Beats & Blockbusters

Ari Aster: Already A Legend with Only Two Films

I was first introduced to the Sophomore director, Ari Aster, with Hereditary a few years back in 2018. I have definitely stepped up my horror game in the past few years, which is for a variety of reasons. Mostly as a result of Sam and myself being incredibly into psychological thrillers, which led into a full-blown obsession over the horror genre. And, I genuinely like being scared. If a movie can make you feel actual shock, I feel like it has done its job properly. If it can make you experience fear, it has exceeded expectations. If you genuinely feel the horror unfolding in front of you connects with you on an emotional and physical level, you have something special. And honestly, I am not ashamed to say Ari’s first two screenplays, although very different from one another, exist in the latter category of film. I am speaking about Hereditary and Midsommar.

You undoubtably get a lot of duds with the horror genre, which is unfortunate, but to be expected. It is generally quite easy to produce, and the audience they are marketing to for the films is generally not what you would call a sophisticated palate. That’s not to say that some of the greatest filmmakers and masters of cinema do not absolutely love horror, because they do. What I mean is the intended audience is easier to cater to. You can omit a few plot points to save time and costs, write in characters and take them away without much thought, neglect a backstory here and there – because most of the time people aren’t paying that much attention. The difference with Ari’s films, and many other great horror directors (Gore Verbinski, Hitchcock, John Carpenter, etc.), is that these are for a sophisticated palate. The kind of films that make you question reality, and your own sanity in one way or another. The kind that fills you with a lingering anxiety throughout and often afterwords, and genuinely brings you into the environment of the film’s characters with clever pacing, cinematography, lighting and sound design. There are so many ways the greats make it work, but I’d like to focus on what Ari does that makes his first two films so excellent.

Let’s start with Hereditary, a true masterpiece of horror. The movie, if you have not seen it, follows the lives of a troubled family, recently mourning the loss of their grandmother and trying to pick up the pieces. What starts as sadness evolves slowly into the family uncovering some incredibly disturbing revelations about their grandmother, and the movie pivots to full-blown horror. About a quarter of the way through the movie, and incredibly jarring and intense event takes place that jerks you out of the slow-burn introduction and into complete shock. This scene in particular was one of the most intense and graphic scenes I have ever witnessed. I legitimately had NO idea this was coming and it stunned me and I think everyone in the theater at the time. It was at this moment I realized this was not your typical film. From this moment onward, you are thrust into the intensity of this film full-on. You experience the grief and sadness of Toni Coilette (the mother) so palpably that it actually is confusing at times. The son, Peter (Alex Wolff), is an excellent character fold to his mother, embodying a true feeling of dread and fear in every scene. When events start unfolding that genuinely begin affecting their ways of life, you see these two characters begin to show their true colors in the best way possible.

What sets this movie apart, though, is how it uses the horror genre in new ways. It is entirely unique in its slow-burn approach to scare tactics that you never really realize what is coming next – and that in itself is thrilling and terrifying. While at first you are experiencing visual horror and sadness for these characters, you eventually find yourself being genuinely terrified yourself. The natural becomes supernatural, and when the nefarious entities find their way into the screenplay, you’re in for quite a treat. The film does an exceptional job of putting you in the drivers seat with the family – completely unaware of what exactly is happening, learning more frightening facts in every scene, and genuinely unsure what is going to happen next. These are the characteristics of a fantastic horror film. Not only this, but you are completely petrified in the last quarter of the film, as events start to take place that are equally as frightening as they are anxiety-producing. Like the main characters, you are trapped in this “doll house” with the family, being managed by some evil entity that seems closer and closer with every passing scene. The less you feel like you can wrap your head around what is going to happen next, the better the film in my opinion. Hereditary does just that.

Ari does and excellent job capturing the cult-y vibe in this film, and without giving too much away, it really brought it all home for me. The score is brooding, sharp and genuinely horrifying at times, changing the emotion of specific scenes into ones of pure terror. Music is not used often, but when it is it is incredibly effective. Darkness and light are also used incredibly effectively, with the former beginning to outweigh the ladder throughout the film’s course. The acting was superb, casting choices spot on, and direction top-class. The cross-cutting between mother and son’s experiences is incredibly effective. The writing/dialogue was realistic and emotionally charged – making you connect to these troubled characters in ways you don’t think is possible at the beginning of the movie. You feel the emotions of these characters, and you experience true fear with them, a helpless observer for a helpless family. The environment Aster creates with his fresh approach to the genre is incredibly engaging, even at slow moments, which is incredibly refreshing – one of the most important pieces of a good horror film is pacing, in my opinion (as in, when to slow things down and speed them up, and how to keep people engaged and actually afraid). This movie succeeds on all fronts. 10/10

The second of Ari’s films is Midsommar, and where do I even begin with this one… This movie is not so much horror as it is a mix between a psychological thriller, cult film, drama, horror and mystery – all wrapped into one masterful package. The plot follows a young woman (new actress on the scene – Florence Pugh) who has recently lost her entire family in a murder-suicide orchestrated by her suicidal younger sister. She is invited to come along with her boyfriend and his friends to a once-in-88-year mid summer event occurring in the Swedish hometown of one of the friends, Pele. The friend group is thrust into the small village and becomes intertwined in its events and small societal norms much more than they ever expected. What starts as an innocent trip to experience a simple culture turns into complete madness and thrills in ways I never imagined possible. I will explain why.

