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November 21, 2002

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Test Spin

By wpengine | November 21, 2002

K records may be more inbred than the Royal Family, but they sure do have a knack for putting out consistently strong albums. With their recent release of Dennis Driscoll’s Voices in the Fog, K maintains its tradition of record-mate collaboration. If you’re not familiar with Driscoll, it’s probably because he seems to have appeared from the middle of a foggy Washington cranberry bog. His first success came from a collaboration with the Microphone’s Phil Elvrum.

With Voices in the Fog, Driscoll and Elvrum are back together along with the likes of Calvin Johnson (Beat Happening, and nearly every other K Records release), and the sweet-voiced Khaela Maricich from The Blow.

These 17 songs are variously sweet and sad ruminations on love — mini lullabies for lonely hearts. Stand outs include “Fall in Love” in which Driscoll begs, “Tell me how to fall in love/ Fall in love/ that’s what people say that I can’t do” and “Sunday is Over” which features a ghostly theremin that rings loud and long behind Driscoll’s innocent, almost child-like tenor. Some tunes echo Matt Ward while “Roller Coaster” sounds reminiscent of Jonathan Richman. In a world that’s bursting at the seams with hyphenated genres (Rap-Metal, Post-Rock, etc), Driscoll’s innocent simplicity is a welcome change.

Archived article by Nate Brown

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Lock and Unload

By wpengine November 22, 2002

Love him or hate him, Michael Moore is back, with the Cannes Film Festival Jury Prize under his belt for his newest documentary –Bowling for Columbine. The film features Moore at his inquisitive and ambulatory best, harking back to Roger & Me style, as he asks the question: why is America so gun crazed? On one hand, Moore exploits the rootin’ tootin’ shoot-em-up American gun obsession in its full absurdity. In the opening scene, we follow Moore into a bank that gives out free rifles for opening a new account. He doesn’t stop there, plowing the ranks of the NRA and small-town America for all the 2nd amendment extremists. Still, Moore’s message is unavoidably serious as he explores what he calls the American “culture of fear.” In the aftermath of the Columbine shootings, politicians blamed everything from the media to Marilyn Manson. Moore’s purpose is simple and well-defined — to examine why the US has the highest number of firearm deaths of any developed country. At times, Moore seems to go for the easy answers. Anyone can expect what the Michigan Militia will have to say about gun control. Many of the situations involve turning the cameras on people who are not prepared, at whose expense Moore looks smarter and more poignant. In one such juxtaposition, Moore interviews an executive at a Lockheed Martin plant in Littleton, Colorado — the site of the school shootings. With a massive, phallic rocket behind him, the executive can’t find the similarity between the students’ homicidal reactions and the US bombing of foreign countries. Moore then displays a veritable slide show of the US’s past foreign policy blunders that have ended in carnage, set to “What a Wonderful World.” The shot is almost too easy for Moore to take. At the same time, there are some undeniably moving and effective moments in the film. In Moore’s hometown of Flint, Michigan, a 6 year-old committed a deadly school shooting. Moore delves into the explanation: the ridiculous welfare system that kept the boy’s mother away. At the same time, we see a news crew, providing a national feed of the incident, whose anchorman can whine about hairspray before displaying sickeningly fake and unsubstantial sympathy on camera. The effect is chilling. In another episode, Moore takes two injured Columbine students to Kmart headquarters, both still experiencing medical problems from the 17 cent Kmart bullets in their bodies. They are ignored and chided by PR personnel until they drag the media along. While Kmart does announce a ban on ammunitions sales the next day, watching the events unfold is at once satisfying and frustrating as a viewer. Moore’s simplicity may be exactly what makes his film so effective. Watching Charlton Heston lead pro-gun rallies in the towns of school shootings lets you safely say that he is a bad man. At the same time, Moore indulgently can’t resist a Heston interview. It’s inclusively distasteful, comic, and honest. Moore uses overdramatic, guerilla tactics to succeed, which makes the point that in this media culture, that may be what it takes. In the end, the film is simultaneously conflicting, triumphant, persuasive, and powerful. Undoubtedly, it is worthwhile. Archived article by Lauren Sommer
Titanic Anime

By wpengine November 22, 2002

In what’s most likely going to be one of the most enchanting children’s films of the year, Japanese director Hayao Miyazaki weaves together fable, myth, and the anime tradition, creating a tale that captivates children and adults, anime fans and haters alike. Spirited Away is one of the newest additions to the vast library of Japanese animated films that has made it to America, and probably one of the best. The film begins with a sullen Chihiro and her family on their way to a new home. She’s awash in the typical angst of childhood when her father, lost on a shortcut, is mysteriously compelled to lead the family through an abandoned theme park they’ve stumbled upon. As night falls it becomes clear they’ve entered another reality. Chihiro finds herself in the world of a fantastic, giant bathhouse for wandering spirits. This setting flowers into a surreal blend of stories and traditions. It has the magically lost feel of Alice in Wonderland and the fantastic scope of Homer’s Odyssey. In this realm Chihiro sets out to save her parents (who were transformed into pigs) with the aid of the mysterious Haku, who teaches her how to fit into the mad hierarchy of spirits and ghouls that is the bathhouse. Above all it is anime, and undoubtedly will be a treat to any fan of the genre. The best of the tradition comes out in this film, with spell casting dragons and cute little fur-ball things abound (and as much blood as you can get into a PG rated film). But it also has much broader appeal. This comes largely from the beautifully written and rendered array of characters that Chihiro encounters along the way, such as the vulture-like matriarch who rules the whole establishment, Yubaba — a composite of Cinderella’s wicked step-mother and the sort of hooked-nosed, harpy-like creature one expects to drop out of a japanimation sky. Her movements are dazzling and she drives the film as Chihiro’s antagonist. Yet is she? In this character one of the flim’s weaknesses emerge; its penchant to tackle weighty moral issues and set up complicated ambiguities are undermined by its ultimate embrace of the simple “love conquers all” philosophy. It’s as though the filmmakers wanted to carry a message to the adult level, but gave up halfway there. It will make you think, but many of its ideas are too intangible, too ill-defined — at least for American sensibilities. It asks us to accept too much fantasy without question, something American audiences can’t always do. Another slight irritation is the dubbing, which is annoying not because it is evident, but because it is so clearly a Japanese film that one wishes to experience as it was originally created. The dubbing comes as no surprise, as the movie is billed as a Disney presentation, though it quickly shows the limited extent of their involvement. The movie is steeped with a phantasmagoria of creatures unmistakably drawn from Japanese mythology. Spirited Away, which was released last year in Japan, has out-grossed every other movie in the history of Japanese cinema. With the ever-mounting increase in the popularity of Japanese culture, it’s no surprise this gem has made the trip across the Pacific. The artistry of the film is astounding, and makes up for the weaknesses that pop up in the story. We’ve been through the looking glass and down the rabbit hole. Being spirited away was just as fun.Archived article by Kiah Beverly