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Music Reviews,

The Head and the Heart- (Self-Titled)

 

Album: The Head and the Heart

Label: Sub Pop

Rating: 3.5/5

 

It was bound to happen. What with all of the recent mainstream success of folk-rock acts like Fleet Foxes and Mumford and Sons, it was only a matter of time before other similar sounding groups began to emerge from musical obscurity. Enter Seattle, Washington’s The Head and the Heart, an indie-folk rock band with a pop and country twist.

Originally released independently in 2010, the re-released self-titled LP follows the folk blueprint to a tee. But that’s not to say that it isn’t brimming with quaint, heartfelt tranquility.

In fact, The Head and the Heart’s debut album is actually quite enjoyable. Though it’s not overly challenging, the LP is quirky and endearing.

Buoyed by a simplistic minimalism, the album invokes contrarian themes of loneliness and connection. Sharing vocal duties, Jon Russell and Josiah Johnson communicate an innocence sparked by tenderness but punctuated with fragility. There is unease at the heart of this album, and the LP’s sorrowful nature is consistently at odds with the optimism striving to endure.

“Ghosts” is bouncy and spirited with a Ben Folds Five vibe, while “Down in the Valley” transitions from a weeping, melancholic ballad into an exuberant exploration of hope.

Sadly, the primary drawback of the LP really has nothing to do with the album itself. Instead, it seems to have more to do with folk music’s recent mainstream oversaturation. Jeopardizing originality and talent, this issue always tends to undermine honest intentions by bands like The Head and the Heart in their struggle to achieve success through sheer perseverance.

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Music Reviews,

Arctic Monkeys- Suck It and See

Album: Suck It and See

Label: Domino

Rating: 4/5

 

It’s never an easy undertaking to predict the sonic structure of an Arctic Monkey’s album. Their first two LP’s, Whatever People Say I Am, That’s What I’m Not and Favourite Worst Nightmare, were hyper-frenetic garage rock anthems while their third album, Humbug, was largely inspired by producer Josh Homme’s (of Queens of the Stone Age fame) fondness for classic rock with a psychedelic twist. Suck It and See is yet another reinvention that heavily embraces vintage rock of the 1950s and 60s.

In all honesty, it did take a few listens of Suck It and See to fully comprehend the denseness of its body. Seductively ensnaring, the music slowly and methodically glides upon you with mesmerizing serpentine prowess.

“Don’t Sit Down ‘Cause I’ve Moved Your Chair” is dark and foreboding with a dizzying array of dense guitar soundscapes and hypnotically dour bass lines. While “The Hellcat Spangled Shalalala” and “Piledriver Waltz” revel in the unpredictability that has come to define the recent musical landscape of the Monkeys.

Easily one of the most intriguing lyricists in modern music, lead singer Alex Turner incorporates wordplay with an almost Dylan-esque sensibility. Full of bewildering imagery that borders on the fantastical and enigmatic (“Jigsaw women with horror movie shoes/ Be cruel to me cos I’m a fool for you”), Turner’s talent for colorful and playful explorations of vocabulary is at its finest and most puzzling during Suck It and See’s duration.

Though the sound of the Monkey’s continues to deviate from its original blueprint, the thematic structure of the band’s art remains largely consistent with previous releases. From the very first album, Alex Turner has brazenly identified himself as a volatile outsider, and with a Jarvis Cocker sort of swagger, Suck It and See once again delivers a funky romanticism peppered with antagonistic richness.

It’s nothing short of bizarre to witness the continual evolution of the Sheffield, England quartet. With simply four albums, the Arctic Monkeys have adamantly refused generic limitations. While some of their fan base may be diminishing as a result, their artistic diversity continues to expand with notable results.

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Pop Culture,

Seinfeld – 10 Years Later

Ten years ago, television suffered a tremendous loss. One of the greatest, if not most important, sitcoms of all time called it quits. ‘Seinfeld’ was a show that desired to be different. It did not focus on contemporary moral plight but rather highlighted the minute details that drove society crazy (only they were unaware that it did). As writer Bill Zehme once noted in a magazine dedicated to the show entitled ‘Seinfeld Forever’: “Seinfeld gave America permission to obsess over all that is inconsequential in life”. Truth be told, ‘Seinfeld’ was more intent on focusing on the idea that eating your peas one at a time was a far more relatable problem for society to contemplate then it was to focus on issues of race, gender, and politics. ‘Seinfeld’ has always been incorrectly defined as a ‘show about nothing’. On the contrary, the show was about everything, society was just not aware of it.

 

Much Ado About Nothing

 

‘Seinfeld’ was a show which celebrated the idea that nothing could mean everything. For nine seasons and over 170 episodes, viewers became emotionally intertwined with the likes of four characters, Jerry Seinfeld, George Constanza, Elaine Benes, and Cosmo Kramer.

For all their narcissistic, conniving, and insensitive traits, viewers still came to sympathize with these highly unlikable characters. These characters never emotionally grew in their nine years of existence, and never attempted to change. They were comfortable with their lifestyle for the most part but yet remained undeniably angry at the world around them. They would constantly fret and agonize over problems at Monk’s coffee shop, or they would journey to Jerry’s apartment to further complain about the injustices perpetrated by society against them. These characters never strived to change, but viewers continued to love them anyways. Perhaps, it was because they could so easily relate to the problems they endured.

Let’s face it. This world is a selfish place. For many people, the world revolves around them and them alone. They are unconcerned with the poor and needy, but are sometimes too afraid to admit this. What ‘Seinfeld’ did was to create an outlet for these people. The show highlighted the fact that people were not alone in this matter. These characters were just as shallow and self absorbed as them. According to Larry Charles, one of the many talented writers for ‘Seinfeld’: “People rarely say exactly what’s on their minds in real life, so by lying, Jerry and George and Elaine and Kramer were all being honest. It’s an honest show about lying” (Seinfeld Forever, Zehme). As heartless and mean-spirited as this sounds, it is undeniably true fact about this sitcom. According to Zehme: “And even if they (the characters) never learned anything, they handily grasped their own limitations as humans, which was an exemplary lesson to the rest of us”.

 

Ten Years Later

 

So why is Seinfeld still so important ten years later? To be honest, it is very difficult to answer that question. However, there are many elements that may be noted about why the show was successful in the first place. The show was hilarious, the acting was great, the writing was spectacular, the situations were absurd, the pop culture jargon was innovative, and the supporting cast was well rounded and abstract. In fact, there may not have been one ‘normal’ character on the show. They all had their flaws.

Perhaps this is why the show remains influential to this day. These characters were bizarre and creative, which made them real. No one was perfect, and the situations they created for themselves were inane and ridiculous, but yet somehow remained relevant to the world lived in.

Just recently, a magazine counting down the most important aspects of entertainment in the 1990s was released and deemed, (perhaps) shockingly, that ‘Seinfeld’ was rated number one. The reasons were that the show was considered highly influential and an important mode of entertainment not to be forgotten. This is in some ways amusing considering the fact that the show struggled for its first three seasons to find an audience, and consistently remained on the verge of cancellation. But, as it is with most great shows, ‘Seinfeld’ eventually hits its mark and changed the way the world would forever be embraced.

Society became aware of the fashion no-no’s of the puffy shirt, and the errors in giving advice to a Pakistani restaurant owner on how to spruce up business. Whatever the miniscule incident that occurs in one’s day to day life, ‘Seinfeld’ has more then likely covered it in detail. To say the show is about nothing is an extreme error in judgment. To say the show is a timeless masterpiece may be more fitting. Whatever the case may be, the show will continue to live on as a relevant piece of entertainment for all to enjoy.