Ari once again finds a way to beautifully capture an emotion, dread, in the best way possible in this film. The dread is so tangible at times that it will have you leaning back in your seat waiting for the next shoe to drop – and this persists through virtually the ENTIRE movie. It is exceptional. But with this, you have a cast of relatively unknown characters that bring you excitement, humor, fear and confusion all in one motley group of pals – it’s a welcome change of pace from the typical no-name group of characters we find in many horror-esque films. You genuinely feel like you know these guys well, and you empathize with them. Everyone except for Christian, maybe.

Midsommar is unlike any other movie I have ever seen. When I saw this in the theater on half-priced Tuesday at the Nickelodeon in Portland, I was expecting something special, but what I got was something much, much more. I had seen Hereditary and was so excited to jump in, but I did something I have really been enjoying lately: I did zero research on the film beforehand. I was going in blind. Blind is the best way to see this film. It’s like coming out of Plato’s cave and seeing reality for the first time, except reality in this case is slightly terrifying and certainly disturbing. But at the same time, Midsommar is enlightening in ways I didn’t think it would be. I think what I loved most about this was feeling so “into it” for the entire runtime (which is actually quite long). I couldn’t look away, even for a moment. I was so engrossed in the setting and characters, particularly Pugh and her reactions to everything happening within and around her. There is a particular scene, the last scene of the film, where Pugh makes an expression that truly blew my mind. I won’t spoil it for you, but it is an incredibly satisfying conclusion to this film.

This film is not a psychological thriller – but rather a psychedelic thriller. It brings in elements of hallucinogens early, and the “trip” persists throughout the movie. It is in fact a core element, which I found incredibly cool. Aster has clearly been influenced by psychedelics here – the way he is able to capture the “tripping” of the characters – their reactions to others, the way they see trees and grass moving, and the general anxiety and confusion of it all. The movie in itself is really just a really long trip in that you are both in awe of its raw power and subtly anxious the entire time, if that makes any sense. I was very impressed by this ability to capture the psychedelic effects on people’s psyches, seeing and actions.

Ari does an incredible job from a cinematography standpoint, here. He creates this magical-looking village, set in the rolling hills of Sweden. An incredibly unnerving element to this film is it is a sharp contrast from the darkness of Hereditary – it takes place ENTIRELY during the daytime! There is virtually never a scene of darkness. All of these unnerving and strange events are unfolding in complete clear view. Which is ironic, because you really have absolutely NO clarity to what is going on in the background. Like in Hereditary, you are with the characters getting swept up, in many cases literally, in the Midsommar event. The characters are never once in control, although it may feel like it at first. As soon as they set foot in the main setting – the Village is in control. Every event feels deliberate, calculated, and staged by the townsfolk – and it is incredibly creepy. It creates an uneasiness that had me gritting my teeth through the whole film. It is brilliantly done.

The movie explores regret, angst, and power struggles in relationships between friends, family, and couples in a way that never takes away from the films core. It never feels cliche, but rather you observe it happening around the edges of the film. It never distracts, only adds to its quality. By using several, more youthful actors, they embody the late-20s, enthusiastic, intelligent grad students in a perfect way because you are never distracted by an actors past performances. I had no idea how they were going to perform or what their tendencies were, and this was a welcome experience. It made everything all the more intriguing. William Harper was excellent as Josh, the intense and calculated student seeking knowledge, while the ever-funny Will Poulter was welcome comedic relief. Florence is the star, though. She conveys emotion in such a real and etherial way that you genuinely can connect with her despite the unimaginable tragedy in her life, because you too are reacting with her to the events before you.

There is a scene, early on in the film, where the friends are driving up to the village, and the camera turns from right-side-up to upside-down as it follows the car along the road from behind. This is in many ways metaphorical of the descent into a new and uncharted world that the friends have no idea is coming. In many ways, this film reminded me of the Twilight Zone, albeit a more drawn out, in-depth, and complex episode with color. I mean that in the way it makes you sense mystery, intrigue, and a subtle undertone of horror throughout. You never know exactly what is happening, but you are captivated by it. You are along for the ride, and you are terrified by it – because it really feels like you are deeply within the village yourself – with all of these village members orchestrating some kind of plot in the background. You never see what the village people are doing in their own time, only in their interactions with the characters. This creates a feeling of uneasiness and a lack of insight into their motivations, which in turn creates a very interesting environment in the film. You can only perceive these people in the village based on their staged interactions in public, and that in itself is frightening.

