Category: Reviews
Midnight Reruns: Midnight Reruns
With a 90’s garage-band punk sound, Midnight Reruns opens with energy in “Going Nowhere”, in which Graham Hunt sings, “I’m here for you and no one else…I ain’t going nowhere without you.” It’s as if Hunt exclaims his longing and promise to his restored project from 2010. Singer, songwriter, guitarist, Graham Hunt retired his position as guitarist of Trapper Shoepp & The Shades to dedicate his time to Midnight Reruns (both are Milwaukee-based). With the contributions of Karl Giehl, Brady Murphy and Sam Reitman, Midnight Reruns has proven to be quite versatile and layered.
The band has an expansive capacity for layered sounds and moods. For example, in “T.V.Z” and “Basement Guy”, a piano sets the tempo that the rhythmic drums work well with. Likewise, in most songs, two guitars can be identified, both very strong and harmonic, to create a somber mood, as in Grand Slam, or a sprightly sound, as in “King of Pop”. Although most of Midnight Rerun is upbeat, there is no lack of soft sounds. In fact, some of the most upbeat songs on the album start slow, like “King of Pop” and “Stop Lyin’ Down”. “Interlude” is the best example of this dream-like, lullaby sound. One would definitely be mistake to consider Midnight Reruns a flat sound, instead they force you to rethink your judgments and listen more than once, as stated in “Pharmacy Eyes” when Hunt sings, “Don’t look at me with those judging eyes, I can tell you’re sick of me.”
Moreover, Midnight Reruns brings about nostalgia, hence the name of the band, a message of replaying and feeling comfortable with past midnight mishaps. Hunt sings of memories, misadventures, and future ambitions (or lack of). “Grand Slam” relates of heartbreak, loneliness and tears, while Hunt reminisces in “Summer Smoker”, “I go to a place where I can smoke or get high…can we all just go back to that day in July”. The album ends with “Basement Guy”, which seems to be a reply to the monotonous and vague question, “Where do you see yourself in five years?” Apparently, “scarfing down on Cheetos”, being complacent, and never leaving the basement. Midnight Reruns is Dazed and Confused. It is high school. It is regret. It is contentment. And it is available November 12th.
FOR FANS OF: Superdrag, The Replacements, Weezer, Mean Jeans
Sleigh Bells at Georgia Theatre
What do you get when you mix heavy metal, hip-hop, punk, pop, and electronica? The incredible juxtaposition that composes Sleigh Bells, of course. Since releasing their debut album, Treats, in 2010, Sleigh Bells has continually captivated concertgoers with their crunchy guitar leads and sugary vocals. But those of us who were fortunate enough to be at The Georgia Theater on November 5 know that it’s the band’s contagious energy and passion that keep listeners begging for more.
As the lights began to dim, a drum-line-style beat blasted an apparent call to arms that was fit for the flag-like backdrop, striped red and white. Each member of the band slowly answered this call as they took their place on stage. There was no mistaking lead guitarist Derek Miller as he stormed onstage. Wearing a camouflage shirt with pants to match, Miller strapped on the tiger-print guitar that adorns the cover of the group’s most recent album, Bitter Rivals. With one quick stroke of his strings, Miller sent a piercing chord through the theater. The crowd’s anticipation was at a peak as we roared in unison with Miller’s guitar. Just as the crunchy chord began to fade, lead singer Alexis Krauss took her place center stage. Wearing a leopard-print fighter’s robe, she hopped around beneath the strobe lights, throwing punches at the air like the heavyweight champ. All at once, Miller thrashed at his guitar, and the show opened with “Minnie,” a drum-driven track from Bitter Rivals that could stand alone as a testament to the band’s uncanny ability to combine heavy guitar riffs with dreamy hooks.
Miller and Krauss’s chemistry was immediately evident as they danced and head banged their way through “Tiger Kit” and “Comeback Kid,” a fan-favorite that had the floor shaking as the audience jumped with the band. When the distorted guitar and melodious synthesizers faded, Krauss asked us all to sing and dance with her for their next song, the unmistakable “Crown on the Ground.” The crowd erupted as the punchy melody blasted through the theater before seamlessly fading into the title track of their new album, “Bitter Rivals.” The experimental pop group’s intensity combined with catchy tracks like this one made it impossible not to move with each song. When Krauss danced, so did the audience; jumping and bobbing around with the singer’s velvety vocals.
The energy never waned as the band mixed seven songs from their new album with older hits like “Riot Rhythm.” Miller’s hardcore background was evident as his screeching solos mingled gracefully with Krauss’s intoxicating melodies. Before announcing their last song, Krauss displayed the sincerity that defines Sleigh Bells when she expressed her love for Athens, The Georgia Theater, and the crowd that couldn’t help but dance with her.
