Rick Ross - Teflon Don (Review)

As much fun as it is to tease THE BOSS about his early work, the imposing  rapper has come a long way. 2008's Deeper Than Rap showed that Ross was a fascinating anomaly from the rap genre as he actually got better over time thanks to the stellar production values, variety of sounds, and notably improved lyricism. Rick Ross returns in 2010 with Teflon Don and the album is a guaranteed Summer blockbuster. But has Ross continued his ascent in quality or are things starting to slow down? Click on for the three point review!

The A-Team [Movie Review]

Who doesn't love The A-Team? The 80s cult-classic show featured over-the-top violence, totally corny dialogue, and a bad-but-weirdly-likable cast...on a weekly basis. That's impressive no matter how you look at it. Plus it had quite possibly the greatest opening for a TV show ever. People loved The A-Team, but by its fourth season ratings were falling and by the fifth and final season no one cared anymore. Pop culture was maturing for the dull 90s and it left The A-Team behind.

But through network repeats and loads of pop culture references, the show managed to stay relevant long past its expiration date. 20th Century Fox thinks it's time for The A-Team to receive an overdue reboot. What did I think of their results? Read on to find out!

Nas and Damian Marley - Distant Relatives (Album Review)

Peanut butter is great. Chocolate is great. Mix them together, and it's still great.

Nas is great. Damian Marley is good. Mix them together, and...well that's the big question behind Distant Relatives, the collaboration album between the two artists. Nas has proven himself time and again that he is one of the greatest lyrical rappers ever, but recently his career has become increasingly irrelevant and his presence is merely forgotten. Nasty Nas was unable to keep up with the times because most of his songs carry very little mainstream appeal. For some this is great because it shows that he is not willing to 'sell out' but on the other hand what's the point of being credible if it's not getting you anywhere. Damian Marley also has issues with living up to the past, but it is not his own past he's worried about. That's what being the youngest son of the most renowned reggae artist in the world gets you, and critics have always compared his efforts to that of his father's.

So what happens when you mix them together? Distant Relatives proves that the two have a powerful chemistry and that they bring out their best qualities from one another.

Eminem - Recovery (Album Review)

How do you make a second comeback after a failed first comeback? The answer to this question was clear to Eminem: experiment. One of the largest complaints against last year's aforementioned failure Relapse was that the whole thing sounded completely generic and was essentially a retread of the artist's earlier work. While that was great for diehard fans, for the public at large it just wasn't enough.

Now Mathers is back with a true comeback album accompanied by a clear vision and a clear mind. So how does Recovery stack up? Read on to find out.

Iron Man 2 [Movie Review]

So you’re wondering how on Earth I managed to see the movie a week ahead of its North American release. Well luckily the Middle-East got first dibs on the highly anticipated sequel and because of my current residence in Bahrain, I took advantage of it!

So how does this year’s model handle around the track? Does it live up to the daunting level of hype? Well the best way I can describe Iron Man 2 in a sentence is this: it lived up to the hype but failed to reach its potential. Why? Read on to find out…(Warning! Light spoilers ahead!)

The National - High Violet [Review]

UPDATE: You can now stream High Violet from The New York Times website. Hurry, it's only there until April 27th!

It is winter. It is night. You are walking around in a vast metropolitan city. Snow is falling. You are wrapped up in a wool sweater. You flinch at every piercing cold gust of wind. The lights of the city surround you. The stores are open, but you see no one. The traffic lights are green, but you see no one. You’re in New York City, but you see no one.

This scene is the powerful image I see every time I listen to Boxer, The National’s 2007 album. Now imagine that same scene, but suddenly the lights switch off and the darkness becomes alive. Almost like a horrific nightmare, where the darkness shows the traits of a colossal kraken. The darkness swirls around you and the only thing you can think of is the fact that you are alone.

That scene is the powerful image I see every time I listen to High Violet, The National’s newest album. Not every song on the album is one of such terrifying nature, but an edgy and disturbing darkness is a key characteristic to this record.

Drake Unleashes First Single From 'Thank Me Later' [Quick Word]

I have always been confused about why people compare newcomer Drake to fellow rapper Kanye West. There is a whole laundry list of differences I see between the two. Kanye West is a rapper and a producer which figures hugely into his music; Drake is a rapper with a bit of singing talent that adds a zest of pop to his songs. Kanye West matches his flow and delivery with the beats he raps over; Drake usually remains monotone throughout most of his songs and it works.