Like Hereditary, it is the unknown that moves you with this movie. There is really so much I can say, but I need to stop rambling. In short, this movie made me feel incredibly uneasy, intrigued, confused, amused, shocked, laughing and genuinely horrified all at the same time. I don’t really know how I can describe this emotional state, but it’s almost like a melancholic horror. It’s not quite “horror”, but it’s not quite a thriller, either. It’s a little of both in the most beautiful way. It builds a wonderful world to explore, and explore the characters do, even if the exploration is being orchestrated. I had this incredibly cathartic moment at the end of this movie that I can’t exactly explain, but I can say it left me somewhat – happy? How does that make sense? I’m not sure how he did it, but he moved me in some way. I was left thinking about this movie for weeks afterwords and recommending it to all of my friends who enjoy horror and otherwise. Watch it in one sitting, in one place, with the sound all the way up. Get into the film – you will not regret it for a second. 10/10

This post ended up being much longer than I thought, but my summary is this: Ari is amazing at capturing true fear and dread, and general uneasiness in his two films. Everything, from the emotions to the visuals, are palpable in ways that really bring you into the movie. It gives me incredible excitement for whatever he will produce next.

Movie Review: 1917

To make sure I cover more ground, I am going to make some of my reviews particularly brief. While I’m sure I could drone on about movies I really like (watch me, I will at some point), I think it is better to get a few ideas out to make sure I can touch on more films. So, here we go, short review…

I was fortunate enough to see Sam Mendes’ 1917 in the Seaport the other day. It’s half-priced Tuesday and they have those comfy chairs that recline like you’re in your living room. I would recommend this to anyone – excellent weeknight activity. They even serve beers there along with popcorn.

I was pretty floored by this film. I had a general idea of what it was going to be about, but I didn’t understand to which extent they would go to combine every shot into one concisely edited film. By this, I mean they actually make the movie seem like it never cuts or stops, but rather it is part of one large, never ending saga covering the perils of two soldiers. If you’ve seen Birdman, it is just like this, but way better because of the subject matter.

Essentially, this film grabs you from the first five minutes and takes you on its journey, which follows two British young soldiers during World War I (no-name actors) who are sent on an incredibly dangerous mission across no-man’s land to save the lives of 1600 soldiers by halting an attack by the Allied forces. Pretty high-pressure for two men. Either they get there in time, or everyone gets slaughtered. How’s that for an incentive? They are clearly terrified, and you are thrown right into that terror as soon as they have to leave the confines of the bunker. They don’t know what they might encounter out there and neither do you. While you never really get the full backstory on these characters, I found myself intrigued by both of their personalities from the get-go. The raw emotion they are both able to create with so few lines and descriptions is impressive, and it felt completely raw and human.

What worked well: the cinematography, score and film editing – components of this technical and visual masterpiece. This undoubtably deserved the Oscar for its incredible stitching of the various scenes together to appear as one shot, building intensity throughout. But deeper than that was the incredible narrative this movie created, and the feeling that you were actually the one hopping over no-mans-land trying to reach the platoon in time. Close-angled camera shots and genuine emotional connection to the characters helped bring this forward. You have long scenes of the main characters hustling through trenches, over corpses, and under barbed wire – which all in all painted what felt like an accurate rendition of the horrors and tribulations of World War I. The matted color scheme, pervasive color of dirt throughout, and the dark tone of the whole film invokes a mood of intensity and wartime. There were many long, panning camera shots which took a forward-facing look at the characters and their entire background (which they had their backs to), which leaves you constantly scanning the countryside for enemies or signs of life. The trench life was captured beautifully in all its squalor – rats, dead bodies, worn-out soldiers, and dirt. Lots of dirt.

The score was perfectly done. Throughout the film you have this droning, incredibly monotonous music which never takes over the scene but simply adds volumes to the emotions and actions of the characters. I hesitate to say it was the most important piece of the film, but it certainly carried the tension in moments where otherwise nothing was happening. It turned stillness and silence into palpable tension in a way that helped carry the movie from scene to scene and kept you on the edge of your seat. A soundtrack is a powerful thing.

In all, this is a great film and one of the very best of 2019. Possibly my favorite of the year along with Parasite and Midsommar – all three were incredibly unique in their approach to film design and direction. It perfectly captures the humanity and tension in such a brutal conflict, thrusting you into the thick of the action from the get-go. If you want a thriller, this is a visceral experience of one. Check it out.

Rating: 10/10

New Music Friday – Some Fresh Playlists for You

Hello and happy Friday. We did it, long weekend time. Make sure you take a decent chunk of time for yourself to sit back, relax and do EXACTLY what YOU want to do. Equally important is getting things/projects done, but I think now more than ever we have to be practicing a little more self-care. Relax yourself and take some time to enjoy what you have.

I put together a few new playlists you might be interested in:

Zoning 4 – My fourth attempt at putting together music that is both relaxing and slightly upbeat at the same time with a large electronic focus. Anything from Medasin, Bent, Khruangbin, Four Tet, Catching Flies, and more.

Bill – in honor of Bill Evans, some relaxing Jazz stuff. If you’re into that kind of thing.