As “Infinity Guitars” (a song that embodies its title) came to a close, there was no doubt that an encore was imminent. The entire audience showered the empty stage with praise until Derek Miller, Alexis Krauss and the rest of Sleigh Bells returned. The encore opened with “Young Legends,” a song that highlights the band’s ability to create a catchy, melody-driven track without sacrificing the meaningful lyrics and noise-heavy style that catapulted the band into the public eye back in 2009. Sleigh Bells concluded the night with “A/B Machines,” but not before pulling fifteen members of the audience onto the stage with them. While Krauss belted out the song’s lone lines, “Got my A machines on the table, got my B machines in the drawer,” she embraced the dancing audience members onstage, turning the night into exactly what it was: one giant dance party.
Less Than Jake: See The Light
For the first time in five years, Less Than Jake is dropping a full-length album (THIS MONTH), and to say that there’s much anticipation as to what to kind of musical magic these guys have created wouldn’t even scratch the surface. Less Than Jake has become a timeless staple in the punk/ska scene, with a fan base literally ranging for multiples of generations. The new album, titled See The Light, is without a doubt a back-to-the-basics project that worked in all the right ways. Vinyl Mag got a first listen to the album, and we decided to share our thoughts with you guys…
The 13-track album kicks off with “Good Enough”, a track deeply seeded in Less Than Jake’s ska roots, setting the tone for – presumably – a feel good album.
“The Loudest Songs” is the fourth track on the album and what I would consider the anthem of the album. “Do you really think summer can save us? Do you think the loudest songs can be the cure? I believe it’s possible that words and chords can make us strong and make you feel alive- the loudest songs.”
By the time “Bless The Cracks” comes on, the one thing that really comes to mind is that this album is shaping up to be a reflection – almost a tribute – of the past two decades of LTJ’s sound; not a whole lot of the “now,” but ample amounts of “then.” And we’re not complaining.
As I’m making my way through this album, another fact I’ve found noteworthy is the distinction between each of the songs. Each is either predominantly ska-based, punk-based, etc., and the fact that you can pinpoint these influences in each song makes it a really fun listen.
With that said, track 10, “Give Me Something To Believe In” really embodies their ska sound, and the very next song, “Sunstroke”, goes in the complete opposite direction and takes on the punk rock sound.
“Weekends All Year Long” is the last track on the album, hyping the energy back up to level 10 one last time before the album is over, and you inevitably play it again…I certainly did.
As a product of the later generation of the punk-rock days, I can honestly say I missed out on a good bit of the Less Than Jake glory days; but I can say that I truly appreciate what’s happening in See The Light, no to mention the blood, sweat, tears, and years these guys have put into the making of this. The album drops November 12th, and the band will be touring the states through December- act accordingly, Vinyl viewers!
*Vinyl Mag will also be INTERVIEWING these guys at their show at the Georgia Theatre in Athens, GA on November 6, so get ready – and Athenians, we better see you there!
Blanche Blanche Blanche: Breaking Mirrors
It was an interesting experience making homemade cookies to Blanche Blanche Blanche’s most recent album, Breaking Mirrors. I felt mad and impatient, ready to throw my no-bake cookies against the wall. That’s an exaggeration, of course, but the essence is very real. Blanche Blanche Blanche even warns on Facebook, “Don’t come to our shows if you don’t want to kick ass or get beaten up!!!”
On the surface, Smith’s voice sounds monotonous and Phillips’ guitar sounds repetitive, but I think that’s the point. It is not that Smith is incapable of canorous sound, as we hear in “Papa’s Proof” and “Wink with both Eyes”, but her voice strengthens the rawness and punk edge of the anti-materialistic message. Repetition plays a large role in mocking the culture of materialism as heard in “Fire” and “Zeroing In”. At some points, the songs seem to mimic an infomercial with the repetitive beats and lyrics. This message becomes even clearer in “Crowd Noise” when Smith sings, “No need to relay things, as we respond to playthings. We decide the ratings” and “The same things are the good things”, which sarcastically portrays the idea that we consume media, and media consume us. Literally, I have watched in amazement people almost run into each other while texting and walking, and not once do they avert their eyes from the technology that has proven to be there for us when we most need it (BBB’s sarcasm is rubbing off on me).
