Watch: Pharrell and Cara Delevingne: “CC the World”

Posted on by DeShonna Johnson

Seven minutes and 46 seconds. That’s how long will take you to go through reincarnation and transform into a more whimsical, fashionable, and cultured individual. At least that’s the impression that I received after watching the “Reincarnation” short film by Karl Lagerfeld for Chanel.

The short film, which is to accompany Chanel’s annual Métiers d’Art show, stars singer Pharrell Williams and the lovely Cara Delevingne! Based off of Coco Chanel’s actual holiday vacation to Austria where she was inspired by a hotel elevator operator’s uniform to design the iconic Chanel jacket, the video is a half-Cinderella/half-Night at the Museum plot including a duet by Pharrell and Cara D titled “CC the World.”  Yes, I said Cara D. She sings in this film!

Pharrell acts as the hotel elevator operator and Cara D plays a maid or waitress, and both transform into the painting of the wall of who I assume to be royalty of Austria, including Austrian Empress Elisabeth (who went by “SiSi”). Coupling some Victorian dance moves and the sheer beauty of Pharrell and Cara together makes the video addicting for viewers. Other cast members in the film include Geraldine Chaplin – the daughter of Charlie Chaplin – as Chanel, and Lady Amanda Harlech.

Check out the video below for yourself. Because Cara. Like, what can she NOT do?

 

Watch: Better Call Saul trailer!

Posted on by DeShonna Johnson

FINALLY A TRAILER WORTH SCREAMING FOR!

In preparation for AMC’s newest show and Breaking Bad spinoff, Better Call Saul, there have been numerous teasers without much plot information.

Now, though, a new trailer has been released, and we have some action! The latest trailer for the BB spin-off stars Jonathan Banks reliving his old role of Mike Ehrmantraut (fave) working at his parking toll and ending up with a little run-in with Saul (Bob Odenkirk).  Jonathan Banks plays angry really well, so this trailer is definitely something exciting to see.

Better Call Saul premieres Sunday, Feb. 8 at 10 p.m. on AMC.

 

Flake Music: ‘When You Land Here, It’s Time To Return’ Remaster

Posted on by Sarah Bennett

Not only did Garden State establish first-time director Zach Braff as more than his Scrubs character, it also introduced the mainstream world to a staple of the modern indie-rock world: The Shins.

The film helped skyrocket the band to fame almost over night, after Natalie Portman’s character hands Braff’s a pair of headphones and proclaims, “You gotta hear this one song, it’ll change your life I swear” (referring to their mega-hit “New Slang”).

The official Garden State soundtrack later won a Grammy for Best Compilation Soundtrack Album and the film quickly gained a cult following, along with its most featured artist.

Long before The Shins found fame, they were merely a side project of four guys that belonged to another band, named Flake Music. Drummer Jesse Sandoval, keyboardist Martin Crandall, bassist Neal Langford and well-known singer-songwriter/guitarist James Mercer comprised the group, based in Albuquerque.

In their seven-year span of existence between 1992 and 1999, Flake Music only managed to release one full-length album, “When You Land Here, It’s Time To Return”. That album, released by what seems to be a now-extinct Omnibus Records, floated around the Internet with little information behind it and three tracks listed as “untitled”.

The album was first reissued in 2002, and this week, SubPop has released a second, updated reissue that has been remixed and remastered. The reissue also includes new artwork from Seattle artist, Keith Negley.

The fresh rendition of this classic 1997 album is remixed by Kennie Takahashi (notably, a sound engineer that often works with Danger Mouse) and remastered by J.J. Golden.

It’s not hard to tell “When You Land Here, It’s Time To Return” is ancestor of The Shins; from their upbeat rhythms down to James Mercer’s distinct voice, Flake Music is the angsty teen preview of The Shins.

While the modern, classic sound of The Shins is weaved throughout each song on the album, it’s definitely reminiscent of the garage punk feel of the time. Think the heavier drums and guitar riffs of Brand New’s “Mixtape” but with Weezer’s carefree, bright sound.

Naturally, the album is most closely comparable to The Shins 2001 release, “Oh, Inverted World”. Mercer’s lyrical roots are exposed and they are just as lovely as his current work in The Shins and Broken Bells.

“When You Land Here, It’s Time To Return” has some very nice surprises though, including three songs that are strictly instrumental on the album, including the outro, “Vantage”. If you want to feel the true 90’s vibes, go for the distorted “On the Playground, in the Wind” or psychedelic “Faded Polaroids”.

Even though the album has a track named “The Shins”, Flake Music is definitely a separate entity. The album is now available on CD and for the first time in over 15 years, you can hear this one spinning on vinyl. Recommended for fans of The Shins and lovers of quality music.