Sam 5 – party music / EDM, what the kids listen to these days – more Pop focused

Good Times – music that makes me happy! Classic rock and such

Ramble Tamble – classic rock, 60s and 70s jams, Stones, etc.

Have a wonderful Memorial Day, all!

May Weekend Flicks: What I’ve Watched Lately (Part 2)

Burning (2018) – Mystery/Drama – Score: 7

I have been putting off watching this for some time but received several recommendations to watch recently. This is a beautifully made film – long, drawn-out shots with even simple interior locations showing significant detail and character just from the way it was filmed. I thought the plot was pretty lacking, though and I didn’t really like any of the characters. From a directing standpoint, it was perfect and I’d love to watch more of his work. It’s sort of too long for its own good, but good quality film nonetheless, if a bit boring at times.

A Dark Song (2016) – Horror/Suspense – Score: 6

So continues an obsession with horror films. I don’t really get why, considering so many are poorly done – but they are my vice. This one stars a confused, damaged woman looking to get her son back, enlisting the help of a unstable dark arts curator to help her perform a complicated seance in a large mansion she has recently purchased. This film is intense, unnerving, disturbing and at many points quite confusing. But, I think it got its point across. I love the plot, and there’s a pretty wild ending to this one. Could have been executed much, much better though IMO.

Back to the Future Part II – Action/Adventure – Score: 7 (Rewatch)

While the first is the best, I saw this on Netflix last week and had to give it a 5th go (or something like that). It plays on the same humor and tropes of the first with a fresh spin and new settings, which keeps everything light and entertaining throughout. Cheesy, cliche, and predictable – yes. But fun, exciting, funny and different – absolutely. You’ve gotta love the adventures of Doc and Marty (and Einstein), and their time traveling antics (which get them into much more trouble than it is worth) result in some absurd outcomes. Good quality stuff and a classic for sure.

The Invisible Man (2020) – Horror/Thriller – Score: 7.5

This was a surprisingly good watch. A unique clever plot led this throughout: a woman is terrorized by her supposedly dead husband, a mad, abusive genius who made his cheddar creating stealth-based technologies (hence, “the invisible man”). Great lead performance from Elizabeth Moss, who beautifully captures the hopelessness of a woman who is the only one who knows what is happening to her, while everyone else looks the other way constantly. The film is ultimately incredibly satisfying and a unique take on a horror/thriller film. Like with many great horror films, The Invisible Man is as much about what you DON’T see as what you do see. Well done.

It Comes at Night – Thriller/Suspense – Score: 7.5

Not what I was expecting, but a high-intensity, dark film nonetheless. After an apocalypse (which is rarely explained) leaves the world largely abandoned, a father and his family must band together in their boarded-up home to survive. When they encounter a new family seeking help, things go from bad to worse very fast. Such intensity with every scene, lots of tension and very little dialogue. I thought the director did an excellent job of capturing the idea of fear and tension without showing or saying much – rather by building an atmosphere. It is what is left unsaid or unseen here that makes the film. Worth a watch – but beware it is not as exciting as say A Quiet Place.

Whiplash – Drama – Score: 9 (Rewatch)

This movie is an instant classic. A short summary: lead/main character Andrew (Miles Teller) works to become the greatest drummer of all time, rising through the ranks to join the highly sought-after jazz band led by Terrence Fletcher (J.K. Simmons – Farmer’s Insurance guy). Terrence is an absolute horrifying leader – invoking terror in all of his subordinates and generally making everyone (especially Andrew) feel uncomfortable. Simmons deserved an Oscar for this role for this incredible performance. This is one of the most memorable and electrifying movies I have watched in years, and undoubtably one of my top 50. Beautiful filming, amazing atmosphere that is created. It has everything from discomfort and intensity to laughs and sadness.

May Weekend Flicks: What I’ve Watched Lately (Part 1)

Finally I found some time to sit down and watch a few movies. Several of these are horror/thrillers which Sam and I watch regularly, others are a nice blend of animation, action, and drama films. films and a some very recent productions added up to some quality May film viewings. I’ll continue adding to this over the next couple days.

Here’s what I’ve been watching:

Ponyo (2008) – Animation/Fantasy – Score: 9

You always know you’re going to be happy watching a Miyazaki film, and this one didn’t fail to disappoint. Colorful tones, joyful music, creative scenery and likable characters make this a wonderful addition to his portfolio. He has this ability to evoke emotions that you don’t normally feel when watching most animated works. This film seems so simple, but I know a fully grown man could sit down with his daughter and be genuinely happy watching it. Great for any age.

Howls Moving Castle (2004) – Animation/Adventure – Score: 8.5

This movie showcases some of the best frame-based anime art I have ever seen – particularly in the way they show machinery grinding and churning. You will see a still frame and see its complexity, detail and colors, and then in a moment it is gone – replaced by another equally as impressive art piece or setting. The setting in particular was magical and interesting. The house as the focal point of the film served as both a mystery and a home for the characters. Much is left unsaid in this film, and I imagine you are supposed to be carried along for the ride with the main character. Not my favorite of his by any means, but a wonderful viewing worth it for the art alone. Plus, Christian Bale voices Howl which is just too funny.

