The Automatik

Danny Boyle’s career seemed unstoppable until Ewan McGregor backed out of The Beach and Leo DiCaprio starred instead. Although ambitious, the film lacked the sincerity of Boyle’s previous work when it allowed DiCaprio’s movie star persona to overshadow everything else. But forget about that misstep: with 28 Days Later, Boyle has now achieved the same level of marvelous eclecticism as Peter Jackson by adding good old-fashioned horror to his already diverse oeuvre, all without sacrificing character or depth. Of course, there’s also an incredible soundtrack, a Boyle specialty, which enhances the mood rather than creates it.
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House of Blues
May 31, 2003

I’ll let you in on a little secret: that whole “grunge” thing from the 90s was just some A&R guy’s way of making real rock music palatable to the masses again. Consider that the only things approaching rock in the late 80s were Redd Kross, Jane’s Addiction, and the first Guns ‘n’ Roses album and this will start to make sense. I have no concrete proof of this theory; it’s just a hunch, but a hunch that is edging closer to a fully-fledged hypothesis after seeing the Melvins again.
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The influences that make up the delightful pastiche that is Down With Love are too numerous to mention. In fact, it’s coded with so much familiar iconography that you don’t even have to have seen all the films it references to get it. Hooray for Postmodernism! And then there’s That Touch of Ewan.
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Endearing Records, Ductape Records

Since many of today’s cool kids seem to have spent more time reading The Hipster Handbook than learning enough about music to do something other than name-drop, it’s delightful to hear the endearing tunes of The Meligrove Band. The musicianship on this album is obvious; they’ve skyrocketed past the cute silliness of their earlier material without losing any of their charm.

It’s their earnest urgency that impresses me, though. They love music and they prove it through an uplifting sincerity not normally found in pop music, at least not the kind we’re subjected to in the States (this trio of talent hails from Mississauga, Ontario). Produced by Stephen Pitkin, the fantastic drummer of the also-fantastic (and Canadian) pop combo The Flashing Lights, Let it Grow is an apt title for an album that is both instantly infectious and consistently entertaining.

The Beach Boys damage is apparent, but hey, who hasn’t been influenced by Pet Sounds? The Meligrove Band grasp Brian Wilson’s forward-thinking style and pristine production values better than many who feign admiration. These songs burst forth with equal parts whimsy and heart, even when tinkly xylophones and whistles come to the fore (Do I detect tambourines? Be still my heart!). I haven’t heard a pop album be more rock and roll, yet still touching and significant, in nearly a decade. I’m continually moved by the gorgeous harmonies in “Before We Arrive” as well as the sweet and tender sentiments of “Really, Really, Really.”

Of course there’s plenty of full-on rocking to be found throughout the album, like the kick-ass opener “Monkey Mask” (which loses none of its potency for lack of lyrics) and “Take Me to the Sun.” If this album is any indication, things are definitely looking up for The Meligrove Band. In fact, I see a big fat star in the sky right now and I’m certain it’s got their name on it.

Elektra, 2003

Rhett Miller’s transformation from bespectacled indie geek to shag-haired hottie during his tenure in Texas’ Old 97s has been a source of much amusement to me, like some high school outsider blooming after graduation and bringing his dazzling smile of success to the reunion, thereby putting all the jocks and cheerleaders to shame. I wouldn’t even find it necessary to mention was I not somewhat disappointed in this, his first solo effort.
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Fresh from major-label coronation, Urge Overkill hit the early ’90s, their belts notched with a fair amount of indie cred.

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The Horseshoe Tavern
March 1, 2003

Seeing shows in other cities (or other countries, for that matter) is always exciting and yet, a bit predictable. The thrill of seeing a well-loved band that I’d never have the opportunity to witness live in the Dirty South is always welcome, but I could do without the tiresome parade of hipsters that I swear I recognize from clubs in New Orleans.
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I re-watched Ghost World over Christmas, so I’ve been thinking of it a lot, trying to determine exactly what it is I took from the movie to make me like it so much. After reading some reviews online, I’ve finally been prompted to write what I should have written when I first saw the film.
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What a strange and wonderful year. Again, I didn’t get to see nearly as many films as I would have liked, but looking back at the releases, it doesn’t seem as if I missed much Although nothing as life-changing as Fight Club, Velvet Goldmine or Ghost World came out this year, I would have liked to have seen Punch Drunk Love, Bowling for Columbine, Far From Heaven, Solaris and The Pianist. Unlike last year, there weren’t nearly as many new albums by current favorites (don’t hate me because I own Beck’s Sea Change and the new Rhett Miller CD, but haven’t listened to them yet). Enjoy.
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Once, on an episode of Mystery Science Theater 3000, Joel Hodgson and his robot sidekicks discussed the subtlety of evil. Joel asked Crow T. Robot what he thought of Hitler. Crow immediately replied that he hated him, naturally. Then Joel asked Crow what he thought of the band Styx. Crow admitted that they weren’t so bad, they had some good songs, then he let out a cry of horror as he finally understood what Joel was trying to convey. Although Justine, the main character in The Good Girl isn’t necessarily evil, she’s quite adept at proving the subtle nature of selfishness and apathy.
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