 7/10
4) Trash Humpers:
Director: Harmony Korine Comments: Okay, I’m cheating a bit here, because this is a film from last year, but it is still garnering attention and being screened this year and I just saw it a month ago, and above all this is my list! so, it will stay. In any case, old Harmful is back with another unique, shocking, and arguably groundbreaking film. At its best it conveys a haunting beauty and at its worst it looks just like a snuff film. Either way, I find it impossible to not have some sort of emotional reaction. In the end, the trash humpers are us, they just have the courage and freedom to fuck in public. Grade: 8/10
3) Toy Story 3:
Director: Lee Unkrich Comments: Wow what a list! To go from Trash Humpers to Toy Story 3! Anyway, I rarely develop an emotional connection with kids or animated films, but I can honestly say the Toy Story series is an exception. I had a feeling this would be at least decent, but I was surprised at how exceptional it really was for a third installemnt. Without a doubt, the Toy Story saga is one of the best trilogies in all of cinema. I seriously hope they don’t make a sequel, with this film the story feels complete. Grade: 8/10
2) Shutter Island:
Director: Martin Scorcesse Comments: Scorcesse brings us another suspenseful, character driven film. The performances here are near flawless, as I said in my review earlier this year, oscar nominations and wins for that matter are well deserved for at least two or three actors. Shutter isn’t one of Scorcesse’s best, but a second rate Scorcesse film is a first rate Hollywood creation and an excellent time at the movies. WAYYY BETTER THAN INCEPTION! There I said it. Grade: 8/10
Note: 2 and 3 are basically interchangable.
1) The Social Network:
Director: David Fincher Comments: Wow, I’m still feeling the residual effects of this film’s awesomeness. I acutally went to the theater twice to see this, which I almost never do. Of all the great features of this film, chiefly the screenplay reigns supreme. This is a dialogue drenched work of art, in fact most of the movie is simply people talking and yet it’s one of the most entertaining films I have ever seen. Definitely one of David Fincher’s finest and one cannot forget Trent Reznor’s terrific soundtrack. With no hyperbole, I concur to the claim that this is a generation defining film. How can it not be? Grade: 9/10
Just For Fun, here is a list of the top five films I saw for the first time this year though they are not “new” releases.
1) Gummo (Harmony Korine)- 1997
2) Welcome to the Dollhouse (Todd Solondz)- 1996
3) Over the Edge (Jonathan Kaplan)- 1979
4) Platoon (Oliver Stone)- 1986
5) From Dusk Till Dawn (Robert Rodriguez)- 1996
Artist: Wavves Full Title: Wavvves Year: 2009 Label: Fat Possum Tracks:
1) Rainbow Everywhere- 8
2) Beach Demon- 8/9
3) To the Dregs– 10 :)
4) Sun Opens My Eyes- 8
5) Gun In the Sun- 8
6) So Bored– 10
7) Goth Girls- 7/8
8) No Hope Kids– 10
9) Weed Demon- 9
10) California Goths- 9
11) Summer Goth- 9
12) Beach Goth- 6/7
13) Killer Punx, Scary Demons- 7
14) Surf Goth- 9
Comments: This record savagely raped my speakers. It just went in, did its thing, and then came back for some more. Seriously though, this album will fucking knock your teeth out and destroy your ear drums, especially if you blast it from a stero. If you listen to it on low volumes or from your ipod/computer, your ears should stay intact however. I first heard of Wavves about a year and half ago. Before hearing the music, my first impression was “this is just another whiny emo/teeny bopping angst group.” Boy, was I wrong! Looking at the titles: so many friggin suns, beaches, goths, demons, etc. I thought it was a joke. “No Hope Kids” sounded like a phrase a twelve year old would utter because his mom couldn’t take him to Newbury Comics that day. Haha, but as I said previously, I was totally wrong. Naturally, I didn’t just eschew them, I gave them a chance and I was blown away by how amazing the recordings were with such limited tools. They were sooooo damn catchy! I could tell Nathan had a true talent for songwriting. With all this being said, I didn’t “love” Wavves and I failed to listen to the first two LPs in their entireties, but I still