Call me By Your Name (2017) – Drama – Score: 9

This is one I have been hearing tons about since it first hit Sundance Film Festival in 2017. Saw it with a few buddies tonight and enjoyed it! Beautiful setting and atmosphere to this movie. Sort of a Lost in Translation vibe but set in the warm, lush Italian countryside. You genuinely felt like you were there experiencing the awesomeness of summer with the characters which made everything so much more engaging. Characters were lovable and very well-acted. I am particularly impressed with Timothy Chalmet here – he’s gonna be a big name in the future I have no doubt. I don’t usually look for romance films, but this is from a cinematography standpoint excellent and had you feeling all kinds of emotions from smiles to sadness. Very well-done film deserving recognition.

Summer of 84 (2018) – Thriller/Horror – Score: 6.5

Playing off the familiar 80’s horror movie tropes and feeling like a combination of Disturbia and Stranger Things, Summer of 84 is a fun timepiece starring likable characters and a familiar, creepy villain. It’s the son and his friends vs. the world in this one – with them trying to prove their neighbor is a killer. Some good laughs, plenty of fun, good atmosphere buildup and synth tones throughout which build the mood well. Definitely was cliche as hell and predictable, but easy to watch and pretty entertaining. Ending was MUCH darker than expected and took it up a notch for me.

Source Code (2011) – Thriller/Sci-fi – Score: 4

I am a sucker for time-dilation pieces like Groundhog Day and Edge of Tomorrow, but this one definitely missed the mark a bit for me. Mediocre acting, a largely failed plot with very, very little actual mystery involved at all (although thats how it was positioned to me). Gyllenhall is annoying at best, and his supporting cast OUTSIDE the train is terrible. Cheesy, cliche and unnecessary at times, I found myself wanting to step away a few times. It had some great moments, but way too many cringey ones which outweighed anything good. Pass.

The Lodge (2019) – Thriller/Horror – Score: 5.5

This movie is just honestly so messed up its insane. Unique plot with an absolutely sinister twist at the end that I LOVED and was not at all expecting. In short: Dad’s new girlfriend (past wife committed suicide) and his kids go to the lodge for the weekend but get stuck (minus the dad) for days without supplies. Turns out the issues are far from supernatural and much more close-to-home. Interesting, but wouldn’t watch again.

The Platform (2019) – Horror/Sci-fi – Score: 6

Nick got me to watch this one night this week and I was pretty freaked out by this one. Essentially the whole movie is a sort of social experiment pitting prisoners and paying (or recieving) customers in a massive tunnel, leveled off in pairs by floor, that extends 500 floors into the ground, slowly carrying a tray of food. Will there be enough for everyone – or are those up top too greedy? It’s a wonderful metaphor for spreading the wealth and thinking of those who are below you economically or socially. Not a well-made film (poor music, very limited characters (unlikable), strange cuts and sequences), but an interesting idea nonetheless.

To be continued…

A Quick Tribute to Little Richard – A Style that Stands the Test of Time

I’ve been bad about posting lately – much to do at work and surprisingly little time afterwards. Somehow these quarantine months have been flying by. Hopefully it’s a sign there is light at the end of the tunnel. Best advice I can give for these troubled times: keep yourself busy. Read. Exercise. Learn something new. Find some new music. Watch something educational. It’s kept me going thus far.

I wanted to make sure I put in some sort of tribute to Little Richard, the flamboyant singer & songwriter who helped kick-start rock and roll. You might not have heard of him unless you’ve spent some time listening to mid-50’s – early 60’s blues / soul, but you should know this guy’s name regardless. He passed away last week at the age of 87.

Who was he, and why did he matter? He was an icon of his times and a current member of the rock and roll hall of fame. His on-stage energy, antics, charisma and attitude were incredibly new and unique in the time he was living – and he left a lasting impact on the music industry as a result (he was also in several films and documentaries throughout his career). He produced a long string of hits, including “Long Tall Sally” and “Good Golly Miss Molly” (I love the names, such classic 50’s), which he churned out one after another for years during his prime. Not only was he a presence, but he had an absolutely stunning vocal range comparable to something like Ray Charles.

It’s important to say that the prime of his career was notably short, however. But it’s impacts are long-lasting. I’m not going to sit here and pretend his music is my favorite by any means, but I acknowledge the stage it set for the genre. You can tell just by listening to it that you’ve heard it somewhere before… but where? I’ll tell you – you can hear it with the Rolling Stones, the Beatles, Stevie Wonder and hundreds if not thousands of other well-known artists during his era and far beyond it. Anywhere from modern rock to hip-hop. Hell, “Greenwood, Mississippi” is literally the basis for Aretha Franklin’s “Chain of Fools”! I could spend all day pointing out comparisons, but you can google them just as easily. His contributions to music range from stylistic choices with rhythm and tempo to on-stage presence and everything in between.

