Owen Pallett is accumulating a pretty impressive resume. Best known for providing the strings for Montreal Indie behometh The Arcade Fire, he has quietly amassed a large cult following with his critically acclaimed side project, Final Fantasy. Capturing the inagural Polaris Prize in 2006 for his theme album (aptly based off the schools of magic for the RPG Dungeons and Dragons) He Poos Clouds. He has worked with Grizzly Bear, Beirut, Jim Guthrie, and The Hidden Cameras. Recently, on CBC programme ‘Q’, Pallett announced his intention to finish his newest album, Heartland, in 2008. And more recently, an EP was released to (popular music blog) Stereogum including several tracks intended to be on the upcoming album.
That EP, entitled Spectrum, 14th Century, will change your life.
Admittedly not a huge Pallett fan - I liked his sophmoric release, Has a Good Home, but could not get into He Poos Clouds in the same capacity - I listened to the EP with the same skepticism that I’ve come to associate with him. He’s good, definitely a pioneer in his field, but his music lacked a certain je ne sais quoi that made it accessible to me in a long term fashion. I liken the feeling to chewing bubble gum - it occupies the mouth, tastes pretty sweet, but when it loses its taste, it’s meant to be thrown out. No longevity in gum, and for me, no longevity in that kind of music. Gimmicky, but without the gimmicks.
In Pallett’s recent tracks, he surpasses this with a peculiar (but welcome!) ease. Combining the depths of the tracks with his stellar songwriting and exciting hooks, he comes up with near-perfection and blows his Montreal counterparts far, far away. Premature, perhaps, but if the album is this good, then he’ll easily land my top ten favorite albums of 2008.
Pallett takes and edgy approach when mapping out the fictious Spectrum. Combining bird noises (akin yet completely different to Logan Aube’s hockey anthem, ‘Hockey Scores’). If unfamiliar with the works prior of Final Fantasy, do not expect predictable violin pieces - his songs are beautifully arranged, but on occasion, screachy, angry, and sonically demanding.
Standout track, The Butcher, has scored 42 plays on my (uber snobby) iTunes in the past three days. I abhour using the word ‘epic’, but in the case of Final Fantasy, I feel any other word would be an injustice.
Tuesday, October 28, 2008
The Healing Power of Smothered in Hugs
By Isaac BERZINS (The Semantic, Volume 1, Issue 1)
Thumping drums, dirty guitar tone, enthusiastic bass, floating keyboard sections, and powerful lead vocals encompass what Smothered in Hugs' new album, The Healing Power of Injury, is all about. Containing thirteen tracks of indie-rock goodness, it features all the live songs we know and love, from Visa Problems, to Young Flare. Smothered in Hugs are making some big steps with their first full-length release.
The CD grabs your attention from the get-go with the strong starting track Blank Test. The sound of a tape reel playing in the background sets up the song as Aaron Crane's familiar drum beats come into play, along with guitar and vocals. The song sets us up for what appears to be quite a ride. Upon listening to the CD with a nicer pair of headphones, I found I appreciated the mixing significantly more than you would if just casually listening to the disc in the car, or at a party. This is a CD that you need to sit down and take in, because there is a lot to take in. Another factor I noticed was Smothered in Hugs' ability to retain the feeling of live energy and emotion on the recordings, which isn't a thing that is easily pulled off. As with any good disc, you can listen to the songs multiple times and find new things, whether it is the distorted bass, or the rhythm guitar hitting notes in staccato, which was the case when I listened to Blank Test while writing this review.As the CD continues, it has the strong crowd favorite songs, but what captured my attention the most was some of the slower songs, such as Chest Protection, and Die Trying. The composition and emotional feel of the song is powerful, and it sucks you in to their world. Die Trying is a good example of this. The way the acoustic and electric guitar entangle within each other is quite astounding, and with Ryan's haunting vocals floating above the mix. The song consistently builds, encompassing you with sounds, all working together in haunting harmony. This track stood out to me especially, and faintly reminded me of Sam Roberts' slower tracks on the album, Chemical City. Speaking of comparisons, in Visa Problems, Ryan Crane's scream is reminiscent of Joe Strummer, best known for his work as the lead singer in The Clash, it is unknown to me if this is intentional or not, but if it is, it's a brilliant and accurate homage.