The fact that it is dark and not catchy only emphasizes the anti-material attitude of BBB. It challenges you to sit and listen, and dares you to delve deeper to find out what BBB thinks about secular satisfaction. BBB wants us to ask ourselves, “What do ‘things’ mean to us?” What does “house, dinner, nail polish, remover….” mean to us? It is important to transmit these thoughts through an industrial genre, for it makes obvious the terror of being a slave to consumerism and conformity; it parodies our obsession with media as Smith screams, “I don’t want it, that’s the ad”.
Get passed the necessary harshness and blunt attitude to hear the message we all know is true: having ‘stuff’ does not make you smarter or a better person. If it is too much to take in, take a minute to reflect while listening to the ambient sounds of “Market Thrush”, and then vigorously nod your head or pound your fists to the rest of the album. Blanche Blanche Blanche’s newest album, Breaking Mirrors comes out November 5th.
The Swellers: The Light Under Closed Doors
Contrary to what their last album may have led you to believe, The Swellers have not, in fact, ran out of places to go. The band released their latest album, The Light Under Closed Doors, earlier this month, and Vinyl got a first listen. Were we impressed? Definitely. Surprised? Not in the least.
As a devoted Vinyl follower (you are, right?), you already know that Vinyl has a deep appreciation for these guys (see previous interview from 2012). This album has proven us right about The Swellers once again.
The first song on the album, simplistically titled “Should”, kicks the album off with a bang. This is where they catch my attention; this is where I begin to get excited for what my ears are in for throughout the rest of the album.
The second track, “Big Hearts”, picks up the pace a bit and gets back to the roots of the age-old “punk rock problems.” Perspective is easily lost when it comes to what any band trying to make it actually goes through, but this track reminds you of the heart that goes into the lifestyle. Carry on, you wayward souls, because you’re efforts are not going unnoticed.
“Got Social” is the third track, and one that I feel I (and probably you guys, too) could really relate to. You know that fairweather friend/ex/whatever that decided they were too cool and, essentially, forgot where they came from or the ones who were there for them along the way? Those guys suck- this song does not.
The next three songs kind of fell under the radar a bit in comparison to the album, but not nearly enough to sway my affection from what is really going under those closed doors.
Another song that really caught my attention was “Designated Driver”. I again found myself relating to the lyrics “Last night proved to be an adjustment/ against my better judgment/ cleaning up for drunken friends/ I must have slipped your mind again.” This track is full of catchy symbolism, and yes, I’m a sucker for that kind of writing.
The Swellers cleverly cap the album off with “Call It A Night”, a track singing of knowing when to give up and when to just say when.
All in all, this album had me feeling like I was discovering The Swellers for the first time all over again. Like a fine wine, these guys just keep getting better with age. The Swellers are touring the states throughout the month of November, and if you value our Vinyl opinion as much as I think you do, catching their set wouldn’t be a bad idea.
The Swellers Tour Dates:
Oct 29 – Ybor City, FL – The Ritz (Pre-Fest)
Oct 30 – Pembroke Pines, FL – Talent Farm
Nov 1 – Gainesville, FL – 8 Seconds (The Fest)
Nov 2 – Orlando, FL – Capstan House
Nov 3 – Buford, GA – BlastHouse (w/On My Honor)
Nov 4 – Arab, AL – Roller Knights (w/On My Honor)
Nov 5 – Knoxville, TN – Longbranch Saloon (w/On My Honor)
Nov 6 – St. Louis, MO – The Demo
Nov 7 – Tulsa, OK – House
Nov 8 – Dallas, TX – TBA
Nov 9 – Austin, TX – Infest
Nov 10 – San Antonio – House
Nov 11 – Midland, TX – Pine Box
Nov 12 – Albuquerque, NM – Cat House
Nov 13 – Tempe, AZ – The Spot
Nov 14 – Henderson, NV – Eagle Aerie Hall
Nov 15 – Encinitas, CA – House
Nov 16 – Canoga Park, CA – Cobalt Cafe
Nov 17 – Pomona, CA – Montano’s House
Nov 18 – Ventura, CA – Zoeys Cafe
Nov 19 – Los Angeles, CA – The Redwood Bar & Grill
Nov 20 – Fresno, CA – Strummers
Nov 21 – Oakland, CA – 1234 Go! Records (w/Heartsounds)
Nov 22 – Salt Lake City, UT – TBA
Nov 23 – Cheyenne, WY – Lions Park Old Community House (Early Show)
Nov 23 – Denver, CO – Marquis Theater (Later Show)
Nov 23 – Denver, CO – House (Even later show, yes 3 in one day)
Nov 24 – Omaha, NE – The Hideout
Nov 25 – Mankato, MN – The Cherry Pit
Nov 26 – Minneapolis, MN – Charlie Siren House
Nov 29 – Grand Rapids, MI – The Bunker (Cvlt Pizza)
The Bottle Rockets: Bottle Rockets and The Brooklyn Side Reissue
When Whiskeytown was merely a blip on the mind of a 19-year-old Ryan Adams, one alt-country group was already a step ahead. Formed in St. Louis in 1992, The Bottle Rockets – founded by Brian Henneman, Mark Ortmann, Tom Parr, and Tom Ray – treaded between the then-wide lines of punk and country. With the release of Bottle Rockets and The Brooklyn Side in 1993 and 1994, respectively, the band pulled the trigger on a roots-rock revolution, meeting eager listener and media acclaim.