But the biggest difference? If Kanye West had this much hype leading up to his album, he would never release a song as mediocre as the Canadian rapper's newly unveiled "Over".

Spoon - "Transference" [Album Review]

When I first listened to Transference from beginning to end, I was perplexed and pissed off. What had happened to all of the catchy songs from 2008's critical and commercial success Ga Ga Ga Ga Ga? Everything about Spoon's seventh album seemed to ignore all of the great strides that 2008 album took to reach mainstream audiences while keeping the band's sound intact.

...but then I listened to the album one more time. Then again. Throughout the week I would continuously listen to it. Before I knew it, Transference grew on me and I realized just how immensely clever the Texas band truly was.

(500) Days of Summer [Movie Review]

Natural: (500) Days is quite the unusual movie compared to other entries into the romantic comedy genre recently. Following a chaotic timelne, an “actions-speak-louder-than-words” not-romance, and a tween guru of relationships, the movie could have fumbled pretty easily. But the movie is swift and seamless as you try to break down and analyze Summer and Tom's relationship with what you're shown. The accessibility of the movie is a strong testament towards the writers and the excellent script they have provided here. Sad when it needs to be, funny when it gets too sad, and bright when things look grim, (500) Days of Summer is an extremely expressive and natural movie-going experience.

Innovative: This is a story of boy meets girl, but it's not a love story. It is a story about love, heartbreak, and hopeful horizons. Director Marc Webb and writers Scott Neustadter and Michael Weber manage to make the quirky rom-com unique. Using a flexible timeline device, the writers are  able to show all of the important aspects of Tom and Summer's relationship. The beauty of this narrative device? They almost completely avoid tired cliches that have corrupted the genre from the inside out. Gone is the melodramatic third act or the corny, montage-filled second act. Also the enthusiastic directing adds to the refreshing feel of the movie, with some small devices here and there and some art-inspired scenes. One major highlight of the directing? The amusing musical number with Jospeh Gordon-Levitt. The director obviously has fun and so does the audience.

Emotional: Tom and Summer are the main reasons to see the movie. No, they're not super-models and they're not half-naked for 75% of the movie, but Joseph Gordon-Levitt and Zooey Deschanel provide superb performances here. The hopeless romantic Tom just happens to fall for his office's new assistant, the anti-romantic Summer. Yet the fact that they are dysfunctional in an entirely believable way is what really hits you with the movie. The two share a deep connection, but neither are entirely sure of what they want. I can tell you right now, that this is what audiences want and the ending will leave most satisfied.

Overall - Highly Recommended
For all of the shitty, melodramatic, and cliched love movies out there you owe it to yourself to see something different. With that I give you (500) Days of Summer: a superb, witty, and innovative movie about love.

LTTP: Late '09 Recap [Part 1]

So if you haven't noticed, I really never posted much since last December. Sorry for that but I have been busy with school and was with the family for the holidays. So this special-edition of LTTP is going to cover a lot of bases that I wanted to write full posts about, but simply never had the time for.

Jump after the break for an extra large clusterf*ck of quick articles.

Avatar [Movie Review]

(Note: I was fortunate enough to have watched Avatar in 3D but when I saw the 2D trailer I thought it looked much better than what I had seen. My theater is not very good and so your results may vary.)

Epic: Honestly, how could anyone think Avatar wouldn't be epic? From the technology behind the camera's eye to what's going on in front of the audience's eye, the movie is colossal in a way that hasn't been seen for a while in Hollywood. The technomagic first: holy crap, Cameron actually pulled it off. Avatar has hands down the greatest CGI in any movie thus far and I doubt any movies will be able to catch up until (at the earliest) late next year. Luckily the effects aren't so good that it hits that point of Uncanny Valley that creeps the audience out and is so dreadfully feared when making an all CG movie like this one. The fact that the movie was almost entirely filmed in front of a colored background with motion capture suits and the effects were added after filming shows how strong of a vision Cameron had for this movie, and when you see the results on screen you have nothing but respect for the man. Every action sequence trumps the last and even though it isn't a straightforward action flick like the Terminator films, Avatar still ends with an exciting and emotional finale.