tossed on some of my favve wavve tunes fairly frequently. Fast forward to June 2010. I hear King of the Beach and if you read this site you know how much we love that record (best of the year!), in any case, Wavves became one of my favorite bands (top ten). The songwriting was better, the production (though cleaner a shock for some perhaps) was greater/more adventerous, and overall the music was more mature. Since, becoming such a massive fan of the group, I decided to revisit their older material. Enter Wavvves. The album kicks off with the noisy, psychedelic “Rainbow Everywhere,” this smoothly transitions into the extremely loud “Beach Demon,” just a pure wall of noise and sets us up for what is to be expected on the rest of the record, both sonically and lyrically (Nathan yelps “going nowhere, going nowhere, going nowhere” this is teenage angst I can actually dig). Hell, if you can’t tolerate the sound of this song, then you might as well stop trying here, you little puss. The third track, “To the Dregs,” is easily my favorite Wavves number. This one truly showcases Nathan’s abilities as a songwriter. TTD is just a classic pop song, a burst of fun, unbelievably euphoric music, it’s almost anthemic. And to the critics out there, Nathan hollers “you see me, I don’t care!” The next few tracks (“Sun Opens My Eyes” and “Gun in the Sun”) continue the experimentation, but aren’t quite of the same quality as the first few songs. They are not bad though and the lo-fi recording still works quite well. Songs like “So Bored” and “No Hope Kids” are Wavves essentials and follow in the vain of “To the Dregs”: all three songs are undeniably powerful, as if we are being coerced to hear the emotion in them. Definitely my three favorite Wavves songs in general. On “So Bored,” Nathan hits an emotional tone, simply beyond the confides of a typical song, it’s unlike anything I can think of, with perhaps comparisons to similar “emotional” artists as Daniel Johnston, Roy Orbison, and Johnny Cash (particularly on “Hurt.”). SB exemplifies those great reverb drenched Wavves vocals. The rest of the LP features some kick ass rockers in “Summer Goth” and “California Goths, ” and “Weed Demon” is a fantastic, spacey-psychedlic number that just crawls under your skin and stays with you for a few days. Two tracks I’m not as fond of appear toward the end: “Beach Goth” and “Killer Punx, Scary Demons.” I like them, but not nearly as much as the others. I feel like they don’t bring anything new to the table to suck me in and captivate me. But, maybe with further eartime, I will favor them more. The final track “Surf Goth,” for me anyway, is very “unWavves.” I don’t know why, but it has this really dark underbelly to it, as if it could be featured in some Harmful Korine flick. I feel like I have to take a shower when I listen to it; this is precisely what fascinates me about it. A great closer for a great sophomore effort from Wavves. After hearing King, it has made me realize how invigorating Nathan’s songwriting has always been. For noise pop and lo-fi fans out there, you probably have already heard this, but if not, you have some serious homework to attend to. Not as harsh as the debut, Wavves and not as poppy/accessible as 2010’s King of the Beach, but without a doubt Wavvves stands proudly on top of my shelf of albums.
Seth “Hunx” Bogart discusses the upcoming Hunx and His Punx album to be released on Hardly Art in April 2011, his fucked up disco, side project H.U.N.X., and wild fan experiences.
As the year is winding down, we figured for this final Band of the Week (for 2010) we would go with not just a cool band we think people should hear, but rather one of our favorite bands of the year and whom we feel are one of the best bands in music right now as a whole: Deerhunter. Personally, I love much of Deerhunter’s previous work, but their recent release Halcyon Digest seriously moved me and affirmed their status as one of my all time favorite bands (top ten) and as Honorary KLYAMers. Great work guys! Can’t wait to see you next year.
The following is an essay I wrote in reaction to the documentary Farmingville for my Politics class this past semester. I like it, so I thought I’d share it with y’all.