20 years, nine releases and two new members later, BROX – as their fans affectionately call them – is still as fresh and relevant as ever. And on November 19, they’re proving it with Bottle Rockets and The Brooklyn Side Reissues, a deluxe set complete with two discs of remastered tracks and 19 unreleased bonus tracks. Fans will even be able to scour a 40-page booklet which sums up the band’s massive role in the 90s alt- era and includes contributions from the likes of Lucinda Williams and Steve Earle.
So, remarkable musical history aside, what’ll you experience when you take a listen? In many ways, Bottle Rockets is exactly what you’d expect from an early alt-country record: it’s loud, it’s fast, and for the most part, it’s fun. Its country roots are bold and apparent. Take “Gas Girl”, the record’s (insanely brief) second track: a Southern-style, simple guitar is the perfect backdrop for Henneman’s twangy vocals, bellowing about being in love with a gas station girl. Quite the country topic, and did we mention Henneman often sounds alarmingly like Michael Stipe?
But we have to admit that we were surprised at many clever and incredibly pensive lyrics on the album. “Wave that Flag”, for example, is a commentary on the widespread display of the rebel flag in the south today: “Maybe bein’ a rebel ain’t no big deal/But if somebody owned your ass/How would you feel?” There’s no denying that a message like this is refreshing to hear from a country-influenced band. Similarly, “Got What I Wanted” warns about the dangers of cheating, while “The Very Last Time” nearly bubbles over with anger toward a lover.
The great thing about this reissue, though, is that Bottle Rockets doesn’t have to end with “Lonely Cowboy” like it usually does. Listeners will be thrilled to find 13 previously unreleased tracks, including 1991 collaborations with Jeff Tweedy (of Uncle Tupelo and Wilco) and Jay Farrar (of Son Volt). These backing vocals and instrumentals add a more mature dimension to tracks like “Indianapolis” and “Idiot’s Revenge”.
A side-by-side listening of Bottle Rockets and The Brooklyn Side proves that while the former is groundbreaking and largely country-focused, in the latter we see a more mature BROX. The very first song, “Welfare Music”, puts into words the monetary struggle that thousands of Americans face every day; tracks like “Pot of Gold” have a more sophisticated, pared-down country feel, one that’s not so in-your-face. The gang has clearly developed with this release, and knows well enough that a twangy banjo has no place in a tune with lyrics such as, “If I’m just sleepin’/And this is a dream/Let me sleep forever, tell me I’m dead.” Truly, It’s no surprise that this album is the one that skyrocketed the foursome to fame.
But don’t go thinking that this band stopped having any fun in ‘94. Featured on The Brooklyn Side is perhaps the most comical – and our personal favorite – Bottle Rockets track. “Idiot’s Revenge” describes a kind of person all of us have met. Here, they hilariously parody a girl that pretends to like Dinosaur Jr., thinks she’s “sophisticated” and “political”, and is too good to listen to this insulting song written about her. “Radar Gun” pairs edgy instrumentals with a mockery of police officers, and, finally, “1000 Dollar Car” warns about buying a car that “ain’t worth shit.”
Again, following The Brooklyn Side are 6 bonus tracks, most of which are acoustic or live recordings at Mercury Lounge in New York. Besides being a rare glimpse into the 90s music scene, these recordings prove that the Bottle Rockets are just as talented live as they are laid down on a record. Check out “Farmer John” for an ideal example of their live flair, and make sure to pick up the entire compilation in November – your inner southern punk (it’s there, we promise) will thank you.
A Proper Goodbye: Breaking Bad series finale ‘Felina’
It’s over. Finished. No more Heisenberg. No more Jesse. No more science…bitch.
Before we start, just be warned that I’m going to be using the words “genius” and “perfect” a lot in this article.