4.5/5

10 Best Soundtracks of All Time

Posted on by Hannah Smith

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The perfect soundtrack can elevate any movie from average to spectacular. The task of choosing songs is not easy, but it has to be done correctly in order to match the plot and setting of a film. With the recent success of Frozen, it’s apparent that soundtracks aren’t a thing of the past. The success of soundtracks thrived in earlier decades, but they still hold a portion of music sales today.  Here are our top 10 favorite soundtracks of all time:

10. 8 Mile

Of all the musician-turned-actors that have appeared over the last couple of decades, Eminem was one of the last expected to participate. In the pseudo-biography 8 Mile, he made his empowering song “Lose Yourself” one of the most popular rap songs of all time. The album sold over 4 million copies in the U.S. alone.

9. Juno

Juno brought one of the best indie soundtracks in more recent years. The soundtrack contains multiple songs by Kimya Dawson of The Moldy Peaches and many others. One of the most notable songs on the album is a cover of “Anyone Else But You” by The Moldy Peaches that features the two main characters of the film, played by Ellen Page and Michael Cera.

8. Dirty Dancing

The soundtrack for Dirty Dancing achieved so much success with its original release that two subsequent albums were released from it in 1988 and 2003. From the iconic “(I’ve Had) The Time Of My Life” by Bill Medley and Jennifer Warnes to “She’s Like the Wind” by Patrick Swayze, the album appealed to everyone who had a liking for everything from rock to R&B.

7. The Bodyguard

One of the best-selling albums of all time is the soundtrack to the early ‘90s film The Bodyguard. The first half contains songs by Whitney Houston, who assumed the role of executive producer on the album. With this title, she had full reign over the song selections and led the album to worldwide success.

6. Footloose

The original version of Footloose collected some of the best music of the ‘80s. What good is a dance movie without good music? Of the nine songs on the album, six reached the Top 40 the year of its release. The soundtrack was also certified platinum nine times in the U.S.

5. Pretty In Pink

The ‘80s were notorious for great music that still holds influence today, as were movies produced during the decade. Pretty In Pink has been noted by Rolling Stone and The Huffington Post for its stellar soundtrack. Like many other John Hughes films, the soundtrack contains songs from the more pop/new wave aspect of the ‘80s. Every film by the director has placed heavy emphasis on incorporating music into the plot.

4. Garden State

Zach Braff, popular for his acting on the TV show Scrubs and other films, wrote and directed the 2004 groundbreaking film Garden State. Another role of his was choosing the soundtrack. Because the film directly related to his life, selecting the songs was more personal to him. As a result, the album won a Grammy for Best Compilation Soundtrack Album for Motion Pictures, Television, or Other Visual Media.

3. Pulp Fiction

What iconic ‘90s movie would be complete without capturing the changing rock genre at the time? Pulp Fiction managed to encapsulate the emerging and returning rock sounds during the early ‘90s, emphasizing the surf rock genre. The soundtrack has sold over two million copies since its release in 1994.

2. Saturday Night Fever

While John Travolta showed off his vocal abilities in Grease, his performance in Saturday Night Fever was purely acting. The true stars of this soundtrack were the Bee Gees, who lifted the album to critical acclaim. The soundtrack is the only disco album to earn a Grammy for Album of the Year.

1. O, Brother, Where Art Thou

The soundtrack to O, Brother, Where Art Thou proved the importance of music’s role in appropriating the setting. The film is set in Mississippi during the Great Depression, and the soundtrack effectively captures the time through the use of folk, country, and bluegrass music. There was so much emphasis placed on the music that the album was compiled before filming even began.

The Veronicas: ‘The Veronicas’

Posted on by Hannah Smith

Popular twin duo The Veronicas released their first album since 2007 today.

After forming in 2004, their first two albums peaked at No. 2 on the Australian charts and both were certified platinum in their home country. They are the first Australian artists to have a single certified platinum in the U.S., which they did with “Untouched” three years later. So what halted their progress and prevented a new release for seven years? They began writing for the third album in 2009, but progress was slow as the two had outside projects to work on. The album was due to be released in 2012, but due to conflicts with their label, the release date was postponed even longer. The Veronicas then decided to completely change the theme of their already completed album, which resulted in an even later release date. After leaving Warner Bros. Records, they signed with Sony and announced the release date would be late 2014. With the new album, the duo will also launch their first tour since 2009 next year.

In order to continue gaining popularity after their hiatus, their self-titled third album must be a homerun. Because they’ve been irrelevant as a duo in the music scene for so long, there is no guarantee of reclaiming their previous success. Their first single off the album “You Ruin Me” already debuted at No. 1 on the Australian charts. It goes without saying they will remain popular in their home country, despite the hiatus. But achieving international success for the second time will prove more difficult for the duo.