Familiar: Despite the levels of grandeur Avatar reaches, the story is the one thing many will find a little bit too familiar. The plot is almost identical to the 'stranger in a strange land' movies and bears a strong resemblance to The Last Samurai and Pocahontas. Although the plot is heavily cliche and predictable, it is still a story told exceptionally well drawing in the audience from the opening moments and never once letting go. Most of the main characters are multidimensional and intriguing, but there are some silly characters like nemesis Colonel Miles Quaritch and Sigourney Weaver's Grace Augustine that make your eyes roll. But Cameron also managed to make the film a lot more exciting thanks to the breathtaking special effects and the monstrous battle scenes. Avatar is unique in the way the famous director has so potently mixed together a story so traditional with special effects so groundbreaking into one of the best movies of the year.

Nerdy: Wow I never realized how much of a nerd Cameron was until Avatar. Sure, the Terminator series was sci-fi heavy but not as much as creating a fully-realized, fictional alien race from scratch and a fictional language to boot. Pandora is the most intricately thought out world ever created in the history of film--and for some reason I thought most people wouldn't like that. While watching the movie I was a little bit worried that maybe Cameron had gone a little bit too technical but luckily he balanced out his imagination with good ol' fashioned spectacle.

Overall - Highly Recommended:
Avatar may not be the most mind-blowing movie ever made, but it has certainly left a permanent mark on film history. The genius of the special effects has been praised from everyone and I fully support that widespread acclaim. The only place Avatar falls a bit short is the utterly predictable, recycled plot but even that is exceptionally well done without needing to be fresh. James Cameron certainly delivered on 10 years of promises and has once again made a film that should not be missed--even if it's not revolutionary.

2012 [Movie Review]

Exciting: 2012 may be nothing more than a fun late-year blockbuster, but goddamn does it do a good job at knowing what it wants and running with it. The set pieces of the film and the new benchmark of graphics Emmerich has implemented here are absolutely astounding. When a dormant mountain erupts into a fiery nuclear-level volcano blast of apocalyptic levels, the audience cannot help but let their jaws hit the floor. In addition to that, seeing suburban Pasadena ripped into a canyon in less than 5 minutes is awe-inspiring and achieves a ridiculous amount of fun. Yet one of the issues with 2012 is that the pacing of the excellent action sequences is all over the place. Of course it is justified in the context of what is going on in the story (the world being destroyed) it does make the film a bit hard to watch, especially when the second half of the movie is not quite as fun as the first. But if all you're looking for is adrenaline-pumping action and special effects, 2012 certainly delivers.

Smart: Even though 2012 is seen by most as the usual special-effects driven event movie Roland Emmerich usually creates (Independence Day, 10,000 B.C.) I found the film much smarter than I initially expected. The plot centers around humanity and what is ethically correct or wrong in terms of human social classes. Without spoiling too much, I can say I was pleasantly surprised by the little twist on most end of the world flicks where they try to escape Earth by spaceships and found 2012's solution more believable. Also, the plot juggles a lot of characters with stunning deft and control without getting too lost in the central story following John Cusack's character and his family. That said, I doubt the film will be nominated for anything but its effects because the script is pretty rough around the edges. Like I said, 2012 handles its globe-trotting plot confidently but the story is too broad and characters do eventually fall out of focus for long periods of time. The movies is also a little too long for my tastes, clocking in at about two and a half hours. But 2012 has just enough intelligence to balance out the chaotic action and I'm sure that is satisfactory for most audiences.

Bland: While 2012 has lots of style in its action, there is a clear lack of any distinct qualities in other areas. Even though I actually liked the story, it was filled with cliches galore and even a few of the action scenes had some predictable and boring outcomes. The weakest part is the attempted comedy in the movie. It never gets Michael Bay-comedy bad, but it is certainly not entertaining. The jokes are just plain corny and the catch phrases have been ripped off from movies since the 70s. It's not truly terrible, but it is really annoying.

Overall - Recommended:
Despite 2012's lack of new ideas, it serves its purpose as an epic Winter blockbuster. Mouth-watering special effects and a surprisingly decent storyline make the film what the abysmal Day After Tomorrow should have been. It is hard to deny the similarities between the two, but I absolutely know which movie I would pick if I had no other choice. Plus I can easily say that it was smart to release 2012 in the blockbuster devoid area in November and it is well worth watching if you want a good kick in the pants before Thanksgiving and Christmas.

A New Approach to Reviews on OGCF*

I was recently thinking about the quality of my reviews for movies, music, and other media. I realized that one man doesn't have enough knowledge of each subject to tackle them all from the scrutinizing point of view most critics provide.