In the town of Farmingville, many values were competed between the townspeople and the undocumented workers, of these values the most significant was America itself. Not in the physical sense; sure you could argue the residents were fighting for the land they were indoctrinated to believe was being invaded, but more importantly they were fighting for their abstract perception of America. Oddly enough, the undocumented workers were fighting for this same value, or at least a similar one- a place to find work and a make a living to support their family, in other words have a life. For much of the (white) people in Farmingville, these new workers were far too threatening by their presence alone, they were foreign to their white world and seemingly caused a disruption to their perfect American Dream. In reality, that American Dream was already fading and the Mexican workers were merely targets of fear, ignorance, and even hatred. Most of Farmingville’s denizens are not bad people, but they do foster some, even if minor, racist tendencies that alas seem to be augmented when they feel threatened by their new “neighbors.” They feel abandoned by the system: losing jobs, unable to afford that American Dream, and rightfully pissed off. When finally they win the vote to not have the hiring center there is a feeling of triumph that they never have never experienced; they sing “God Bless America,” an apropos number for this context. Clearly, their choice of… music… was purposeful. They love their country and their rendition of the patriotic song displays this. When most of us win some sort of competition we sing Queen’s “We Are the Champions,” though this would be oddly amusing if the women sang this, it would not have the same effect. Point being, the song had to be American to reflect the underlying motif of Americanism in the film. The workers, by and large, see Farmingville as an opportunity for jobs, a land of opportunity, if you will. Sound familiar? It’s about as American as it gets; essentially both groups of people share the same values, yet the tension (racial, social, political) between them has caused this competition.
It is incredibly difficult for both sides to come to any agreement, let alone, get along because they are foreign to each other. Both parties are foreign to one another, for the most part, and this causes tension. In general, there is always some sort of tension between whites and Mexicans within a large community (not necessarily between individuals) and now there is this racial problem consuming (figuratively and literally) the small community of Farmingville. All of their prejudices are going to explode making it extremely troublesome to meet halfway or even try to meet each other at all. It should be noted that overwhelmingly much of this lack of interest in coming to an agreement comes from the residents of Farmingville and not the Mexican laborers. They see it as their community, why should they give it up, why should they compromise. They already feel threatened and powerless, making any compromise can only weaken them, it seems. Naturally, that is not really the case, but you can’t blame them for feeling that way. It appears that the undocumented workers understand this and are perhaps far more willing to cross the aisle, but the opportunity never seems to arise. They do, however, make admirable attempts to become a part of the community through organization: the Soccer game(s), cleaning up the fields, and so forth. Also, it is understandable for these workers to be disinterested in getting along or coming to an agreement with a bunch of people that do not want them there and possibly hate them for the same reasons their (the white folks) ancestors came here in the first place. Farmingville hasn’t exactly given them a gigantic welcome sign, to say the least.
Discussing who is right and who is wrong within this case is far too simple. Like just about everything else in life, depending on who you are the response will change. Firstly, we have to ask ourselves what is right and what is wrong? and then whether or not one group or another fits under either category. This is an exceptionally subjective issue to label official rights and wrongs on either side. But, for me, the people of Farmingville are “understandably wrong.” I sympathize with them, but their rational is the weaker of the two. They are not being “invaded,” as the reactionary right wing media has fed them, their loss of jobs for the most part cannot being attributed to the new workers, and overall they demonize these Mexican people, reducing them to “aliens.” Many of them complain that when their daughter rides her bike to 711 she has to ride by the MEXICAN WORKERS as if they are some group of Gargoyles preying on their next victim. I am sure these parents have the best of intentions (the safety and well being of their children) but it does not justify such prejudice comments. One could argue that the workers are wrong for coming over here illegally. Well, there was never a statistic to show how many were legal or illegal, but for all intents and purpose let’s say most of them were illegal. I suppose this is wrong because they violated the law, but I do not place the law above all morals. It would be better if the workers migrated legally, but the process may be too strict and harsh that they have to come over illegally to make it over at all. If I was in their shoes I would probably do the same thing to make a living for my family. Either way, let’s say all of them were legal immigrants and we can prove it. I bet you there would be just as much of a fiasco or at least just as much anger. To put it bluntly the people of Farmingville do not want this massive influx of immigrants in their tiny community. The illicit nature of their migration merely serves as a point of justification for the citizens’ frustration. In the end, we can only hope that overtime when people see that the world isn’t over, their town is still intact, and Betty Sue is free to ride unscathed, that maybe both groups can come to some sort of consensus about this ongoing issue in America.
