The Life Aquatic (bad review)

Wes Anderson has gained a sizeable following over the years.   The success of   movies like Rushmore and The Royal Tenenbaums  opened Anderson up to a mainstream audience.  His 2004 comedy The Life Aquatic was received well, but just doesn't seem to size up to his other works.   The over use of basic visual elements is overwhelming and the dialogue is a bit dull.

The story follows oceanographer Steve Zissou (Bill Murray) as he attempts to destroy a rare shark that has killed his beloved friend.  He runs into an array of complications on the way and in the end Steve decides to spare the shark’s life.   The problem is that Murray utters few words, and when he does they are often of little importance.   Most of Zissou’s dialogue are nonsensical ramblings. Owen Wilson plays a man from Louisville, Kentucky that claims to be Steve’s son.  Wilson’s ole lacks any real development in the film.  He is fascinated by Steve Zissou, but that is the only thing the audience ever really knows about this character.  His wife Eleanor (Angelica Houston)  is somewhat of a life manager to Zissou.  

The film’s failures reach beyond the boring conversations within it.  The use of repitition is over whelming.  The characters all dress the same, and the scenes all fall into perfect color schemes.   Every setting looks over calculated.  This movie simply has too little dialogue and too much saturated imagery.  A huge failure for Wes Anderson.

Peep Show (good review)

Peep Show

Peep Show is the first sit com starring the UK comedy duo Mitchell and Webb.  The series just wrapped up its 7^th season with two more confirmed.  The show portrays the pair in a typical odd couple setting.  Mark Corrigan (David Mitchell) is an uptight business man and Jeremy Usbourne (Robert Webb) is a hedonistic musician that is unemployed throughout most of the series.  The clever use of POV shots and constant use of the characters inner monologue add a remarkable twist to a classic situation.

This show is relatively fast paced and has few dull moments.  Mark and Jeremy are always finding themselves in awkward situations and leaving them in a brilliantly absurd way.  From awkward dinner conversation to breaking and entering the couple are always getting in over their head as a result of their near constant disputes.  Each season has an  arching narrative that develops a variety of hilarious supporting characters and further evolves the bizarre chemistry that keeps these two men close to each other despite their conspicuous differences. 

Mitchell and Webb have a reputation for being brilliant comedy writers.  Their sketch shows have gained wide appraisal in the UK and a growing cult following in The United States.  Peep show proves the versatility of their work.  This series is surprisingly sharp and vividly foolish. 

The Queen is Dead (medium review)

The Queen is Dead

The third studio release by the English alternative band The Smiths, The Queen is dead, has had a long reputation as being their best record.   Recorded in 1985 during several sporadic recording sessions, the album reached #2 in the UK albums chart and 70 on the Billboard 200 chart.  Johnny Marr and Morrisey wrote the bulk of these compositions in separate pieces with Morrissey adding lyrics to Marr’s musical arrangements.  The two were an absolutely wonderful writing pair, but at times this album can feel less like an album and more like a collection of songs.

This album offers a variety sounds and emotions.  Songs like “The boy with the thorn in his side” and “Cemetery gates” feature the familiar Jangly guitar and upbeat bass rhythms that made the band famous.  Their ability to take simple melodies and craft them into beautifully basic arrangements is brilliant.  Other songs like “The Queen is dead” and “Bigmouth strikes again” utilize a more liberal use of effects, notably delay, that foreshadow later works like “How soon is now” and other songs from their later album Louder than Bombs.  Still other songs like “Vicor in  tutu” and “There is a light that never goes out” seem to stand on their own and add a interesting break from the rest of the albums pace.

The problem is that these songs don't always work well together.  The fact that Marr and Morrisey wrote these songs 2 or 3 at a time is apparent.  The arrangement of tracks seems a bit arbitrary and can be uncomfortable at times.    Every single track on this album is a hit in its own right, but unfortunately this album lacks a unified quality that is arguably necessary to make a release like this worthy of being called a masterpiece.