So there were two solutions to this problem. Either (a) become a genius of modern art and make OGCF* ascertain new heights or (b) make reviews simpler. Since (a) is too hard/I am too lazy, I've decided on a new technique that I hope will be successfully put into effect on all reviews from here on out.

I don't quite have a name for this new style of reviews, but for now I shall dub it "Instinctual Reviews". Basically I will be critiquing and providing commentary on movies, music, TV shows, games, and more by spelling out up front what emotions I experienced.

For example, if I listened to the new Hannah Montana album some of the emotions might be Suicidal, Brainwashing, and Annoying as Hell. So for each emotion given I would provide reasons as to why I felt each.

Hopefully this will lead to more streamlined and user-friendly reviews where my emotions are clearly laid out without a wall of big words tainting the message.

Thanks for reading and send some feedback!

Inglorious Basterds [Movie Review]

Before I can begin the actual critique of the latest flick from the house of Tarantino, I must reveal a terrible, terrible secret. As much as I love movies, the only Tarantino movie I have ever seen is considered to be one of his weakest and goes by the name of From Dusk Till Dawn. And the worst part? Tarantino didn't even direct the movie.

Of course I have heard the praise around Pulp Fiction as well as the Kill Bill movies. And even though Grindhouse was uneven for critics, it had a lot of charm and I wanted to see it. But honestly I just never got around to doing so.

Now things are different and I am no longer a Tarantino virgin, thanks to his totally badass new movie Inglorious Basterds. The direction dazzles, the acting is top-notch, and the story almost nails it.

Inglorious Basterds may have a fairly simple premise (dudes pissed off and killing Nazi's), but damn if it doesn't make for a badass epic. The plot is generally slow and is segmented into multiple chapters with just bursts of action at a time, but the script is absolutely fantastic. Tarantino proves his worth as a screenwriter here and the man has a powerful way with dialogue. The film is also surprisingly funny with plenty of humorous, crowd-pleasing scenes. I swear I yelled "whoa" and "holy shit" more than I have at any other movie this year.

But of course a good script is nothing without some dedicated actors, and this is another area where Inglorious Basterds excels. Of course the major star attached to the pic is Brad Pitt as the cheeky, almost cartoon-ish Lieutenant Aldo Raine. Pitt is wickedly funny thanks to that all-American accent he sports in the movie and I could easily argue that he is as funny here as he was in Ocean's Eleven or Snatch. Eli Roth is the demented Donny who was dubbed by the Nazi's as "The Bear Jew" and Melanie Laurent as the revenge-driven Shoshanna.

Another major plus for this cast has to be Christoph Waltz. While Brad Pitt may be getting all of the attention, Waltz consistently steals the spotlight. And it's easy to see why. Colonel Hans Landa is bizarre, quirky, absolutely maniacal, and genuinely likable. It's actually terrifying how much you like this guy, but I can effortlessly say that his performance as the Nazi antagonist of the film rivals the Oscar-winning role of the late Heath Ledger as The Joker in The Dark Knight. Seriously, he's that good.

So what bad things can I say about this movie? Well the conclusion of the film was predicted from the beginning and it's not entirely true to history either. Another small wrinkle with the conclusion was that it wasn't entirely satisfying. The loose ends are tied up, but for some reason I felt I needed more (even though the film clocks in at a large 152 minutes).

But in the end, the good far outweighs the bad and Inglorious Basterds can quite easily be recommended to just about anyone who doesn't mind some excessive violence. Come to see Pitt, enjoy the directing, praise Waltz while leaving. So what are you waiting for? "Once Upon a Time, in Nazi-Occupied France..."

Rodrigo y Gabriela - 11:11 [Quick Review]

I know what you may be thinking: is 45 minutes of two Mexicans playing guitar with no singing really worth talking about? Well with Rodrigo y Gabriela, it's always worth talking about.

To be frank, 11:11 is superb. The duo have managed to innovate on their already jaw-dropping playing style by expanding beyond classical guitar. Elements of metal are the most profound of these changes, but is sparingly used to great effect. Also the faster songs tend to be much more danceable and exciting than previous ones from the group.

However the biggest surprise of 11:11 has to be just how well paced the album is. The album is more meticulously crafted than most could even dream of accomplishing, and the time and care put into the sequence of the song really make the album. The stunning opener "Hanuman" hits the ground running and manages to keep that momentum going for the next few songs. Yet 11:11 knows exactly when to ease up on the speed and tends to do so after every few songs. The whole record feels very organic to the ear and the slower songs help tremendously build up to that burst of fast-paced songs.

