Fiona Apple is Still Very Normal

Fiona Apple has put out a video for her latest single “Every Single Night” and, this is a first for me, I am going to endorse a video without having listened to the song.  At the moment I am watching Breaking Bad and that is my top priority (and it should be yours, too) so I will have to listen to it later.  I did watch it (minus sound) and I am happy to see that even after ten years of making music Apple is still exploring new ways of being odd.  In this case, that means wearing an octopus on her head.  Yeah, that is what I said.

(via SundanceChannel)


Kanye Has Made Another Great Video; Is Still A Douche

Few artists baffle me like Kanye West.  As a human being he just seems like he would be awful to be around but dammit, he knows how to work a goddamn beat!  I hate the man but he keeps putting out great stuff.  He’s like an abusive boyfriend.  No matter how many times he hits me over the head with his terrible personality I keep coming back to him and now he has done it again.

You have probably all heard this track by now and to be fair, the song (i.e. words, lyrics) are not anything special but that beat is a monster.  Now there is a video for the track featuring Big Sean, Pusha T, and 2 Chainz and, don’t get me wrong, I think its great.  It is shot very simplisticly and very stylishly and I should have never watched it.  Now, every time I hear this song from now on I am going to see his douchey mug limping through my brain.  He is just the worst.  All day long.

Side Note:  A white guy with a rat tail made this beat.  He calls himself Lifted and I think I might hate him, too.

Don’t Think. Just Listen. King Louie.

I just ate dinner and I am tired so I don’t feel like delving too deep in to this one.  That is ok because there isn’t much of anything below the surface of King Louie’s first Epic track.  Louie is first of the newest crop of Chicago rappers to “hit the big time,” along with Chief Keef who you might know from his impossibly humorless track “I Don’t Like” but you probably know because his producer through a hissy fit when Kanye remixed his shitty song.  Here is the link to the original, but don’t listen to it.  It’s terrible.

“Val Venis” is what it’s called and just to get the mystery out of the way, yes this is a reference to the wrestler, Sean Sorely aka Val Venis aka just another creepy wrestler persona (he came out in just a towel), and no I have no idea what this has to do with the song.  Although, it may have something to do with these unconfirmed reports of some kind of signature dance to go along with it.  I’ll keep you posted.  Anyway, this is the track and its mindless but dammit its catchy and I have been listening to it all day.  Don’t think about it, just bump it in your whip while you are driving slow through your neighborhood pretending people are impressed by how loud your music is.

(via Pitchfork)

UPDATE:  Yes, it is a dance.  You’re welcome ladies.


Daughn Gibson – Tiffany Lou

Daughn Gibson has released one of the first great albums I have heard this year and it doesn’t make much sense.  His previous group, Pearls and Brass, was all about stoner metal wallop but his solo debut, All Hell, is a much more controlled affair  Gibson’s music is sample heavy but he’s not ripping 70’s funk riffs but recycling dusty country tracks.  It doesn’t make sense until you hear it.  So……hear it.  “Tiffany Lou” is one of the many standout tracks off of the album.



“That was the worst movie I’ve ever seen. Don’t release it.” ~ Lady leaving “Cabin in the Woods”

“That was the … BEST … MOVIE … EVER” ~ Man who looked suspiciously like Comic Book Guy on “The Simpsons” leaving “Cabin in the Woods”

Horror films are difficult to review. Some fine gentlemen might think “Signs” contains terrifying imagery, while others believe it’s a corny start to the great plunge of M. Night Shama… who even cares if I spell his last name wrong anymore? Others consider “Paranormal Activity” to be a brilliant ride into the psyche, making you question what horrors unfold while you sleep, while some consider it a boring mix of great anticipation and no payoff.

That being said, “Cabin in the Woods” is an innovative take on the traditional “bunch of college kids go into the woods for sex, beer, and OH MY GOD A ZOMBIE JUST ATE MY FRIEND!” genre. It is occasionally smart, often funny, and generally a good time, but it is very rarely scary. In a packed crowd, there were only two moments when people jumped out of their seats, and one was the very loud noise accompanying the title credit. The other involves “part of a plot twist.”

As stated by Roger Ebert, “You’re not going to see this one coming.” That is an absolutely true statement when you’re in the lobby outside of the movie (or, nowadays, waiting for it to download — you know who you are). However, if you give it a little thought, consider the film’s two settings, and pay attention from the very beginning, you could piece it together quickly.

The film starts off with our college heroes (a likeable five-some, including Thor himself, Chris Hemsworth) preparing for their sexcapade into the woods while two scientists (yes, that’s Oscar nominee Richard Jenkins and Bradley Whitford, who never won an Emmy for his excellent work on “The West Wing”) in their lab for what seems to be an industry-defining experiment. Most of the film’s laughs come from the scientific setting, with the exception of a brilliant invention by the film’s genre-required pothead who is surprisingly endearing throughout the film. A funny phone conversation between the scientists and a stereotypical, backwoods hick straight out of every “The Hills Have Eyes” film of the past fifty years makes it clear early on that the two casts of characters are very closely related and that something is going on. I’ll leave it at that, as every early review calls what comes next an exhilarating surprise.

“Cabin in the Woods” is not scary and it is not that surprising, but it’s a refreshing new direction for horror films and should earn the audience’s respect for trying and often succeeding. It is almost gory enough to satiate the bloodlust of the “Saw” crowd, almost funny enough to entertain “Shaun of the Dead”/”Tucker and Dale vs. Evil” fans, and nerdy enough to win over the Joss Whedon fans who would probably see a two-hour film of paint drying if it said “written by Joss Whedon.” It also has a scene that, in a PG-13 manner, blends necrophilia and bestiality if that’s your thing.

However, there is a pervading feeling that it could have done more. This is especially evident when the film briefly focuses on a side plot straight out of a terrifying Japanese horror film. Although it amounts to only two short scenes, the viewer might wish they were watching more of that film.

This is also the rare horror film when they start killing off the kids too quickly, as if the writers want them to all die so they can move on with the story. The speedy slaughter makes sense from the lab setting side of the plot, but much more could have been done with the zombies which serve their murderous purpose and then fall into the background.

When the film does start to wrap up, though, there is a scene that will be talked about for years on horror blogs that cannot be described without ruining the twists. It is a very bloody, very entertaining fanboy-type moment that would make any SyFy movie director step back in awe. And for those entertaining moments and Joss Whedon’s creative take on the horror genre, it doesn’t need to be scary or surprising to be a fun film worthy of your Netflix queue.

Community: The Dark Knight Rises

So, where has this blog been, you might be asking?

Or: OH GOD IT’S BACK? WHY WON’T THEY JUST SHUT UP? you might be screaming.

In either event, the Oscars didn’t get me back to write about movies and the Grammys didn’t get the blog’s creator back to write about music. So what did it?

A “Community” season three promo parody of “The Dark Knight”. Thank you, MC, for making my day and the day of others, good sir.