David Mitchell's Soap Box

Mitchell’s Soap Box

“Hey kid, I’m a computer”

Web specific entertainment has come a long way from the over-dubbed G.I. Joe  PSA’s of the late 90’s.   Brands like The Onion and Vice have produced web content that has successfully expanded their audience.  Nearly all mainstream television programs are releasing content that can only be found online.  Sites like Vimeo and Youtube have opened the door for any and everyone to produce their own breed of internet amusement, though most of it is unbearable.  Show’s like David Mitchell’s Soap Box stand out amongst the sea of cyber sewage.

“Pillage is like a spoon full of sugar to help the rape go down”

David Mitchell off the U.K.’s comedy duo Mitchell and Webb (Peep Show, That Mitchell and Webb Look, That Mitchell and Webb Sound) has found yet another outlet for his comedic brilliance.  His 3 minute Youtube program, David Mitchell’s Soap Box, showcases his ability to rant about a variety of subjects in an informed, articulate, and absolutely hilarious manner.   Mitchell covers topics like proper grammar, raping and pillaging, beer advertising and male grooming in this collection of funny yet sincere video blurbs.  David Mitchell’s ability to be an absolute dick about anything in an intelligent and logical way rivals Larry David’s “Bald Asshole” persona. 

The look and format of the show are wonderful for the online format. The episodes are short and concise.   There is no arching narrative, but each show follows the same format.  Mitchell always takes one specific topic and immediately places it within the realm of its absurdity.  He makes his point and ends with a hilarious yet valid point.  It is great for web because episodes can be watched individually as a quick distraction or viewed in succession depending on when and where the audience is consuming it.  The production is extremely low budget.  This allows the program to have just one sponsor that runs a short ad before each video.  With some webisodes airing commercials that are nearly equal in length to the program, it is nice to see a show with minimal advertisement.   Each installment has David in the same clothes sitting down with a different green screen background every time.  The background images are always simple static images that are related to the episodes topic.  None of them are nearly as amusing as Mitchell’s rants and they don't need to be.  The writing on this series stands on its own. 

This show is great.  If you are a Mitchell and Webb fan, you will adore it.  If you aren’t familiar with their work this show is a great introduction to David Mitchell’s extremely smart brand of comedy.  This series’ ability to pick apart everything in a humorous fashion is a lot like much of Adam Corollas work.  Each installment is only three minutes long so that's all that can be wasted on giving it a chance.   Watch David Mitchell’s soap box the next time you have a few moments to spare.

Saxondale

 We're all a bit of a dick. It's the human condition. Nothing to be afraid of.

Steve Coogan has already proven his ability to take on any role and execute it in a way that is both original and uniquely “Coogan”.  He is most famous in Britain for the character Alan Partridge, an awkwardly ridiculous news reporter that is far from politically correct.  His portrayal of Dana Marsch in Hamlet 2, and Damien Cockburn in Tropic Thunder are his most notable American performances.  In his latest role, Coogan plays Tommy Saxondale, a middle aged ex-roadie that runs a pest control business.  Set in suburban England, Saxondale examines the day-to-day rituals of Tommy, his girlfriend Magz, and his assistant Raymond.  Coogan brilliantly delineates Tommy’s obsession with his rock and roll past, and the anger issues that have transpired from his present day reality.

I'm gonna leave now for two reasons. One: I don't want to lose my temper, which I think you'll agree shows some growth, and two: this clown's just let one go... don't deny it.

Tommy is always pissing someone off and that it was makes this show.  His ability to turn mildly awkward situations into wonderfully absurd scenarios is the rudimentary appeal of this series.  The pilot begins in an anger management support group where Tommy refuses to let the group leader make any remark without scrutinous examination of its validity.  He simply can’t keep his mouth shut.  No one is safe from his near constant judgment.  He wants to look calm and cool, but can’t escape his irritable nature.  Throughout the episode Coogan fluctuates between anxious and downright furious.  His frequent rants regarding his glory days as a roadie for bands like Pink Floyd, The Doobie Brothers, and Deep Purple seem to be his best attempt at calming his nerves. His anger reaches its pinnacle whenever someone brings up the fact the he never toured with Led Zeppelin.