One of the defining characteristics of his music was his ability to create a fusion of sounds that transcended a single genre and captured elements of R&B, Soul, Jazz, Rock and more. What was an era of something called “Boogie Woogie” he took and melded into steady, driving tempos and distinctly powerful basslines that have stood the test of time. This combination of style, performance, energy and genre fusion is what earned him the titles: “The Innovator” and “The Architect of Rock and Roll”. Even artists who lived and performed during his day and age were covering his music – and that’s been the way (at least in some capacity) for generations since.

What is the sound he created and why was it different? You have to listen to know what I mean exactly, but I would call it: a special, incredible energy he brought to blues and soul that drove a hard rhythm and carried powerful vocals. He screamed and wailed on the mic with such force that it makes you take a step back when you listen – and that’s coming from someone 25 years of desensitized music-listening and a love for hard rock and metal music! I can’t even imagine what people were thinking when they heard this while he was up on stage in his 20s, but I’m sure the experience was truly unreal. Richard brought an energy to the stage that defined his character in every performance and inspired countless soul and rock singers to do the same.

Not only was he electric as a singer, but he was completely and truly himself at all times. He was never afraid to be exactly what he wanted to be, and even when criticized, he maintained his persona and charismatic attitude. He left home at the ripe age of 13 with some gospel-singing experience under his belt and never looked back – and I think this is something we can all respect: a self-made man, unabashedly unafraid to sing and dance his heart out, even while portraying an image which was scorned during his day and age. Not only this, but he brought black and white fans of his music together, on stage and in the crowd, in ways that were rarely seen during his time. He was a triumph for integration and showed the power of music to move racial barriers, on top of everything.

If you haven’t listened to his music before, I recommend you give it a listen. It might sound a bit dated, but I assure you that after a few minutes, you will hear familiar elements. Then take a step back and think what he was doing – in many cases the way he sung and created music was completely new to his time. I think even more important though was that while he was an architect of rock an roll, he also provided the attitude. I’m talking about the mentality of leaving it all on the stage, of doing what you love, of showing your strengths and acknowledging your weaknesses through your music, and of being unabashedly YOURSELF. Cheers to you, Little Rich.

Great article from the Rolling Stone on Richard – worth a view.

BEST OF APRIL: TOP 5 TRACKS OF THE MONTH

5.) Someone Else – Rezz & Grabbitz

This collab between Rezz and Grabbitz is a match made in heaven. I admittedly had been disappointed in a few of Rezz’s previous releases, but this track destroyed any doubts I had. Rezz’s industrial influence mixed with Grabbitz’s dark punk guitar licks create a “deadmau5-esque” banger that has been on repeat since it dropped. I’ve been straying away from the heavy hitting tracks while stuck in quarantine, but this threw me right back in my dark vibes. I’m happy , but pretty sure my neighbors are not thrilled.

4.) Fiore – Rome in Silver

Rome in Silver shows absolutely zero signs of stopping. With an EP on the way in a few days, the Huntington Beach native dropped this track in mid April and it’s been making the waves around the dance music community. Intricate songwriting and sound design is a simple way to describe Rome in Silver’s approach to music. Fiore is another masterpiece that leaves you asking “how the hell does this dude even do it?!” If we had the answer, we might be the ones on the meteoric uprising he’s having.

3.) Chemicals – SG Lewis

SG Lewis delivers an indie banger just in time for summer. Chemicals lead synth drives that nostalgic yet funky vibe that’ll have you wishing you were sitting poolside vibing out with the homies instead of practicing social distancing. But please stay inside while jamming to this (for the time being) no matter how hard the vibes hit. His first single of 2020 and it being dropped on Dua Lipa’s new label, it only seems to be looking up for the British songwriter/producer.

2.) Shoes Too Tight – Liam Kazar

Who is Liam Kazar? We might find out in 2020. Shoes Too Tight is the Chicago native’s debut single and if this is what’s to come, we could be seeing a legend in the making. The indie-rock single holds some intense happy summer vibes. A friend from the windy city sent me this song saying to keep an eye on Liam’s debut and I’m glad I listended (and have a friend). For a debut, Kazar makes a massive impact with this masterpiece and a new fan out of me. I’m excited to see what’s to come.

1.) Aries (feat. Peter Hook & Georgia) – Gorillaz

When Gorillaz drops an EP or song, it’s surely going to be big news. But I was blown away and surprised by Aries. Giving off more of an indietronica vibe, Aries touches me in a special way and I’m not exactly sure why. The sad love song has been on constant repeat for me since its release. The lead guitar melody hits you with a melancholic yet familiar/comforting feeling. This song caught me pleasantly by surprise. A++.

As always, check out the top songs from April 2020 playlist below.