Yes, we have reached 50,000 views! Thanks for all your support, whoever you are. Thanks to my fellow KLYAMers, and most importantly thanks to the artists and entertainers out there that make this such a fabulous pastime. We’ll keep rockin’ if you keep rockin’. Stay tuned for more fun!
Full Title: Trash Humpers Director: Harmony Korine Year: 2009 Comments: Humping. Shagging. Forincating. Fucking. Whatever you wish to call it; it is a perpetual aspect of our American lifestyle. Trash: our ubiquitous used condom, the leftover, the thrown away, the skeleton of us. What happens when these two social phenomenas meet? The latest work of director, Harmful Korine. Being a massive fan of Korine’s first motion picture, Gummo (1997) I greatly anticipated seeing this film, in fact this was arguably the highest anticpated film for me in ages and certainly of this year. Having missed out on the various screenings of Trash from the past two years I put forth a valiant effort to order it from Amazon (it has been banned from Netflix!) and after a lengthy process it finally arrived. Quietly, I locked myself in my room and zoned out for a good hour and half (or whatever the running time is). As viewers we are presented with an “artifact,” as Korine has called it, this found footage, old school, raw, analog, VHS looking piece of work. And yes, right from the beginning, we watch thee miscreants hump trash like there’s no tomorrow. With no real dialogue or explanation we see non-linear scene after scene of the trio’s pastime, which include, but are certainly not limited to partying, setting off firecrackers, coercing their “slaves” to eat certain things and entertain for them, and of course murder. Of course. As can be expected with old Harmful’s cinematic experimentations, convential movie standards are obliterated and when we get any sense of insight about who these people are what their story is, this insight is severed. The film is completely chaotic, but amidst this bedlam, real emotion is communicated. As wildy and wacky as Trash can be, Korine manages to connect with his audience and even feel for the savage stars on screen with a unique finesse, unmatched in the undeground or aboveground film circuit. I honestly don’t know what it is sometimes. I mean, don’t get me wrong, Korine is clearly talented, but I feel like in someone else’s hands, I would view this as, well nothing more than trash. But, instead he takes the lowest of the low and transforms this filth fest into a genuine artistic expression, albeit a harsh, relentless, visual and audio assault on the viewer. This is extreme, fringe cinema; out of all the found footage films I have seen, this one has struck me the hardest. It looks very real (though it is totally ficticious) and never lets up. Not once does it feel like a film… ehhh, one or two exceptions, but I don’t want to delve into those scenes in this review. I will say, I am hesitant to call it a masterpiece, just yet, but it is an original, challenging, piece of art that is easily one of the most thought provoking films I have ever seen. With comparison to other Korine films, let me say I don not enjoy this nearly as much as Gummo. I found that to be far more entertaining and I loved the way it swtiched things up constantly, with never a dull moment, even mixing the conventional with the unconventional. Now, I do prefer Trash over Mister Lonely (2007), Korine’s last film, which moved closer in the direction of a more mainstream/conventional film. Trash is akin to Harmful returning to his old form, so I’m glad about that. With that being said, at times I feel a bit bored, or like the film has run its course. This only happens a few times, but that’s enough to note. The film simply lacks the constant barrage of lurid images that Gummo contains. Don’t misconstrue me, it has a plethora of nasty, shocking, and definitely impressionable images, but not consistent enough for my taste. I feel like the film’s length could use a little truncating. But, it really doesn’t matter what I think, Korine made his film, the Great American Movie. If you are intrigued by the art of trash humping, I recommend it.
Grade: To slap a letter grade on this is kind of pointless, considering the criteria I usually require for films, by and large, cannot be applied here. So, I will judge it on an emotional level (and it certainly is filled with emotion- the last fifteen minutes is one of the most unsettling scenes/endings my eyes have ever witnessed). In the words of Anthony Fantano, I am going to give this a strong 7 to light 8, probably leaning more towards 8.
“I TOLD YOU I’D KILL IT!” For one of the KLYAMers, this is one of the best scenes in all of film. I agree it is great and it is definitely one of the funniest/most disturbing scenes in the the feature and perhaps of all time for that matter.