There she was, a goddess in a Pearl Jam T-shirt

Tommy’s girlfriend Magz is an anarchist designer that owns a T-shirt shop that specializes in distasteful depictions of famous figures.  She is almost always wearing a shirt that shows someone of importance smoking pot.  Her style is one-dimensional, but that is what makes her character great. She is an aspiring artist, but it seems that most of her inspiration comes from porn and comic books.  She is an awesome counterpart to Tommy.  She keeps him in line and occasionally amplifies his dickishly charming persona by taking his

side.

Morrissey could eat him and not have a stain on his conscience

Raymond is Tommy’s scrawny assistant.  In the first episode Tommy hires him because he is laid back, likes Tommy's car, and is in need of work.  Raymond’s character sheds a wonderfully awkward perspective on Coogan’s character.  Raymond is timid and mildly frightened by Tommy’s interactions with pest control clients and Magz.  He also manages to call Tommy out on his outrageous assumptions frequently, which allows Coogan to go off on nonsensical tangents.  Imagine if Michael Cera was on Xanax through the entire filming of arrested development. That’s Raymond.

The pace of this show is great.  The awkward situations are nearly constant, but the scene quickly changes at the peak of uncouth absurdity.  It is never necessary to hear Tommy’s inner monologue, because he says everything he is thinking out loud.  Nearly everything that Coogan utters is rudely witty.  His ability to articulate ridiculous streams of thoughts in a coherent and understandable manner is offensively captivating.  The camera work is pretty straightforward.  The perspective is almost always third person with little camera movement.  This allows the acting hold the viewer’s attention without camera distractions.  This program simply does not need compelling compositions to keep its audience engaged.  Steven Coogan’s zany expressions hold this show on their own.

Coogan fans will absolutely love this show.  This role may be his finest.  People who are unfamiliar with him may find this show more difficult to get into.  The pilot episode does a good job of introducing the characters without rushing into complicated situations or narrating backstory.  Viewers of all kinds will likely be fixated if they watch a few episodes before deciding how they feel.  Anyone who has followed Coogan’s previous work will be hooked from the very beginning.  Saxondale is exceptionally simply and remarkably sharp.

Aqua

Chicago has always been at the forefront of modern architecture in The United States.  The Great Chicago Fire in 1871 destroyed most of the buildings downtown leaving this area with a clean slate on which to construct a variety of buildings that utilized new techniques.  Chicago’s downtown structures reflect the creative spirit of architectural ingenuity.  Aqua, Chicago’s latest major downtown addition, has a truly unique aesthetic would only work in Chicago.

Aqua is an 86-story skyscraper designed by Jeanne Gang.  It is currently the tallest structure in the world that was designed by a woman.   Located on the 200 block of North Columbus Drive, the building is part of the on going development in Lakeshore East.  At the moment is being used as a hotel and for condominiums.  Aqua employs a basic flat slab concrete construction, but a few key design tweaks to give this structure a truly one of a kind look.

The variable-edge balconies that protrude from the base slab on each floor are the largest contributor to the aesthetic quality of Aqua.  Each platform follows a slightly different curve, which gives the building a very organic wave-like appearance from a distance.  The balconies create a variety of peaks and troughs that give the building an intense sense of movement.  The reflective glass on the buildings windows help to further capture the sense of moving water.  The sun and sky reflect a brilliant blue color on a nice day that reveals brilliant pools of glass within the troughs of the concrete waves.  This allows the skyscraper to take on a variety of forms depending on the time of day and the angle of viewing.