The album is an excellent disc, with high production qualities, and every song having the right to be listened to. Smothered has proved time and time again live they are something worth seeing, and with this CD, they prove
they are worth buying and listening to time and time again. From start to end, this is must have for all fans of indie music, and local music for that matter. Smothered in Hugs is a band to keep your eye on, because you don't know what they are going to do next. This CD is a definite buy.
Thumping drums, dirty guitar tone, enthusiastic bass, floating keyboard sections, and powerful lead vocals encompass what Smothered in Hugs' new album, The Healing Power of Injury, is all about. Containing thirteen tracks of indie-rock goodness, it features all the live songs we know and love, from Visa Problems, to Young Flare. Smothered in Hugs are making some big steps with their first full-length release.
The CD grabs your attention from the get-go with the strong starting track Blank Test. The sound of a tape reel playing in the background sets up the song as Aaron Crane's familiar drum beats come into play, along with guitar and vocals. The song sets us up for what appears to be quite a ride. Upon listening to the CD with a nicer pair of headphones, I found I appreciated the mixing significantly more than you would if just casually listening to the disc in the car, or at a party. This is a CD that you need to sit down and take in, because there is a lot to take in. Another factor I noticed was Smothered in Hugs' ability to retain the feeling of live energy and emotion on the recordings, which isn't a thing that is easily pulled off. As with any good disc, you can listen to the songs multiple times and find new things, whether it is the distorted bass, or the rhythm guitar hitting notes in staccato, which was the case when I listened to Blank Test while writing this review.As the CD continues, it has the strong crowd favorite songs, but what captured my attention the most was some of the slower songs, such as Chest Protection, and Die Trying. The composition and emotional feel of the song is powerful, and it sucks you in to their world. Die Trying is a good example of this. The way the acoustic and electric guitar entangle within each other is quite astounding, and with Ryan's haunting vocals floating above the mix. The song consistently builds, encompassing you with sounds, all working together in haunting harmony. This track stood out to me especially, and faintly reminded me of Sam Roberts' slower tracks on the album, Chemical City. Speaking of comparisons, in Visa Problems, Ryan Crane's scream is reminiscent of Joe Strummer, best known for his work as the lead singer in The Clash, it is unknown to me if this is intentional or not, but if it is, it's a brilliant and accurate homage.
The album is an excellent disc, with high production qualities, and every song having the right to be listened to. Smothered has proved time and time again live they are something worth seeing, and with this CD, they prove
they are worth buying and listening to time and time again. From start to end, this is must have for all fans of indie music, and local music for that matter. Smothered in Hugs is a band to keep your eye on, because you don't know what they are going to do next. This CD is a definite buy.
Much More Than Alouette: La Musique Francophone
By Daniel NOYE
Often overlooked and even ridiculed by many, it seems as though all in search of a new sound have missed what is hiding behind the language barrier in Atlantic Canada: Francophone music. Versatile, this genre comes in all shapes and styles from punk (Notably, eXterio), to rock (Grand Dérangement), Rap (Zubda), and the list goes on. Under the assumption that this is your first encounter with Francophone music, I'd like to take a close look at Luc Tardif's 2003 ECMA Nominated release Kilogrammes, Reason, Sexe, Taekwondo & Amour.
A native of Sept-Îles, Quebec, Tardif cites his numerous voyages (to England, Morocco, Russia, Iceland, Senegal, Tunisia, the Czech Republic and all over North America) and the small town of Point de l'Église, Nova Scotia (where he has spent the better part of the last ten years teaching at l'Université Sainte-Anne) as major influences on his style of Indie-torched folk-pop. Throughout the album's twelve tracks, Luc expresses himself self-depreciatively yet in a serious tone through his emotionally-driven vocal melodies and captivating guitar work.
The album’s opening track, Leur Dieu, shows one of the many directions Luc’s music can venture; an upbeat marriage of funk and country paired with a soothing vocal line. He carries this sentiment through the album’s next two tracks, Aujourd’hui and Vieux Singe, before Tardif takes an opposite tone on Un, an acoustically driven ballad. From this point on you must brace yourself for the emotional pendulum. The album climaxes during Le Troisième Quinze, an irresistible down-to-earth piece seeing Luc and his guitar accompanied by strings.