Overall 11:11 delivers in spades. Economically paced and innovative, the band has outdone themselves and the rise in quality inspires even more awe than their live performances. If you're a fan of Rodrigo y Gabriela, you have probably already listened to the album about a hundred times by now. If you're not, after this album you probably will be.

Muse – ‘The Resistance’ [Review]

A well-known fact about this English triplet is how eccentric, unusual, and unorthodox their music is. But how far out there can Muse really get? The band has mostly stuck to the alternative rock style that got their name out there in the first place and, aside from dabbling in some electronic here and there, have been unable to separate themselves from their precious guitars.

Well The Resistance is further proof that Muse is not only one of the most unique alternative bands out there today, but that they still have plenty of tricks up their sleeves to keep things interesting.
 

Opening track "Uprising" exemplifies this by creating an atmospheric electro dance song that features excessively fuzzed out guitars and the surprising inclusion of the standard pop 'clap' and 'hey' sounds in the background. The song still remains distinctively Muse and it was a wise choice as lead single.

Soon after that, things get quite a bit more interesting. Follow up track “Resistance” begins with a beautiful piano intro and slowly builds up until the song explodes into a straight-up stadium rock song. It is harder to describe further than that, but what would have made for a pretty ignorable track is saved by Bellamy’s signature delivery here.

Now here is where most Muse fans should be getting a bit worried. However I mean that in a good way. “Undisclosed Desires” is a stunning track that shockingly enough borrows heavily from pop and R&B much more than any other genre. Bellamy once again owns the track and experiments with his own singing style.

One of the first songs from the album that was revealed was called “United States of Eurasia (+ Collateral Damage)”. While not as adventurous as “Undisclosed Desires”, the song is still quite different from what many would expect from Muse. Filled with bombastic drums, epic Egyptian-like music, and a chorus that sounds all too familiar to one of Queen’s most famous songs “Bohemian Rhapsody” it is definitely a hit-or-miss experimentation in rock opera. But it definitely sold me.

However no album is without fault and this is where “Guiding Light” comes in. To put things simply: it sounds like a really corny song from the 80s. Bellamy tries to save the song by doing his best Bono impersonation, but the overall sound just doesn’t work. Thankfully even though it is the worst song on the album, it’s still not completely terrible. So that’s something.

Things are quickly patched up with “Unnatural Selection”. Reminiscent of the raw rock of their Origin of Symmetry days, the track provides some reassurance to the listener after “Guiding Light”. Equally as piercing is the next song “MK Ultra”. Despite the weird name, the song is quite good thanks to the stellar use of violins throughout and the overall electronic style of the track. One thing “Unnatural Selection” and “MK Ultra” share in common are some really excellent ending guitar riffs. Honestly those sequences saved the songs for me at times. Both of these songs should be enough to satisfy the Muse fans that mainly stick with alt-rock and not much else.

Yet another pop song appears on The Resistance, but “I Belong to You/Mon Cœur S'ouvre à ta Voix” is quite different than “Undisclosed Desires”. While the latter was more geared towards the club scene, the former is more of a traditional pop song featuring an excellent piano sequence. One of the more shocking things about the song is the complete lack of guitars. No, seriously: there are no guitars in the song. As outrageous as that sounds considering it’s the same three people who made this song, it is in fact true and it was a smart move on their part. The lack of any fuzzed out riffs and epic solos is actually quite refreshing.

And so the epic finale of The Resistance begins. But how can they top the 6 minute rock masterpiece that was “Knights of Cydonia” on their last album Black Holes and Revelations? Simple: just make a 13-minute rock symphony and separate it into three parts. And that is exactly what Muse has done for what is some of the most beautiful music the band has ever made. “Exogenesis: Symphony” is divided into “Overture”, “Cross-Pollination”, and “Redemption”. “Overture” is just that and it prepares the listener for what to expect from a symphony made by three dudes from England who are international rockstars. “Cross-Pollination” is certainly the climax of the symphony and Bellamy reaches opera-like heights with his singing. The finale “Redemption” features a quiet and somber piano and the song rises gradually with Bellamy fading in from the background to the foreground and it is really just amazing what he does here. 