Aqua is a breath-taking site if you can manage to get a clear view of it from a distance of about 300 yards on a clear and sunny day.  If the viewer has room to move within this space then the building becomes alive.  The great Lawn at Millennium park is the perfect place to see this structure if it is nice out.  It allows the spectator to move in a good distance from left to right.  This gives the viewer the sense of movement by seeing the tower from a variety of angles on the same plane.  The building is also a great site from a bit closer, but the sense of fluidity is compromised.  The bright glass is the real highlight from close up.  The various reflections can be both energizing and calming.  Unfortunately, if you don't have good sunlight the building seems to almost fall asleep.

If it is dark out the glass and balconies look very flat and static.  The lights inside of the building distract further from the surface quality of Aqua.  With nothing to illuminate the nuances of the extended slabs it just looks like any other square tower.  At night this building has almost no presence amongst the modern buildings that it neighbors.  Its rounded edges seem to almost blur its contours.   The fact that this building has such a less appealing personality at night actually makes it seem more alive as a whole.  It may be boring when the sun is down, but that factor makes it even more magical when the sun pours over it at sunrise.

There is no question that this tower is great to look at, but it is possible that form has stepped too far ahead of function in this design.  Some experts fear that the outreaching slabs will suffer greatly under the frigid winds of Chicago’s brutal winter season.  This could potential become extremely costly to maintain, and might lead to some legal issues.  The fact that the slabs are an extended part of the floor could cause the extensions to pull in unwanted cold air making the interior floors cold in the winter.  This could lead to energy efficiency issues.  Only time will reveal the structural integrity and energy efficiency of this project.  The building is brand new, and it is possible that these issues could be resolved before they become a problem. 

Aqua is truly one of a kind.  There is absolutely no other building in this country that comes close to this structure in terms of visual movement.  This structure has an extremely unique attitude that has never been captured before.  It is a beautiful sight for anyone to behold.  Structural flaws may surface over time, but if ingenuity can keep up with this remarkable structure it will likely become a hallmark of the Chicago skyline.

Sanctuary

Martin Puryear’s Sanctuary is a peculiar sculptural work that demands examination.  The piece towers at around twelve feet creating a variety of experiences at different distances.  The tall and slender base suggests organic limbs.  In contrast, the geometric structure that crowns the form with a synthetic element.  The combination of pine, maple and cherry creates a natural disposition within an artificial form.  This artwork is intriguing if nothing else.

The wheel at the base of the sculpture is reminiscent of ancient technology. The loose geometry of the form sets it apart from the rest of the piece.  It seems to almost accessorize the sculpture.  This makes the piece seem functional, although it is clear that the artist had no intent of this object serving a practical purpose. 

The long bark covered natural branches that make up the general frame of the piece seem to almost embrace the wheel at its base.  This implied grasping might suggest human dependence on mechanical structures.  In this way it may also persuade the viewer to reflect on their own dependence on or distance from machines.  These branches seem to represent legs.  They curl at the bottom in a way that displays a likeness of human feet.  The left branch bends perfectly around 70 degrees and crosses over the right branch.  This mirrors the human form more than any other part of this sculpture.  The two limbs cross exactly as a person would casually cross their legs.

The open-ended cube features the wood in its most synthesized form.  It is composed of several perfectly shaped, sanded, and stained wood.  This variety of prisms forms a perfect cube with two square openings.  The position of the cube at the top of the piece suggests that it may be the head of a lifelike being.  At close range this head like structure invites the viewer to look up toward the figure.  This gives the work a sense of wisdom. 

This piece is clearly meant to give human qualities to wood.  The sculpture is a great exhibition of the medium.  The wood is used in both natural and refined forms and shaped in both geometric and organic orientations.  It demands that the viewer examine their relationship with the natural world and perhaps their specific connection to wooden structures. 