Recorded locally in Comeauville, Nova Scotia (minutes from Point de l'Église), it was finished between 2002 and 2003. Appearing on the album are guests Briand Melanson, Armand Dionne, Jean-Pascal Comeau, Lana Tomlin, Steve Caron, Louis Del Vecchio, Maxime Bigras and Daniel Heïkalo. It was released on Plages Records.
With the maturity and musicianship demonstrated by Tardif, it’s difficult to believe that Kilogrammes, Reason, Sexe, Taekwondo & Amour is a debut album. Conversely and at the same time, it thrills his closely-knit fan base knowing that his sophomore release will be available in early 2009. Surely it will be as embellished with top notch guest musicians as was his debut. In synopsis, Luc Tardif is a fresh face in the Francophone music scene with a style that’s easy for anyone to enjoy, Anglo- and Francophone alike.
Head over to www.luctardif.ca or www.myspace.com/luctardif to hear some of Luc's work.
Often overlooked and even ridiculed by many, it seems as though all in search of a new sound have missed what is hiding behind the language barrier in Atlantic Canada: Francophone music. Versatile, this genre comes in all shapes and styles from punk (Notably, eXterio), to rock (Grand Dérangement), Rap (Zubda), and the list goes on. Under the assumption that this is your first encounter with Francophone music, I'd like to take a close look at Luc Tardif's 2003 ECMA Nominated release Kilogrammes, Reason, Sexe, Taekwondo & Amour.
A native of Sept-Îles, Quebec, Tardif cites his numerous voyages (to England, Morocco, Russia, Iceland, Senegal, Tunisia, the Czech Republic and all over North America) and the small town of Point de l'Église, Nova Scotia (where he has spent the better part of the last ten years teaching at l'Université Sainte-Anne) as major influences on his style of Indie-torched folk-pop. Throughout the album's twelve tracks, Luc expresses himself self-depreciatively yet in a serious tone through his emotionally-driven vocal melodies and captivating guitar work.
The album’s opening track, Leur Dieu, shows one of the many directions Luc’s music can venture; an upbeat marriage of funk and country paired with a soothing vocal line. He carries this sentiment through the album’s next two tracks, Aujourd’hui and Vieux Singe, before Tardif takes an opposite tone on Un, an acoustically driven ballad. From this point on you must brace yourself for the emotional pendulum. The album climaxes during Le Troisième Quinze, an irresistible down-to-earth piece seeing Luc and his guitar accompanied by strings.
Recorded locally in Comeauville, Nova Scotia (minutes from Point de l'Église), it was finished between 2002 and 2003. Appearing on the album are guests Briand Melanson, Armand Dionne, Jean-Pascal Comeau, Lana Tomlin, Steve Caron, Louis Del Vecchio, Maxime Bigras and Daniel Heïkalo. It was released on Plages Records.
With the maturity and musicianship demonstrated by Tardif, it’s difficult to believe that Kilogrammes, Reason, Sexe, Taekwondo & Amour is a debut album. Conversely and at the same time, it thrills his closely-knit fan base knowing that his sophomore release will be available in early 2009. Surely it will be as embellished with top notch guest musicians as was his debut. In synopsis, Luc Tardif is a fresh face in the Francophone music scene with a style that’s easy for anyone to enjoy, Anglo- and Francophone alike.
Head over to www.luctardif.ca or www.myspace.com/luctardif to hear some of Luc's work.
A Night Out With a Good Book
Fantasy Guru Guy Gavriel Kay Does Reading at UPEI
By Katelyn DYKERMAN (The Semantic Volume 1, Issue 2)
I’ve always been a bit skeptical about readings. I’ve pictured lattes, berets, Birkenstocks and menthol cigarettes. But through my experiences last year, which began with spunky Bernice Morgan reading from her latest novel Cloud of Bone, and then included; my roommate and I slipping across Queen Street in the midst of a snow storm in order to see Michael Winter read from The Architects Are Here; laughing when a poor highschool student was berated by Barbara Gowdy for nodding off during her reading from Helpless; and then the awe that resulted from seeing Lawrence Hill read twice, I have come to discover that readings are not only for the literature nerds, or the elitist art students, but for anyone that wants to have an evening out that will not only introduce them to a new writer they might enjoy, but to help them fall in love again (or for the first time) with books.