The Resistance is evidence that Muse has become the definition of an alternative band. Even though the group experiments with every album they release, their fifth studio album stands out as something wholly different. Just like Radiohead did with Kid A or Kanye West did with 808s and Heartbreak, the group has broken away from and established sound in the hope of discovering something bold and refreshing, and with The Resistance Muse has done just that.

Kid Cudi - "Man On The Moon: The End Of Day" [Review]

When people look back upon 2009, they will realize it was a big year for hip-hop and rap. A lot of tensions rose as rap lost its real sense of identity. But was this loss of identity actually growth? Well if you asked Jay-Z that question, I think you would get a pretty clear answer.

I have talked about the importance of the next generation of rap as well as Jay's The Blueprint 3 and their effects on rap and hip-hop as a whole. But if you have read my review of the Jigga's new album, you would know it didn't make the waves a lot of people thought it would. So is rap and hip hop destined to remain in its current state of mediocrity? Well that's where Kid Cudi's debut album comes in to play.

To be frank, Man On The Moon: The End of Day is quite amazing as a debut album and also serves as a proof-of-concept that if rap takes new approaches to the way music is made, the world would be just a little bit better for everyone.

So why such high praise? Well the album innovates hip hop in ways I did not even expect. Based on his previous underground songs I knew the Cudder was unique, but on MotM it really shows how distinctive he is. Such creative songs include the MGMT and Ratatat collaboration "Pursuit of Happiness" as well as the fantastic closing track "Up Up & Away". The former implements MGMT's psychedelic pop on the chorus with Ratatat providing a fascinating backdrop for Cudi to rap over; the latter is not even close to the genre and is more like an indie-rock song. Both of these songs are strong testaments to Scott's powerful flexibility.
While all that creativity is good and all, the album and the lonely stoner really shine on his more personable songs like the stunning "Soundtrack 2 My Life" which has easily become my new favorite song of the year thanks to its catchy hook and effective storytelling. Another noteworthy personal song is the haunting "My World" which is all about the pros and cons of ambition.

Speaking of dark, many of the songs featured in Man On The Moon are surprisingly grim. "Mr. Solo Dolo" is one of the more disturbing songs on the album as Kid Cudi establishes himself as an outsider. Another collaboration with Ratatat has resulted in the eerie "Alive" where Scott compares himself to that of a creature similar to a werewolf. But it's not just a few certain songs that are darker than others: the overall feel of the album's midpoint carries an unexpected amount of darkness and weight.

The album also features many established hits that got Kid Cudi attention in the first place. I was afraid chart-topper "Day n Nite" would come off a bit stale on the album, but the song manages to feel fresh due to the storytelling of Man On The Moon. Also "Make Her Say" is a delightfully fun song that makes use of Lady Gaga's hit "Poker Face" for some, ahem, less than mature subject matter. Another well-known song from the Cudder is the Kanye West produced "Sky Might Fall" which has (thankfully) been improved upon for the studio release, adding some substance to the previously bare track.

The albums I can most easily compare The End of Day to are Lupe Fiasco's debut Food & Liquor as well as Kanye West's debut The College Dropout. Both of the albums featured men who were underdogs but had passion to elevate to the next level. Man On The Moon is very similar in this respect due to its wonderful new take on genre conventions, a fiery passion in all of Scott's deliveries, and a cinematic feel to the entire work on display (aided by one of the cooler cinematic devices used by the album: the narration provided by rapper Common).

Overall I think where The Blueprint 3 failed, Man On The Moon: The End of Day shall rise. It's just so original and raw with life that it cannot be ignored. Kid Cudi has delivered a stunning debut and has established himself as a defining future rapper.

Keep your eye on this Kid and you won't be disappointed.

Jay-Z – “The Blueprint 3” [Review]

The internet has Jay-Z fever at the moment and with good reason: The Blueprint 3 is the most anticipated album of the year. So it is easy to understand why people have their hopes so high for the album, but it's not just that either: after the release of every one of Jay's Blueprint albums hip hop changes dramatically.

And with the state of hip hop in such peril as it is now, everyone could use a little light to reach the end of this dark tunnel. Jay-Z is the torch bearer and The Blueprint 3 is his wrathful blaze. So has Mr. Carter done it? Has he saved rap and hip hop for the depths of ringtone hell? Or is it just an hour of some old man bickering?
 Things start off on an odd note with opener “What We Talkin’ About” and following track “Thank You”. The former features the lead singer of an Australian electropop group and the latter is one long rap thanking his fans. None of these songs are bad, but like I said they are just a bit…odd.