 

Lucy in the Field with Flowers

 Lucy in the Field with Flowers is an oil painting that was retrieved from a dumpster in Boston.  The artist was never discovered.  The painting depicts an old woman(or an old man in a dress) dancing in a field of flowers on a bright spring day.  She seems to be half seated in a red armchair but still standing.  An offensively bright sunset lights the entire scene.  The piece is captivating to say the least, but for all the wrong reasons.  It is likely that the artist’s identity was never discovered because he or she would rather forget that they created it.

This artwork is funny, but it's not that funny.  The woman’s face looks rather manly which works for a quick chuckle, but isn’t worth the amount of time that was likely put into this piece.  The arms on the figure seem distorted and sloppily executed.  The legs appear to be way too small for her body, and the flesh tones include a bright pink highlight that is challenging to view. 

It is very difficult to look at this work for very long because of the awful use of color.  The artist clearly had no restraint with his palette.  The colors are all in great contrast and which keeps the eye bouncing around but never focusing on the image as a whole.  The hues that make up the sun drenched sky are the most offensive.  The combination of bright yellows and yellow greens distract the viewer from the and make the rendering look flat.  The palette used on the grass in the foreground is very similar to the sky which further confuses the audience.  The white petals on the flowers seem to simply float on a layer above the rest of the painting.  They do not appear to make contact with any other elements in the picture. 

This painting is awful.  It is just tough to examine.  The color is bad, the composition is sloppy and the proportions are skewed.  It is hard to imagine that anyone enjoyed making it.  Perhaps this artist has moved on to make works that were more prettily executed, but this one would have to be seen as a learning experience at best.

Black Dogs

“We’re not stealing a snake man.”

Patrick Sullivan and his friends are constantly seeking a new scam and nothing is off limits.  These kids have stolen stereos, safes, guitars and petty cash so deciding to steal over two hundred thousand dollars from Led Zeppelin would only make sense.  In Black dogs Jason Buhrmester presents a fictional rendition of the events leading up to the robbery of Zeppelin at the drake hotel in July of 1973.

Frenchy, a Music enthusiast who lives in his mom’s basement, Keith, who specializes in the installation and theft of car stereos, and Alex, a friend who was recently released from prison for a previous crime round out Patrick’s crew.  They get stoned and argue about music like normal kids, but it would seem their thrill seeking tendencies are insatiable.  The boys are ruthless to say the least.  They manage to break into friend’s homes to steal valuable, rob a pawnshop of a rare guitar, and steal a safe containing tapes that may incriminate a district attorney.  They get into bouts with a Christian biker gang, run from the police, and quarrel amongst themselves constantly.  Despite the wreck less attitude shared by the group, they mange to end up on top by the end of this unheralded adventure. 

This book was a quick and fun at times.  It gets right into the plot with no back-story and moves at a nimble pace until it is finished.  There is no lesson to be learned and there are no hidden meanings.  The story is action packed with a few jokes peppered in here and there all set to a classic 1970s rock and roll soundtrack.  Black dogs is very short and could be easy to ready in one sitting. 

This novel was funny at times, but was never very interesting.  Breaking into a building to buy a coke from a machine is humorous, but not very memorable as a scene.  The descriptions do a great job of describing a setting, but aren’t clever enough to really evoke any sort of emotional response.  Alex’s bedroom is a great example of this. Buhrmester writes, “A clear plastic bag on the floor read BALTIMORE COUNTY JAIL: PERSONAL BELONGINGS. Inside were the clothes Alex had on the night the cops nabbed him.”

The scene is described in two or three sentences, giving a basic idea of what the place looks like and then moves on.   The sentence that says the bag contained clothes just felt useless. The problem isn’t the length it’s the lack of clever and meaningful phrasing and this seems to be the issue with most aspects of Black Dogs.  Many aspects of Backwoods Billy’s introduction seemed lacking in this way. “ They stole anything, tore up everywhere they went and kicked the shit out of anyone” just seemed a bit stale.  One could argue that such critical analysis of short moments could be a bit obsessive, but in a book this short it extremely important to nail these introductions.  The rest of the character development is on par with this one.  The main character, Patrick, just seems like a punk ass kid.  His past is barely mentioned, and even his physical description is minimal and hard to remember.  The rest of the gang could be substitute for each other at many times.  They are all a bit different, but in general they are just seen as a group of stoned thugs to the reader.