Breaking Bad has earned its place at the very top of the list of my (and millions of others’) favorite shows of all time. So I was more than a little sorry to see it go (what am I going to do on Sunday nights now? Watch Low Winter Sun? Doubtful). However, I am so grateful to Vince Gilligan for playing it smart, not dragging it out for three seasons too long just to keep getting paid, and achieving something that so few of my favorite shows have pulled off (*cough* LOST *cough*) – a perfect ending. Really, the only word that I can think of is genius. Gilligan is an absolutely brilliant writer; he tied up every loose end so neatly…it was truly poetic.
Before we go on, let me just go ahead and warn you – SPOILER ALERT – although, if you haven’t already watched “Felina” or at least heard about it, I’m not sure if you know what the Internet is, so you’re probably not reading this article.
Here are the main parts of the finale that I want to talk about. I’m going to assume that you have seen all of the seasons and not overly explain the back story.
1. Walt having Gretchen and Elliott Schwartz act as benefactors for Walter, Jr./Flynn/whatever he’s calling himself these days was absolutely perfect. In the very first season of Breaking Bad – episode 5 “Gray Matter” – Walt refuses the Schwartzes’ proposition to pay for his cancer treatment. Walt is completely offended by their offer, continuously bitter about their success from Gray Matter and too prideful to accept their charity. I mean, he would rather cook meth than receive anything from these people.
Throughout the seasons, this is a continuing theme. Walt’s never-ending resentment of the Schwartzes’ fortune becomes his pace car, and he continues to measure his own success by how close he is to building an empire that competes financially with theirs.
In addition to his inability to accept charity is his arrogant need to get credit for earning this money for his family, which makes money laundering pretty tough. He refuses Saul Goodman’s advice to just filter his money through Walt, Jr.’s donation website, SaveWalterWhite.com, unable to accept the credit for their income going to an “anonymous donor.”
In the end, however, the story comes full circle. Walt goes to Gretchen (who is wearing a fabulous jacket) and Elliott’s house and forces them to take what is left of his money (a mere nine million dollars…chump change) and donate it in the form of a trust to Walter, Jr. on his 18th birthday, knowing that any other way he tried to get it to his family would result in it being confiscated by the government.
So, basically, after all of the five seasons worth of corruption and destruction and death that Walt was willing to cause in order to keep his ego and pride in tact, Gretchen and Elliott still get credit for saving the White family out of charity. Which means that this was pretty much all for nothing. Well played, Gilligan…well played.
2. I was super pumped to get to see Badger and Skinny Pete one last time. I love those dudes. And I totally called the whole laser pointer thing…just saying.
3. Walt’s goodbye to Skyler made me tear up. When Walt came back to say “a proper goodbye” to Skyler and finally admit to her that all that he did was not, in fact, for his family as he had claimed for so long but was, in fact, for him…dude, that was so raw. Skyler finally hears the truth from him, and we see a glimpse of the old Walter White.
4. The way Walt died was brilliant. He had to die…he just had to. For a few seasons now, I have rooted for Jesse to be the one to kill Walt in the end. But when it finally came down to it, I’m glad he didn’t kill Walt in some final face-off where Walt was still fighting. This end was much more real and heartbreaking. It was perfect and fitting that Walt’s final act took him out. He got himself in that room as Heisenberg, and he took himself out along with all of the other scumbags in there. Everyone in that room deserved to die except for Jesse, and he got them all…including himself (except for Todd. Todd was a truly despicable character, and Jesse deserved the satisfaction of taking him out). Jesse is free, and he drives off…into the sunset? To go find and raise Brock? We don’t know, but we do know that he’s going to be okay.
5. Walt shooting Jack mid-sentence when he is trying to offer Walt his money back was, again, brilliant. Heisenberg is dead, and along with him, his greed. It’s not about that money anymore. Jack is just too stupid to realize it.
6. Lydia had to drink that ricin. I hated Lydia. From her shakiness to her ruthlessness to her stupid camomile and stevia habit. I hated her. That woman needed to go. I’m so happy that she’s the one who got the ricin and that it was in her tea -that was just elegant. Maybe that will teach you to use regular sugar like a normal person, Lydia. Oh wait, you can’t – you’re dead.
The finale of Breaking Bad was badass, yes. But it was also heartbreaking. The entire series is honestly heartbreaking. Witnessing the continuous corruption and destruction of a man who was at one point decent and then seeing him get what is coming to him takes a toll. It is less satisfying to see Walt reduced to nothing – having lost his family and everything he ever cared about – than expected, as you have been rooting for his comeuppance for so long. You are reminded that he is a flesh and blood human being, not just some raving monster that you love to hate. Bryan Cranston’s genius and pure talent really come through here, making the viewer surprisingly sympathetic to Walt, even with all that we know about him. But still, you know that Walt has to die.