This year’s reading series began with Guy Gavriel Kay, a Canadian writer famed for his first trilogy The Fionavar Tapestry. His latest book, Ysabel, is set in Provence and explores the beauty and resulting coveting of that area by multiple groups through Kay’s exquisite use of language. Kay’s reading of Ysabel, and from his book of poetry Beyond This Dark House, was much different from the twenty or thirty minute readings I attended the previous year. Kay stood at the podium with brilliant charisma, reading poems from his book, flashing knowing glaces, and sly smiles at the audience with the skill of Sir Ian McKellen. The reading lasted for over an hour. I was never bored, lost or confused. I followed him through his phrases and images like a child would a parent along a forest path. But the best parts were when he spoke between and after each reading. He joked about the false pretense of inspiration (stating that “inspiration is the greatest excuse for not writing”), the unnecessary fear of writer’s block and the fate-like events that led to each of his books. Again, I was excited to be a reader. Readings do not just introduce you to that particular writer’s book, they get you excited about reading in general. So, be sure to attend the remainder of this year’s Winter’s Tales Reading Series hosted by the UPEI English department.
By Katelyn DYKERMAN (The Semantic Volume 1, Issue 2)
I’ve always been a bit skeptical about readings. I’ve pictured lattes, berets, Birkenstocks and menthol cigarettes. But through my experiences last year, which began with spunky Bernice Morgan reading from her latest novel Cloud of Bone, and then included; my roommate and I slipping across Queen Street in the midst of a snow storm in order to see Michael Winter read from The Architects Are Here; laughing when a poor highschool student was berated by Barbara Gowdy for nodding off during her reading from Helpless; and then the awe that resulted from seeing Lawrence Hill read twice, I have come to discover that readings are not only for the literature nerds, or the elitist art students, but for anyone that wants to have an evening out that will not only introduce them to a new writer they might enjoy, but to help them fall in love again (or for the first time) with books.
This year’s reading series began with Guy Gavriel Kay, a Canadian writer famed for his first trilogy The Fionavar Tapestry. His latest book, Ysabel, is set in Provence and explores the beauty and resulting coveting of that area by multiple groups through Kay’s exquisite use of language. Kay’s reading of Ysabel, and from his book of poetry Beyond This Dark House, was much different from the twenty or thirty minute readings I attended the previous year. Kay stood at the podium with brilliant charisma, reading poems from his book, flashing knowing glaces, and sly smiles at the audience with the skill of Sir Ian McKellen. The reading lasted for over an hour. I was never bored, lost or confused. I followed him through his phrases and images like a child would a parent along a forest path. But the best parts were when he spoke between and after each reading. He joked about the false pretense of inspiration (stating that “inspiration is the greatest excuse for not writing”), the unnecessary fear of writer’s block and the fate-like events that led to each of his books. Again, I was excited to be a reader. Readings do not just introduce you to that particular writer’s book, they get you excited about reading in general. So, be sure to attend the remainder of this year’s Winter’s Tales Reading Series hosted by the UPEI English department.
Mardeen/Boxer at the Wave
Collagen Rock/Independent
Vice President Activities Shawn Younis did it again, Wave as big as Tsunami (and significantly less devastating)
By Kate McKENNA (The Semantic, Volume 1, Issue 2)
Mardeen are pretty good. That’s the most intelligent thing there is to be said about this Cape Breton band. I’m not intentionally being scathing, there’s just nothing overtly exciting about this group. I first encountered them a couple years ago, living in Ottawa. Two Hours Traffic played a local dive, and Mardeen were opening. Then, I remember being repulsed - as I recall, they were a lot more jam-oriented then, and didn’t seem to have a fraction of the talent of the band they were opening for. I left halfway through the set to walk through the pouring rain and buy a soda. That said, I’m pleased to report that they’ve gotten better. If they continue to improve at the rate they have since early 2006, it would not be surprisingly if they opened for The Shins or some other equivalent in five years. Recently signed to fledgling Collagen Records, they are in the company of Two Hours Traffic, Smothered in Hugs, and The Danks.