The plot itself lacks the sense of surprise.  The contents of Billy’s safe present a bit of suspense, but the outcome turns out to be pretty boring and cliché.  There are plenty of crazy events but the characters don’t really seem out of place within them.  The characters careless nature is defined very early in the novel and because of this the absurdity of their problems is weakened.  The Holy Ghosts are immediately described as being barbarous and bloodthirsty so getting into a fight with a bunch of carnies seems like all part of a days work for them.  The Zeppelin heist itself was the biggest let down of the entire book.  Gaining full access to the Drake Hotel was achieved through nothing, but bullshitting a few people and they obtained money completely by accident.  The fact the gang simply found the money in a guitar case that they stole made reading the rest of their journey just seem useless.  The happily ever after ending really rounded this book off to being mediocre at best.  Black Dogs would be easy for a kid to read, but isn’t quite appropriate.  The concept is exciting, but not clever enough to make it a worthwhile read for an adult.

Visioneers

Jared Drake’s directorial debut “Visioneers” is an existential black comedy that follows the life of George Washington Winsterhammerman (Zach Galifianakis).  Set in the near future, George is climbing up the ladder at the world’s largest, happiest and most profitable company, the Jeffers Corporation.  When people everywhere start to spontaneously explode, presumably due to stress, he begins having strange dreams about being the president of the United States.  He fears that these dreams may be a sign that he will explode and decides to take a second look at his boring routine and loveless marriage.

From the very beginning this movie is visually stunning.  The familiar objects, such as the desks in the office, and the normal business attire, juxtaposed with the harsh lighting and drab interior layout immediately set the tone of this movie.  The setting is clearly absurd, but doesn’t appear too distant from reality.  The steam punk eyewear apparatus that George casually puts on in the first few minutes quickly reinforces the idea that the world around him is skewed.  The back- and- forth of close up and wide angle shots keep the viewer aware of Georges world while closely examining his own reactions to it.  The slow and subtle increase in the use of natural light in this film is wonderful.  The soft natural light is used to gradually expose the true human nature that seems completely absent when this awkwardly dull vision of forthcoming times is first introduced.

This film is hilarious despite its dreary atmosphere.  People literally explode randomly throughout the film, which simply never gets old.   The reoccurring salutation “fuck you” accompanied by the middle finger is somehow hilarious amongst the emotionless personalities of the Jeffers corporate world.  The hilarious Jeffers logo, which features skyscrapers in the formation of the middle finger, is peppered in throughout the movie providing plenty of laughs.  The logo also serves as a simple visual representation of the overarching notions in this movie about corporate structure in the real world. 

Supporting characters like “Roger the Codger (George’s personal life coach), “Mack Luster”(think Fabio meets Rambo) and Michelle (George’s insane Wife) are simply over the top ridiculous and balance the austerity of this barely far fetched environment.  Georges secret love interest and superior, Charisma, adds virtually the only warm element to this story by showing him a glimpse of a simpler life outside of the Jeffers sphere.  Galifianakis’ delivery of George is absolutely perfect.  This is not typical Zach playing himself.  He really breaks out into a range of emotions with this character by showing small increments of seemingly genuine emotion throughout this performance.  This showcases Galifianakis true multidimensional talent.

Whether you are a fan of the genre or of Zach Galifianakis you should see this film.   This work manages to deliver a melancholy existence in a way that evokes every emotion imaginable.  Anyone who sees this is sure to elicit a genuine emotive response that may have him or her questioning their own state of affairs.