What To Watch During Quarantine: Movies that Make Me Happy

I think we can all agree: its only been a a month and a half of real change, but feels like we’ve been in this quarantine for a long time. I’m hoping everyone is living well despite the circumstances. Personally, I’m really missing being able to see my buddies, grab a beer, or just feeling like I can walk in public places without risking my health – and I imagine everyone else is feeling the same way.

It kinda feels like Groundhog Day without the humor, save the repetition and monotony. Or Edge of Tomorrow without the action and excitement. If I had to compare it to something, society would be like the Coen Brother’s A Serious Man, where an timid, mild-mannered Jewish father named Larry continues to encounter worse and worse situations in a seemingly never-ending pattern (it’s actually funny as hell, though). Except we are Larry and it’s really not funny.

It’s easy to compare our situation to films about actual catastrophe like World War Z, 28 Days Later, I am Legend, and Contagion (which is WAY too real, watch if you dare). But if anything, like I said in a previous post, these will probably make you feel better in a small way in that these situations are 100x worse than what we are experiencing. That doesn’t really make it any easier, though.

But if I had to think about a positive out of all of this, I’m drawn to Lost in Translation and The Persuit of Happiness. Two great movies that exemplify the pleasure of taking limited circumstances and making the most of them, albeit in very different ways. If we come out of this situation with anything, I’m hoping we can all feel a little better human connection. Maybe a little kinder, a little more open, a little less judgmental before understanding a situation. A pipe dream, maybe, but it’s something to think about.

I want to point out a handful of films I’ve watched over the years with friends and family that made me genuinely happy, particularly in times when I wasn’t prior to watching. These are movies that will hit you in the feels, so to speak – aka they make you feel a deep emotional connection to the characters in a way you can relate to. I’m listing these here as my attempt to make you feel a little bit better. It’s as good a time as ever to escape in a good flick by yourself or with a loved one, so make sure you set some time aside to do so for your mental health. Because sometimes we all need a little escapism. Here are my selections… I did two categories for you.

Keep in mind as always, these are MY 11 favorites that make ME happy. Not all are just joy all the way through. In fact, I think the best in this list are the ones that actually have a little melancholy in them. Sometimes it takes a little bad to get the good, you know?

Lost in Translation – Murray’s best, and possibly Scarlet’s too. A must see comedy-romance-drama. Understated, atmospheric, and incredibly effective. Can’t say enough about this one.
Eternal Sunshine for the Spotless Mind – God this movie is sad but its also incredible, and really damn funny at times. This is a FEELS film if there ever was one. Amazing.
Almost Famous – A movie for music and movie lovers alike. Timeless, funny, happy – and truly epic.
Big Fish – Ewen McGreggor and Albert Finney star in this colorful, funny, feels-inducing film that is good for the whole family. This one feels like a good dream – where when you wake up, you’re sad it’s over.
Dazed and Confused – The ultimate “happy” film for me. Hits that peak, late high-school feeling perfectly with a sense of excitement for the future. Can’t go wrong with this one if you’re looking to feel better.
Little Miss Sunshine – Funny as hell and actually reflective on life. I think we can all learn something from this one. Won Best Writing in 07′ – deserved it.
American Beauty – Spacey at his best, so real. Beautiful slice of life film that touches on every major emotion at least once.
Before Sunrise– Such an engaging, incredible film. I usually stray away from rom-coms, but this is so far above the rest that it makes all the others look bad. Incredible acting from Ethan Hawke and Julie Delpy. I recommend this one often.
Annie Hall – So organically funny, original and clever – this is Allen’s masterpiece and it has a little something for everyone. Classic, classic film.
Midnight in Paris -Fun, different, happy and colorful. I’m a Woody Allen Fan as you can tell, but this is worth a watch.
Chef – Colorful, fun, funny. This is plain happy all the way through, and it showcases a lot of unreal-looking dishes…

Honorable Mentions: Good Will Hunting and Dead Pets Society (because Robin Williams can always make us a little happier)

Kurt’s Favorite Albums

I tried my best to organize this in a proper ranking. The Top 4 are pretty set in stone, but my album rankings change depending on the day. Alas, see for yourself my selections and come find and fight me if you disagree…

1.) Worlds – Porter Robinson (2014)

My personal favorite album of all time and simply a masterpiece that changed electronic music forever. I can distinctly remember the exact moment I sat down to listen to the album through for the first time and Divinity started playing. I immediately new it would be something special.

2.) Sgt. Pepper’s Lonely Hearts Club Band – The Beatles (1967)

You can argue which Beatles’s album is the best, but you cannot deny that Sgt. Pepper’s revolutionized the way music is listened to and made. I’ve grown up with this album (thanks Dad) and every single time I listen through, it’s like I’m listening to it for the first time.

3.) Skin – Flume (2016)

While Skin may not be considered his best work by most Flume fans, this is my personal favorite and it’s one of the most hauntingly beautiful albums to ever be created. Maybe it was the timing of the release that resonated with everything that was going on in my life, but every time I listen through this album, I’m left inspired and refreshed.