The Blueprint 3 features the killer singles “D.O.A.” and “Run This Town” which features superstars Kanye West and Rhianna. These two tracks had single-handedly set the world ablaze with eager anticipation thanks to their wide appeal factor.

A pleasant surprise is the Alicia Keys collaboration “Empire State Of Mind”. The heartfelt tribute to New York features Jay-Z rapping emotionally over a beautiful beat. It really captures just how much Carter loves that city.

After a great introduction, The Blueprint 3 starts to have some noticeable inconsistencies and the first sign of this is the Young Jeezy collaboration "As Real As It Gets". It's a decent song for sure, but the subject matter is somewhat generic and fails to grab the listener. "On To The Next One" is probably the most annoying song on the album and that's because of its extremely repetitive beat. Even though it features sharp lyricism and a competent guest appearance by Swizz Beatz, that beat (which samples Justice's breakout song "D.A.N.C.E." no less) is so irritating it serves as the demise for what would be at least a decent song.

The Blueprint 3’s openness to change is shown through the surprising amount of underground and upstart rappers featured and these songs are some of the best off the album. “Off That” is an infectious and fun club song featuring a guest appearance by popular Canadian rapper Drake. “A Star Is Born” includes J. Cole on the chorus and he even manages to drop in a wicked verse at the end and manages to steal a little bit of the limelight away from the Hov. And the widely acclaimed Cleveland-based rapper Kid Cudi sings the chorus on the excellent track “Already Home”. Jay-Z made a wise decision to include these young rap stars as their inclusion builds on the idea that The Blueprint 3 is really an outline for what’s to come in the troubled genre.

Another Timbaland produced track, "Venus vs. Mars" is classic Jay-Z: filled to the brim with wordplay and pop culture references. The song seems a bit random while listening to the album and is host to a repetitive chorus, but overall things work and the song more or less delivers.

Kanye West not only handles most of the production work on The Blueprint 3 but he also features on two of the tracks: the previously mentioned “Run This Town” and the song “Hate”. However it is sad to say that despite the strong chemistry Jay-Z and Kanye usually have, “Hate” is the music equivalent of a drunken rant. Part of me still enjoys the song and after listening to the lyrics more carefully I can say I understand what they were trying to do. Yet the other part of me expected more from Kanye and “Hate”.

Another weak song on the album is “Reminder” which is yet another track produced by Timbaland. The song is noticeably less refined than the other tracks on The Blueprint 3. Also the chorus and beat become fairly dull after the first listen and Jay's verses are lacking originality. Plus the song "Already Home" talked about a similar subject that "Reminder" does (and does it better) so it really makes you wonder why the song is even there in the first place.

Things quickly improve with songs like "So Ambitious" which features a smooth talking Pharell on the chorus as Jay delivers a rap that results in an actual moral: don't let anyone say you can't be successful. As Jay is enlightened by the fact that the doubt that surrounded him is what made him so successful, the song follows a unique and accessible beat. The result is one of the most well balanced tracks on the album.

Closing track "Young Forever" is a surprisingly mushy conclusion to The Blueprint 3. I think Jay was aiming for a more poignant tone rather than something schmaltzy as he rapped about the unrivaled stamina of his legacy, but Mr. Hudson’s work on the chorus makes the song feel more and the album closes on a quiet, sentimental note.

Overall The Blueprint 3 is a successful album and justifies the huge amount of hype surrounding it. Innovating in a genre where originality has been ignored, the album eagerly points to two simple truths: rap won’t be the same after this album and that Jay-Z isn’t going anywhere for a long time.

Arctic Monkeys - 'Humbug' [Music Review]

I never understood why the Arctic Monkeys weren't "accepted" by mainstream America. Did they seem too British for American tastes? Was the hype around their debut Whatever People Say I Am, That's What I'm Not too great and expectations too high? Whatever the reasons may have been before, it's time for the States to stop ignoring one of the best rock bands born in the 2000's.

The reason? Humbug.

Not only is this the Arctic Monkeys' most adventurous album thus far, it has quickly become one of my favorites this year. Humbug departs from the sound the England-based rock band has stuck to on their previous two full length efforts as well as retains Alex Turner's signature singing style. The product is something that is both familiar as well as refreshing.