Reminiscent of Built to Spill or Teenage Fanclub, they encapsulate the post-Sloan/Thrush Hermit sound for which Atlantic Canada is becoming known. This is my primary criticism with Mardeen; they sound contrived. But to focus on the positive, they are a hook-laden pop band, that is occasionally reminescent of early day Weezer harmonizing - ‘A Lot To Be Loved’ could have been a Pinkerton outtake.
Their live show is almost identical to their recorded work. They were fun, they were catchy - were I to grade them, I’d give them maybe a B. Not bad. Okay. Maybe a B+ because one of the band members had a killer mustache, and it looked like they collaborated on their outfits (all plaid - nice!).
Clearly, everyone in the Wave on the 19th would disagree with me. Saying so would be an understatement actually, all fifty-to-one hundred people there seemed to have the time of their respective lives.
Vice President Activities Shawn Younis did it again, Wave as big as Tsunami (and significantly less devastating)
By Kate McKENNA (The Semantic, Volume 1, Issue 2)
Mardeen are pretty good. That’s the most intelligent thing there is to be said about this Cape Breton band. I’m not intentionally being scathing, there’s just nothing overtly exciting about this group. I first encountered them a couple years ago, living in Ottawa. Two Hours Traffic played a local dive, and Mardeen were opening. Then, I remember being repulsed - as I recall, they were a lot more jam-oriented then, and didn’t seem to have a fraction of the talent of the band they were opening for. I left halfway through the set to walk through the pouring rain and buy a soda. That said, I’m pleased to report that they’ve gotten better. If they continue to improve at the rate they have since early 2006, it would not be surprisingly if they opened for The Shins or some other equivalent in five years. Recently signed to fledgling Collagen Records, they are in the company of Two Hours Traffic, Smothered in Hugs, and The Danks.
Reminiscent of Built to Spill or Teenage Fanclub, they encapsulate the post-Sloan/Thrush Hermit sound for which Atlantic Canada is becoming known. This is my primary criticism with Mardeen; they sound contrived. But to focus on the positive, they are a hook-laden pop band, that is occasionally reminescent of early day Weezer harmonizing - ‘A Lot To Be Loved’ could have been a Pinkerton outtake.
Their live show is almost identical to their recorded work. They were fun, they were catchy - were I to grade them, I’d give them maybe a B. Not bad. Okay. Maybe a B+ because one of the band members had a killer mustache, and it looked like they collaborated on their outfits (all plaid - nice!).
Clearly, everyone in the Wave on the 19th would disagree with me. Saying so would be an understatement actually, all fifty-to-one hundred people there seemed to have the time of their respective lives.
Nick and Norah's Infinite Playlist
by Kate McKENNA (The Semantic, Volume 1, Issue 4)
Audiences everywhere are charmed by indie kid sweethearts in comedy Nick and Norah’s Infinite Playlist. Catered to late teens - early 20-somethings with a refreshing lack of irony, director Peter Sollett keeps audiences enthralled with just the speculation of whether or not Nick and Norah will, in fact, hook up. Beware: there’s a spoiler near the bottom.
Michael Cera (Juno, Arrested Development) and Kat Dennings (Charlie Bartlett) play our protagonists that have little in common barring musical taste. Screenplay adapted from a book by the same name (penned by Rachel Cohn and David Levithan, both of whom have cameos in the film), both Cera and Dennings meet at a show looking for a secret (a la White Stripes) show featuring their mutual favourite band, Where’s Fluffy?. Hilarity ensues - Norah claims Nick as her one-night-only boyfriend to escape ridicule from classmate Tris, only to find out that Nick is Tris’ mournful ex. Norah’s drunken friend provides comic relief for Judd Apatow fans, with several gross-out moments that are not central to the plot, but amusing nevertheless.