"Amoral" by Violens

Lansing-Dreiden is an art collective based in New York whose body of work includes literature, drawings, collages, videos and music.  The musical works have always been stand-alone studio pieces with no live outlet.  A video was released for the single “A line you can cross” in 2006, but the performers featured were not part of Lansing-Dreiden.  In 2007 founding member Jorge Albrecht formed the band Violens to satisfy his hunger for live musical performance. 

Violens debut album, Amoral, was a good attempt but unfortunately missed the mark.  It seems that Albrecht tried to do too much at once.  He wrote, recorded, and produced the album almost entirely by himself.  The result is a watered down and sporadic collection of songs that seem to be arbitrarily arranged and poorly produced.

The opening track “The Dawn of Your Happiness is Rising” opens with an over compressed slab bass line that sounds like it was sampled directly from the introduction to an early 90s sit-com.  Lyrics like “Be calm your safe, the light of days just hours away” help to reinforce this lighthearted and almost family friendly tone.   The reverb heavy vocals are not unlike his New Order influenced work with Lansing-Dreiden, but in this context they simply seem novel. The track that follows is the only instance in the album where two tracks on the album seem to fit well side by side.  The jangly and warm guitar tones are a relief from the over compressed rhythm section of the song, but have a similar lighthearted attitude that works well.  At this point the album seems that it may become something with the sound of The Smiths with a more New Order type of attitude, but unfortunately it turns quickly into a mixed bag of songs that never seem to hit the mark.

The remainder of the album ranges from energetic attempts at straightforward dance tracks such as “Acid Reign” to drony psych synth tracks such as “Are You Still in the Illusion.  The problem is that the heavily compressed production suffocates the tones in the entire work.  Each track feels like it can never fully release.  The arbitrary arrangement only serves to dilute this album's potential further.  The broad spectrum of musical styles could easily work to make an album than has a more narrative feel, but unfortunately the progression of songs on this album makes it sound a collection of ideas rather than a well expressed thought.  The album simply does not feel like an album. 

Albrecht is a skilled producer and talented multinstrumentalist, but it seems that he has yet to find his musically expressive voice outside of Lansing Dreiden.  While the release of Amoral may have been enough to satisfy many fans of his previous works it feels like a step back.  The worthwhile moments in this album are few and far between and none speak loudly enough to captivate an audience that is unfamiliar with his past.  Jorge Albrecht has and will undoubtedly continue to produce great works of art, but Amoral was a learning experience for him at best.

"In and Out of Youth and Lightness" by Young Widows

Young Widows was formed from the remains of the 90’s Louisville hardcore band Breather Resist.  Ever since the break Young Widows has strived to break away from the hardcore, and make something that was simply hard.  Their first album, “Settle Down city”, was a chaotic and angsty burst of grit and grime.  Their second release utilized more driving and upfront bass rhythms to create a more solid foundation for their screeching guitar tones, but the quick pace of the album left it sounding a bit like a late 90s hardcore version of the Jesus Lizard.  The title of their third release, “In and Out of Youth and Lightness” suggests coming of age, and they have done just that with this album.  It seems that they have finally come into their own with this release by refining what they do best.

This album is slowed down and focused.  The opening track “Young Rivers” opens with a more back and forth, straightforward bass and guitar arrangement.  The drums are less straightforward and have a more up front quality than previous albums.  This is the first album that drummer Jeremy McGonagall was able to fully contribute on, and his formal percussive training brings a mature pulse to this album. The single “Future Heart” follows this track and sounds all too familiar.  The fast pace and short length make it feel like this album is going to fall back along the lines of their second release “Old Wounds”, but this is not the case.  The rest of the album picks up where “Young Rivers” left off, giving you a heavy hit of mangled and noisy bluesesque riffs and growling stripped down bass progressions.  McGonagall’s nuanced tom rhythms and ambient use of bells, cymbals, and soft snare rudiments keep this album grounded and focused.

If you skip past the single “Future Heart” you are left with an album that really feels like a solid unit. Damned good.