All in all, “Felina” was a perfect ending to a brilliant show. Now excuse me while I go rewatch all of the seasons on Netflix.
Yeah Dexter, We Remember the Monsters — Do You?
When we invest 96 Sundays into a series that should have ended four stale seasons ago, we don’t want a fairytale ending — we want shit to go down.
Dexter could have left with dignity. It could have spun full circle with poetic justice, blindsiding viewers by what we claimed to want but suddenly regret. The credits could have read like an obituary in the aftermath, paired with Dexter’s devastating “Blood Theme” with that aching violin. The series finale could have been a successful close — it could have been the finale of season four instead of eight.
It’s a tough blow to watch sloppy storytelling replace Dexter’s eerie suspense while melodramatic mediocrity replaces his once-witty narrative. Since season five, he’s regressed from a “neat monster” who happens to have a son, to a boring father who happens to kill people— in ways implausible to any other television show. Sure as a blood spatter analysis he can sneak clues from the Miami police department, but getting away with murder in an airport or being allowed first entry at crime scenes is something else. After seeing his mother dismembered in a shipping container as a child, Dexter (Michael C. Hall) has an intrinsic need to kill. But has anyone asked series writer James Manos if Dexter grew a need to be Amelia Bedelia? Dexter forums estimate that Dexter has killed at least a hundred people under his moral code to be certain each victim is a murderer too — buying into this and seeing his rushed ‘the world is my kill room’ behavior, we’ve been a little confused. Then again, of course he’s always unscathed — each character is oblivious to the point of stupidity in a show that’s become a parody of itself.
Season eight’s over-the-top plotline sees Dexter working with a British psychiatrist on the hunt for a new killer in Miami nicknamed “the Brain Surgeon,” who sends her jars filled with pieces of brains floating in formaldehyde. Apparently every third person in Miami is a serial killer… I wonder if it’s my aunt, my grandma, or my grandpa that I should fear.
Like most of Dexter, there’s little surprise when the finale, “Remember the Monsters?,” finds Dexter in a face-off with the season’s killer. Similar to all seven of the other season finales of Dexter with the exact same scenario, the overarching question for a good chunk of the episode is “will Dexter get the killer?” The sentiment feels like an episode of Scooby Doo watched as background noise— is seven times not enough to make a trend? While there is another major plot line driving the finale, the sentiment is the same filtered into a different genre. While Dexter is heading towards his face-off, he’s also trying to reach a happy ending with his girlfriend, who returned halfway through the season from his past love life. To remind us that Dexter is a dad and to make us feel warm and fuzzy (wait, isn’t this a show about a serial killer?) Dexter’s son —either the most convincing doll ever created or the most terrible child actor of all time— tells him that he also loves Dexter’s girlfriend, in the most sitcom-esque way possible. The fairytale ending is near, but with cringe-worthy cliché hints of “a storm coming,” the biggest question in the finale is the same question we’d have in a romcom — “will Dexter end up with the girlfriend and the happy family?”
A massive amount of what happens in the finale of Dexter seems obvious and expected, but there is one major plot point that would have seemed monumental in a previous season of Dexter. If it hadn’t been rotting of plot holes, cheesy reactions, and Dexter’s constant hidden ability to freeze time while he does stupid things that he’d definitely get caught for otherwise, we would have been surprised. But when anything goes and no questions are asked, it’s too hard to care — then again, maybe I missed something as I was rolling my eyes.
We didn’t want a happy ending — and Dexter didn’t give it to us. The finale didn’t mend or break our hearts, and it definitely didn’t swing full circle as a series — perhaps the writers gave up and left that job to Breaking Bad. Instead, the Dexter finale didn’t do anything. It gave us a let-down on all fronts, as we watched eight whole seasons just to get the last Dexter quote to define the series: “I would change everything if I could.” I would too, Dexter — starting with my time spent watching the past four seasons. Dexter is off the air, and as it turns out, my black screen is equally as satisfying.
Music Midtown 2013
With a lineup featuring the likes of Yeah Yeah Yeahs, Arctic Monkeys, and Red Hot Chili Peppers, Music Midtown 2013 felt like Christmas come early. After all, music lovers of all types found themselves driving to Atlanta September 20 and 21, hardly minding the heavy metropolitan traffic at all.
The festival featured acts from grungy punk to radio pop and back again, so instead of your typical review, Vinyl has compiled a Music Midtown Awards list. If you were there, be grateful. If not, live vicariously through us. Read on.