Dennings and Cera do a good, authentic job in their roles. And why not? Both are used to being typecast as b-side couples (though admittedly, Dennings not so much as Cera). Acting is strong from both leads; it’s nice to see Cera in a role where he gets more lines (even if the lines are, in content, the same as they have been in every role he’s played)
Naturally, the playlist in this film is fabulous. The National, Band of Horses, Shout Out Louds, Bishop Allen, We are Scientists all have token songs in the film. I predict this movie will have a Garden State-esque following, and that all bands in this film with have a Shins-esque career revival, and good on all of them (if annoying for indie-rock purists who watch this film and cringe)
My only criticism is the inaccurate portrayal of the female orgasm. Less than fifteen seconds to achieve? Yeah right.
Audiences everywhere are charmed by indie kid sweethearts in comedy Nick and Norah’s Infinite Playlist. Catered to late teens - early 20-somethings with a refreshing lack of irony, director Peter Sollett keeps audiences enthralled with just the speculation of whether or not Nick and Norah will, in fact, hook up. Beware: there’s a spoiler near the bottom.
Michael Cera (Juno, Arrested Development) and Kat Dennings (Charlie Bartlett) play our protagonists that have little in common barring musical taste. Screenplay adapted from a book by the same name (penned by Rachel Cohn and David Levithan, both of whom have cameos in the film), both Cera and Dennings meet at a show looking for a secret (a la White Stripes) show featuring their mutual favourite band, Where’s Fluffy?. Hilarity ensues - Norah claims Nick as her one-night-only boyfriend to escape ridicule from classmate Tris, only to find out that Nick is Tris’ mournful ex. Norah’s drunken friend provides comic relief for Judd Apatow fans, with several gross-out moments that are not central to the plot, but amusing nevertheless.
Dennings and Cera do a good, authentic job in their roles. And why not? Both are used to being typecast as b-side couples (though admittedly, Dennings not so much as Cera). Acting is strong from both leads; it’s nice to see Cera in a role where he gets more lines (even if the lines are, in content, the same as they have been in every role he’s played)
Naturally, the playlist in this film is fabulous. The National, Band of Horses, Shout Out Louds, Bishop Allen, We are Scientists all have token songs in the film. I predict this movie will have a Garden State-esque following, and that all bands in this film with have a Shins-esque career revival, and good on all of them (if annoying for indie-rock purists who watch this film and cringe)
My only criticism is the inaccurate portrayal of the female orgasm. Less than fifteen seconds to achieve? Yeah right.
Michael Moore is Fucking Awesome
by Casey DORRELL (The Semantic, Volume 1 Issue 4)
Michael Moore is fucking awesome. Michael Moore makes politics cool for the kids. Michael Moore stands up to the corrupt media. Michael Moore is our generation's Bob Dylan. Michael Moore is the man who almost single-handedly won the last American presidential election for the Democrats. Michael Moore understands.
How do I know this? I know, because Michael Moore and his friends told me. And he can tell you too. For free. All you have to do is go online and download or watch his latest movie, Slacker Uprising, available freely from Moore himself. Therein you will discover the truth behind the last American election. This truth is that Moore, by speaking directly to the youth vote or “slackers” as he very topically calls them, helped compel a larger number of young voters to come out in 2004 than ever before. Sadly, because of big media bias, corporate goons, and those slackers' parents who just didn't understand (Sing it, Will), his attempt to trim the White House Bush failed.
What he neglects to discuss in the hour and a half long parade of self-celebration, Moore-praising cameo appearances, and political sing-a-longs, is the implication of that failure. We are, however, treated to a barrage of musical performances, apparently leaving him no time to place anything in context. The entire movie is simply this: Moore traveling through the US, with a cohort of celebrities in tow, telling audiences of university students they really ought to vote. Interspersed are clips of him mocking the media, people telling him he's pretty great, and a shallow plotline about a few businessmen who try to stop him from speaking through bribery.
It's lacking even the overt dramatization that he's employed with increasing skill in each successive movie he's filmed. While that may have been what ruined some of his movies for thinking people, it's also what made some of his movies pretty great. This movie is the documentary equivalent of a late-night infomercial. And Michael Moore is what's offered for sale.