To say the least, this album is interesting. They definitely attempt to stay relevant with “Did You Miss Me,” an anthem proclaiming their return. The song contains EDM-style music and even rapping on occasion, which we’ve heard much of over the past few months with Iggy Azaelea and Nicki Minaj. There are definite hits and misses, present on most any album heard today. Much of The Veronicas’ tired style, which made them famous in earlier years, shows through on a fair portion of the album. This is either positive or negative, depending on the listener. If you’re nostalgic for a return to 2007, then you’ll be satisfied with these songs and disregard the rest. If you’re looking for more experimentation, you’ll be happy with about half of the album. Regardless of your musical preference, chances are you’ll only listen to select songs off the album. With such differing styles throughout the album, it’s unclear what the duo was attempting with their return. Some of the most notable songs are “You and Me,” their current single and power ballad “You Ruin Me” and “Line of Fire,” which fans are already raving over.

Dedicated fans will more than likely fawn over this album simply because the duo has been out of the industry for several years. The album doesn’t scream comeback, but it is interesting, nonetheless. There are songs for more traditional fans and for fans who are looking for something new. Overall, the album is an odd collection of songs that lack a definite theme. Listeners are most likely to pick and choose specific songs for purchase, rather than the entire album. I can’t help but wonder what the original version of their third album sounded like prior to their revamp and how it compares to the version in our possession today.

3.5/5

We The Kings: ‘Stripped’

Posted on by Hannah Smith

In anticipation of their low-key tour through Florida next month, pop rock band We The Kings released an acoustic album today, just less than a year after their previous album.

The band struck platinum in Australia with their instant hit “Check Yes Juliet” in 2007 and sold over 250,000 copies of their debut album. Since then, the band’s albums have progressively debuted higher with each installment. Their fourth, most recent album Somewhere Somehow debuted at 44 on the Billboard 200 and has been their highest charting album to date. The band has found more success in other countries like Australia and the United Kingdom. With their pop style, the band is more suited for the likes of younger listeners and has been reluctant to acquire a solid, reliable fan base. We The Kings has invested much of their career into touring, including multiple sets on the Van’s Warped Tour, since their career first began. While the band has yet to earn a No. 1 single in the U.S., their past four albums have all charted within the Billboard 200. They just haven’t charted nearly as high as the band would probably have liked them to. With the release of their latest album, the pop band offers a lesser known side in hopes of gaining more fans.

Stripped, the band’s fifth and latest album, is entirely acoustic. It contains an acoustic version of eight songs from their previous album and two new songs. This is something the band has never done before and the success of it could launch them into a higher chart position, along with the success of their six-city tour through their home state of Florida. The album has proved moderately successful as it debuted in the top 30 albums on iTunes the day of its release. Because the album only features two new songs, fans will more than likely wait for the next full length album entirely comprised of new material.

The lead vocalist, Travis Clark, has a great voice that is only enhanced by the acoustic feel of the album. It’s no surprise they place heavy emphasis on touring, as they have an incredibly seasoned lead singer who can fluctuate between the heavy guitar sound and a much quieter, mellow sound. His voice carries the weight of each song, echoing the sound of one who has loved and lost on “Queen of Hearts” and a struggling teen on “Just Keep Breathing.” Years of trying to break the top charts have resulted in more mature songwriting. Fans have already begun to express their joy over the two new songs. “Stone Walls,” which shows off the band’s inspirational side, has gained the most attention so far. While most bands would’ve opted for a complete change in genre or quitting music altogether, We The Kings have been putting everything they’ve got into each task they attempt. From performing hundreds of shows every year to stepping out of their comfort zone with an acoustic album, they are truly a band of consistency and perseverance. While they may not be raking in the platinum or gold singles, the band is grateful for every opportunity they get and it shows throughout each album and set.

3/5

Rick Ross: ‘Hood Billionaire’

Posted on by Trey Moss

Hood Billionaire is Rick Ross’ seventh studio album set for a November 24th release date in light of the marginal success of his March release, Mastermind.

Ross doesn’t deviate from a set formula. I’ve never been a major fan of his work, but I’ve given him a considerable amount of attention not because of my enjoyment of his music, but because Ross is certainly an enigma. The content of his lyrics ranges from cocaine to crack-cocaine. Ross seemingly can’t get enough of the white. But despite his lack of originality and prowess in his music, Ross stands out among the other rappers to whom he is often compared. For the Teflon Don, there is no façade to uphold.

Unlike rappers such as Lil’ Wayne, Gucci Mane, and Waka Flocka Flame, Ross’ background as a correctional officer at a prison in Miami renders him incapable of presenting himself as “hood” in a genuine sense. His music comes off as serious and cutthroat, but Ross acknowledges his less-than-gangster past and o his peers often criticize his view from the other side of the bars as a discredit to his status in the rap community.