Most Energetic: Phoenix
What’s French, always wearing a blue button-down, and hanging from the sound tent? That would be Thomas Mars, Phoenix’s insanely animated frontman. We could barely listen to Phoenix’s tunes – new and old – because our eyes were so busy popping out of our heads. The group was arranged in a perfect line, in their usual fashion, until Mars began crowd surfing and, eventually, dancing toward the sound tent past a gaggle of shocked viewers. He soon crawled up one of the tent’s poles, singing from above like the omniscient, musical being he is, before running back onstage to close the show.
Most Likely to Cover You in Mud: Black Lips
Yeah, yeah, everyone hates the rain. But on Saturday, the muddy puddles beneath our feet only made the Black Lips’ set grittier and a ton more fun. We pushed and slid around the pit to the beat of old favorites like “O Katrina!”, but also frequently stopped to pay close attention to new songs we’d never heard before. As we walked away from the stage, knee-deep in mud, we knew the show had been a badass, punk-rock success.
The Time Traveler Award: Arctic Monkeys
The Monkeys’ set took us straight back to the 50s, complete with a crooning voice and silver tuxedo jacket. If you haven’t seen our review of Turner and crew’s new album, AM, here’s a summary: it’s fantastic. The group played the sexiest songs off the new release, making sure to also throw in favorites from Humbug and Favourite Worst Nightmare. But the 50s vibes substantially accented the show – the foursome could have been mistaken for Dion and the Belmonts, especially when Turner whipped out a comb and slicked back his dark, polished hair.
Most Likely to Turn You On: Yeah Yeah Yeahs
Let’s just get right to it: whether you’re a boy or girl, Karen O is sexy. I mean, who could resist a rock goddess with a grunge-tastic voice wearing a studded, sequined getup? We almost cried listening to “Maps”, and nearly screamed ourselves hoarse to “Date With the Night”. Even the trio’s newest songs, which many are a bit skeptical of, sounded cooler than ever. But we were most excited by O’s stage presence. Backed by guitarist Nick Zinner and drummer Brian Chase, O could be seen unzipping her pants, dropping the microphone in, and pulling it through and back up to her lips.
The Throwback Award: Red Hot Chili Peppers
The Chili Peppers have been around for 30 years, but watching them onstage, you’d never be able to tell. Through two hours of classics from “Give It Away” to “Scar Tissue” and even “Dani California”, the group danced and made witty comments like they were a bunch of 20-year-olds again. And don’t even get us started on the crowd – the audience was so far back that it seemed like the entire world was at Piedmont Park that day. But who wouldn’t have wanted to be?
Gentlemen of the Road: Day Two
The sweltering heat that arrived with the second day of Mumford & Sons’ Gentlemen of the Road (GOTR) St. Augustine Stopover was the type of weather that made an air-conditioned hotel room seem like paradise. Knowing that the ocean was less than a mile away, it was hard to resist the beckoning surf and white sand while I made the sluggish trek to downtown St. Augustine and Francis Field. If it wasn’t for my love of music and The Hyppo, a local gourmet popsicle shop, and their stand within the festival I’m not sure I would have survived the day.
My arrival came right as Canadian indie rock band Half Moon Run was finishing up their set and just in time for American singer-songwriter Justin Townes Earle. Earle is best known for his artistry with folky lyrics with blues and country melodies, his father, alternative country artist, Steve Earle, and, perhaps after his Saturday performance, his semi-snarky and “calling it like he sees it” disposition. Astonishment and a “Who the hell does this guy think he is?” swept the crowd when he addressed the fact that he does not take song requests during any of his shows since he stopped playing for tips. He also added, “ You would know this if you came to any of my shows.” His cynical tone didn’t sit well with the audience after that commentary and many replied, “I won’t be coming to any of your shows with that attitude!” If I was on stage, I’m not sure I would have said that to a 10,000+ audience, but then again I don’t think I can really blame Earle.
The sun was beginning to set behind the single main stage and crowds were still piling into the festival as The Vaccines took the stage. The English indie rock band seemed to bring a new life and energy to the festival as frontman Justin Hayward-Young poured his entire being into his red guitar and vocals. Putting it lightly, he rocked the shit out of that stage. His thrashing stage presence was reminiscent of gritty punk show you would only find in a seedy, black walled and graffitied club. Although The Vaccine’s sound was not as edgy, their set was more of a post-punk revival fuzed with pop rock.