Yet, the movie is free. So, even if the movie is tired, the method of its release is noteworthy, right? After all, as Moore states on the movie's website, “It is the first time ever that a major feature-length film is debuting as a free download on the internet -- legally.” He forgets to mention that he already premiered another version of this film a year prior entitled, “Captain Mike Across America,” which, at the very least, is a more accurate title for the vanity project. The movie was largely panned upon its Toronto Film Festival Debut. But I'm sure its critical failure and its probable impending commercial failure had nothing to do with the edit and subsequent repackaging as a “gift to his fans”.
Moore anticipated some negative reaction to his rebranded film and preemptively suggests that people who aren't fans of him won't like the movie. This is fair. The movie is about how great he is, and if you don't think he's great, you're probably not going to enjoy it. But then he adds, “[The movie has] way too many tens of thousands of people liking what I'm saying. If you're a McCain fan, this film should probably be rated X.” If you're not with him, you're against him. So, what will it be, are you a Palin-lovin' Joe-six-pack kind of person, or a thinking Moore fan? It doesn't sound any better coming from the left than it does coming from the right.
If you still want to watch some new Moore, rent one of his earlier movies you may have missed like Roger and Me or The Big One. Sure, it'll cost more than watching Slacker Uprising but it's still a far better deal.
Michael Moore is fucking awesome. Michael Moore makes politics cool for the kids. Michael Moore stands up to the corrupt media. Michael Moore is our generation's Bob Dylan. Michael Moore is the man who almost single-handedly won the last American presidential election for the Democrats. Michael Moore understands.
How do I know this? I know, because Michael Moore and his friends told me. And he can tell you too. For free. All you have to do is go online and download or watch his latest movie, Slacker Uprising, available freely from Moore himself. Therein you will discover the truth behind the last American election. This truth is that Moore, by speaking directly to the youth vote or “slackers” as he very topically calls them, helped compel a larger number of young voters to come out in 2004 than ever before. Sadly, because of big media bias, corporate goons, and those slackers' parents who just didn't understand (Sing it, Will), his attempt to trim the White House Bush failed.
What he neglects to discuss in the hour and a half long parade of self-celebration, Moore-praising cameo appearances, and political sing-a-longs, is the implication of that failure. We are, however, treated to a barrage of musical performances, apparently leaving him no time to place anything in context. The entire movie is simply this: Moore traveling through the US, with a cohort of celebrities in tow, telling audiences of university students they really ought to vote. Interspersed are clips of him mocking the media, people telling him he's pretty great, and a shallow plotline about a few businessmen who try to stop him from speaking through bribery.
It's lacking even the overt dramatization that he's employed with increasing skill in each successive movie he's filmed. While that may have been what ruined some of his movies for thinking people, it's also what made some of his movies pretty great. This movie is the documentary equivalent of a late-night infomercial. And Michael Moore is what's offered for sale.
Yet, the movie is free. So, even if the movie is tired, the method of its release is noteworthy, right? After all, as Moore states on the movie's website, “It is the first time ever that a major feature-length film is debuting as a free download on the internet -- legally.” He forgets to mention that he already premiered another version of this film a year prior entitled, “Captain Mike Across America,” which, at the very least, is a more accurate title for the vanity project. The movie was largely panned upon its Toronto Film Festival Debut. But I'm sure its critical failure and its probable impending commercial failure had nothing to do with the edit and subsequent repackaging as a “gift to his fans”.
Moore anticipated some negative reaction to his rebranded film and preemptively suggests that people who aren't fans of him won't like the movie. This is fair. The movie is about how great he is, and if you don't think he's great, you're probably not going to enjoy it. But then he adds, “[The movie has] way too many tens of thousands of people liking what I'm saying. If you're a McCain fan, this film should probably be rated X.” If you're not with him, you're against him. So, what will it be, are you a Palin-lovin' Joe-six-pack kind of person, or a thinking Moore fan? It doesn't sound any better coming from the left than it does coming from the right.
If you still want to watch some new Moore, rent one of his earlier movies you may have missed like Roger and Me or The Big One. Sure, it'll cost more than watching Slacker Uprising but it's still a far better deal.
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