So what is this new musical style the famous Arctic Monkeys make use of on their third album? Well thanks in no small part to Queens of The Stone Age founder Josh Homme, who serves as the record's producer, the group has distorted the guitars beyond belief and has upped the intensity of the drums. And as a result Humbug sounds heavier and grungier than the band ever has before, including many elements of psychedelic rock thrown in to keep things fresh.

This change is immediately heard on lead single "Crying Lightning", which is certainly one of the most upbeat songs on the album. Alex Turner's voice reaches new heights as Matt Helders provides a relentless drum beat in the background only made even more furious by the short-but-oh-so-sweet psychedelic solo. Similar songs include the opener "My Propeller" and "Dangerous Animals".

But of course Humbug has its calmer, slower moments with songs like "Cornerstone" which is bound to be an indie scene hit due to the lively lyrics and light sound. "Fire and the Thud" is one of the tracks more heavily influenced by 70s era rock and plays through like a song from Black Sabbath. It is one of the more unique songs and leads into an explosive solo near the end, but sadly that intense finale is the only memorable piece of the somewhat dull puzzle. However things quickly patch themselves up due to the following track "Dance Little Liar" which is what "Fire and the Thud" should have been.

"Potion Approaching" is also another slight misstep on the album's part. The song shares a few too many characteristics with a Queens of The Stone Age song and therefore doesn't quite match up with the rest of Humbug.

But the accomplishments that "Secret Door", "Pretty Visitors" and closing track "The Jeweller's Hands" are remedy the albums mistakes. "Secret Door" is easily recommendable to any indie or rock fan and even sounds like the sequel to "Flourescent Adolescent" which is one of the Arctic Monkeys' greatest songs. "Pretty Visitors" and "The Jeweller's Hands" end Humbug on a darker note and are both exciting deviations from the band's traditional formula. While the former is confident in its grim tone, the latter is a truly haunting song that sticks with you for a while after listening to the album.

While the Arctic Monkeys tend to channel a style not their own on Humbug, their third album is indeed the charm and shows that the band can embrace innovation and change. Humbug is a sinister, heavy, and addictive album that exemplifies one simple truth: the Arctic Monkeys are sticking around for a long time.

District 9 [Movie Review]

This is probably the billionth time you've read anything about the movie everyone is talking about this weekend. That movie is, of course, the mysterious District 9.

With little knowledge about what the movie is actually about (don't worry, no major spoilers here) the hype around it is pretty absurd. Premiering at Comic-Con was a smart move to get the ball rolling and to build anticipation, but even without the clever ad campaign District 9 holds its own as a smart and compelling film that is head and shoulders above most of this Summer's offerings.

Newcomer Neill Blomkamp has really hit off his career in the right direction with this movie, yet somehow manages to come off as a seasoned pro. By mixing in faux news-styled coverage of the events throughout the movie along with a heavy amount of human interaction with the aliens, District 9 plays out like a realistic documentary with action movie elements. The camerawork is punchy during the action and piercing in the drama, but it all meshes together into one seamless and unique style. Bruno could never pull this off.

While the technical side is fun to experience first hand, there lies a strong central story in the heart of District 9. I will say this: the film is a straight-forward alien movie. Things do get weirder than some may expect, but the amount of pure imagination poured into the film is noteworthy and the story is no exception. I cannot say much without providing spoilers, but I can say this without hesitation: the plot is ideal for Summer movie escapism and provides many memorable scenes.

District 9 has been flooded in praise, but that does not mean the movie is free of errors. One of the most noticeable problems is the sudden change of pace halfway through the movie. While the beginning is more of a drama, the latter half is filled to the brim with action. In a good move they try to disguise this shift with a small but fun twist, but alas the movie still suffers a bit.

Another issue with the film is the somewhat unclear message. While the first half creates some crystal clear comapirsons to the South African apartheid, the second half ends in a more Summer movie way--the purpose of the film is put aside for either the focus on characters or a 3 minute slow motion explosion. Luckily with District 9 it was the former and not the latter.

However District 9 still manages to rise past its issues to make a compelling moviegoing experience in a Summer season filled with more misses than hits. Imaginative, bold, and filled with frenetic action District 9 justifies the hype and is one of the most original movies of the year.

I can only offer one bit of advice: do not let the hype make you overexcited and do not go in there expecting one certain type of movie, otherwise you may be disappointed.

Clusterf*ck Score: A