4.) Parcels – Parcels (2018)

I was introduced to Parcels a few weeks before this self-titled album was released and have been obsessed ever since. The Aussie band are some of the best songwriters I’ve heard since The Beatles and it seems they have only just begun. Funky, chill, dancey. All adjectives that embody this very special band . They’re also dropping a live album on April 30th, 2020!

5.) 2 – Mac Demarco (2012)

HE’s not named the “Prince of Indie-Rock” for nothing. Mac is a special artist in that his main focus is creating art that’s true to him; he’s not chasing a paycheck. 2 was Mac’s first work I was introduced to. And it’s one of those albums you put on to listen to a song and 40 minutes later, you’ve listened to the whole thing.

6.) Hi This Is Flume (Mixtape) – Flume (2019)

Flume returned in 2019 with an experimental, yet absolutely incredible album. If you’re prepared for some intentionally weird yet perfectly placed sounds, this album will change the way you see music. It”s meant to be listened through it’s entirety and even came accompanied with a visualizer with some really cool visual art and landscapes. If you couldn’t tell, I love Flume,

7.) Music From Big Pink – The Band (1968)

Simply named “The Band”, it’s appropriate that they can be considered one of the greatest band to ever bless this great Earth. Music From Big Pink was written and recorded in the basement of a pink house in little Woodstock, NY with legend Bob Dylan. What rose from that basement was a band…THE Band. As well as a collection of some of musics’ greatest recordings.

8.) Wild – Tourist (2019)

Tourist is one of my favorite producers, so it was hard to decide which of his albums to pick since Wild, U, & Everyday are all near perfect albums. But Wild delivered a very special vibe and feeling that hit me on a personal level. The Grammy Award winning producer is brilliantly genius.

9.) Anicca – Teebs (2019)

Beautiful vibes and fantastically produced, Teebs delivers a timeless masterpiece with his most recent album.

10.) The Band – The Band (1969)

The Band makes a return to the list probably to no surprise. I have to thank my father for some of my musical tastes. I have distinct memories of listening to this record as a kid and singing and dancing along with my Dad in the living room. The self-titled album was The Band’s follow up to Music From Big Pink and is another example of why they are considered as great as they are.

11.) 99.9% – Kaytranada (2016)

All I’m going to say is if you haven’t listened to this album yet, do yourself a favor and put it on right now. Kay is a modern legend.

12.) Dark Side of the Moon – Pink Floyd (1973)

This album has hit me personally multiple times for a variety of reasons. I won’t go into detail, but with minimal detective work I’m sure you can figure it out. As cliche as it is, this album is truly a masterpiece.

13.) Cross – Justice (2007)

Show me a better intro song to an album and I’ll hand you a mirror to show you a filthy liar. Cross is another album that revolutionized electronic music, introducing the world to heavy, dirty synthesizers and incredibly hard smacking drums, while still maintaining their disco influenced core. Justice showed the world that heavy means good and paved the way for electronic legends like Skrillex, Madeon, and many more.

Kinkead’s Favorite Albums

Kurt and I saw the Bill Clinton records meme and had to make a post about it.

Choosing favorites is always a huge challenge for me. When it comes to things I love, I tend to get indecisive about what is really “best” when I’m looking at a group of favorites. The thing about music for me in particular is one day a certain artist might speak volumes to me and the next day is replaced by a completely different artist in a different genre. Music enjoyment for me is based on my mood and attitude, and willingness to listen completely to what I’m hearing. Those factors change so frequently that it’s tough to narrow down what are really my absolute top, top choices. Maybe it’s a bit narcissistic because part of it is I don’t want to limit myself to a few titles which define my music taste, but choices must be made! Let’s give it a shot.

In no order… my 13 favorite albums:

1.) Guero – Beck (2005)

Just because it’s number one doesn’t mean it’s my favorite, but I have listed to this album so many times I have lost count. An old family favorite for my Dad and I.

2.) Eat a Peach (Deluxe) – Allman Brothers (1972)

One of my favorite bands playing a combo of live and studio sounds in perfect harmony. Simply a few guys playing their music and playing it well.

3.) Help! – The Beatles (1965)

I think I have a moral obligation to put a Beatles album on here, and this is my favorite song for song. SO. MANY. HITS.

4.) 97′ Amsterdam – Phish (1997)

The first live album, along with NYE 95′, that my dad showed me of Phish. Led me to my first Phish show in 2010 which blew my face off. I’ve been madly in love ever since.

5.) Discovery – Daft Punk (2001)

Part of my first journey into electronic music, I watched all the music videos in sequence and knew I was witnessing something truly special. A timeless classic.

6.) Black Sands (2010) / Dial M for Monkey (2003) – Bonobo

The artist that helped kick start my love for electronic music. I downloaded this free album when I was 13 and never looked back. Thank you, Bonobo.

7.) Kind of Blue – Miles Davis (1959)

One of the best albums ever, and a top 3 for me. Perfect compositions mixed with some of the best to ever do it playing together make this a masterpiece.

8.) Aja (1977) & Countdown to Ecstasy (1973) – Steely Dan