The Vaccine’s solo set would not be the only time they had on the GOTR stage that evening. They would later share the stage with Mumford & Sons, but they also filled in as backing for fun.’s replacement, Mr. John Fogerty, former Creedence Clearwater Revival frontman. We can all appreciate fun.’s catchy tunes and bubbly performances, but there is no comparison to such an American legend and I must say this replacement choice was an upgrade. In addition to The Vaccines, Fogerty shared the stage with his son Tyler Fogerty and Mumford’s Winston Marshall. We were immediately served up the CCR classic “Susie Q,” followed by Fogerty’s “Old Man Down the Road.” Next up was a “Fortunate Son” that Fogerty and The Vaccines played with such ease you would have never known the efforts it took for all artists to get to this point. To fill the slot, Fogerty took an overnight flight from L.A. and spent the hours leading up to set rehearsing.
Without any surprise, Mumford & Sons came out for the remainder of this memorable set. Mumford and Fogerty collaborated on fan favorites “Down on the Corner” and a fitting swampy “Born on the Bayou.” As the lightening in the navy blue sky began to flash overhead, “Bad Moon Rising” rang out over Francis Field; Mother Nature could not have planned her light show more perfectly. A 25,000 person sing-a-long to “Proud Mary” concluded the set and as Fogerty left the stage festival goers cheered and pounded the air with their fists begging and screaming for more. At this point any, and I say this as if there even was any to begin with, disappointment with fun.’s cancellation was a very distant memory and Fogerty proved to be an absolute incredible choice because, as Marcus Mumford stated, “ John Fogerty was fucking awesome!”
Something between a captivating theatrical performance with a climaxing finish and a photographer’s nightmare unfolded as Mumford & Sons took the stage and performed “Lovers’ Eyes” to a packed out dusty field of thousands. Musicians and audience were immersed in total darkness as Marcus Mumford’s vocals struck the heartstrings of those in earshot. As the song intensified, particularly when Mumford roared the end of the chorus, the signature stringed lights that hung from stage to soundboard and stage lights would momentarily illuminate the faces of Marcus, Ben Lovett, Winston Marshall, Ted Dwane, and the 25,000+ in attendance. Although frustration could be sensed within the photo pit, under normal circumstances photographers usually only get the first three songs of performances to get their shots so the loss of one song was what I call a pain in the ass, I was nothing but impressed with the showmanship and grasp Mumford held on crowd; it was hard to not be hypnotized.
Thunderous stomping and dancing came with a blazing delivery of “Little Lion Man” and a raw emotional “Whispers in the Dark” filled with torment of uncertain loss followed. From a “I Will Wait” full of fervor to the comforting spiritual of “Timeshel,” Mumford produced a divine awakening within all who were in attendance. Mumford’s performance can only be defined as a revival of the soul.
The set finished out with more fan favorites, but they seemed to save the best for last. Gathered around one microphone and stating that it “Needs to be fucking quiet,” Mumford started the encore with a sweet and delicate acoustic cover of Bruce Springsteen’s “I’m on Fire,” followed by an a cappella round, almost too quiet for those in the very back of the field to hear, of “Sister.” After a serious start to the encore, The Vaccines and members of the band Bear’s Den joined Mumford on stage for an uplifting and sing-a-long promoting Beatle’s “Come Together.” For those seeing Mumford for the first time on their 2013 tour, this encore excited and entertained, but for anyone who was able to catch one of their shows, either in Atlanta, Georgia, or Simpsonville, South Carolina, earlier that same week, the encore was beginning to sound familiar and repetitive. The final songs of the evening were, of course, “Babel” and “The Cave.” Up until the encore I was absolutely enthralled in the music, but soon became disappointed in the standard and predictable set it had become.
This is what music that appeals to the masses has become; a regurgitation of songs that sound nearly identical to that being played on our radios, Pandoras, and studio recorded albums. Even down to the order of songs in the encore, practically everything about this show was the same as their performance in Atlanta only four days prior. Maybe this is just my jaded perception from going to countless shows over the years and becoming spoiled from performances that have hardly ever repeated songs in a similar fashion, let alone the same encores in exact song order as previous shows. Don’t get me wrong, Mumford & Sons is and always will be in my top artists I listen to. It is my recognition of them as outstanding artists and masters of their craft that allows me to know they are more than capable of producing cookie cutter sets.
Exhaustion and a need to escape the inebriated crowds started to set in as Mumford left the stage for one last time. As the mass exodus began, Australia’s Yacht Club DJ’s provided a 30 minute set of energetic mashups that seemed to give the extra oomph needed to walk the mile back to the hotel. With the curtain closed on the 2013 GOTR Stopovers, The St. Augustine Stopover proved to be one grand finale. From the beautiful host city to the extraordinary music and once in a lifetime collaborations, this momentous weekend will provide a lifetime of memories for all those who were in attendance.