But Ross is exactly who he wants to be. The tattooed, overweight (although he recently adopted a healthier diet to lose that weight) presence on stage dispels any hint of a life anything other than what he claims in his music. He sincerely looks like a drug kingpin from Miami and nothing less. If you came across Ross’ at a show and had never heard of his past as a correctional officer, you wouldn’t think twice when he says “fishscale made me major profit margins/I’m a prophet stuffing my pockets, you n****s starving.” Rick Ross is a combination of his image and his lyrics. They are bound together inextricably and he knows that. If Ross looked like anything other than what he looks like now, his music would fly considerably under the radar.

Hood Billionaire is just like every other Rick Ross album. It’s a mixtape recorded on a major label. All the qualities are there: the horns, the echoing mantra of “Maybach Music” that permeates Ross’ very musical essence, the various skits and sound samples referencing drug trade, both real and fictitious. Ross is nothing more than an image and his music serves its purpose by reinforcing that image. The song titles speak for themselves, such as “Coke Like The 80s,” “Neighborhood Drug Dealer,” and “Phone Trap.” They are repetitive and unoriginal concepts that Ross rehashes every six months or so to stay on top. But that isn’t the point of his music. Ross isn’t a rapper or a musician. He’s an image that’s upheld by a genre and he releases track after track in order to stay on top.

His music hasn’t changed since 2006 and his lyrical content has remained consistently juvenile and heavily reliant on the n-word (see “Coke Like The 80s) and drug-dealing, but no one expects Ross to be a wise, versatile rapper laying intricate rhymes over esoteric beats. Everyone that knows Rick Ross as he is expects him to stay the same. His success lies in his refusal to change or expand beyond his image. Tastes change, but Ross stays the same and that provides him with a verisimilitude, a realness that gains him followers by the thousands. To be real is to be respected and as far as Ross is concerned, he is the realist.

2/5

Alvvays at the Drunken Unicorn on November 15

Posted on by Rebecca Smith

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We rely on music to transport us via our imaginations to far away places opposite of current surroundings. Last Saturday at the Drunken Unicorn, as the temperature dropped well below the national average for Atlanta, Toronto-based Alvvays carried the crowd away to a place to where sun and sand are plentiful and summer love is in bloom.

Decked out in their matching white converse, they opened the show with “The Agency Group”, a slow but climactic track that showcases the peaks and depth of Molly Rankin’s vocal range blended well with Alec O’Hanley’s crooning guitar.

With her thick Canadian accent and effortless rapport with the audience, Rankin’s stage presence is absolutely infectious. Perhaps it was just the ambiance of the venue that caused one audience member to say, “I think she’s the closest I’ll ever get to seeing an actual unicorn.”

Slow and deliberate, “Dives” featured Rankin and keyboardist Kerri MacLellan harmonizing fluidly, a testament to the long-term friendship between the two women.

In a refreshing change of pace, Alvvays chose to play their most notable single “Archie, Marry Me”well before the end of the show as the crowd sung along with Rankin. The track recently gained even more attention last week after being covered by Ben Gibbard in Seattle.

“Party Police” was perhaps the truest test of Rankin’s vocal range in a live setting and one she passed with flying colors as she raised her voice one octave towards the end of: Don’t have to leave, you could just stay here with me. This is just one example of the bands quirky and natural style that translates well from outlet to audience.

For the encore the band chose to play a new song called “Haircut”, a more post-punk influenced track that still encompasses the dreamy sound we’re used to. After the show we caught up with drummer, Phil MacIsaac who said that while they enjoy playing new songs, there are no plans to record a new album anytime soon. “We’ve been touring our asses off, there’s just not enough time right now,” He said. Alvvays kicks off their international tour in 2015 and will open for the Decemberists in March.

Watch: ‘The Age of Adaline’ Trailer

Posted on by DeShonna Johnson

It’s beginning to look like #TrailerThursday.

In addition to the release of the Pitch Perfect 2 trailer, a trailer for the upcoming movie The Age of Adaline – starring Gossip Girl Blake Lively – was released earlier this morning, and I’m adding this movie to my “Must-See” list of 2015.

Lively plays a stunning woman (not that she can help it) by the name of Adaline who, after crashing into a lake, magically no longer has the ability to age. She has a daughter who grows older than her (played by Ellen Burstyn) and an aging first love whom she has never forgotten (played by Harrison-freaking-Ford).

From the trailer, it seems that Lively spends the majority of her present life living in the past, watching everyone from her former life and identity move on. In the trailer, she later meets a young beau (played by GoT‘s Daario Naharis #2) who I assume she falls in love with, though there are no real hints to where their relationship goes.

Check out the trailer for yourself below. The Age of Adaline opens in theaters April 24, 2015.