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Reviews from Artist Direct 
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In Twilight, Bella Swan (Kristen Stewart) doesn't know if her new home, Forks, Washington, is right for her, how she feels about her mom's new marriage, and has no stable way to relate to her police chief father, Charlie (Billy Burke). However, there's one thing that she's unequivocally sure of: her love for Edward Cullen (Robert Pattinson), who happens to be a vampire. Twilight is a love story, and it's an amazing one at that. What's more, the film effectively explores teenage alienation, creating an engaging atmosphere in the process.
Adapted from Stephenie Meyer's mega-selling novel of the same name, Twilight has a pronounced literary feel. It's not the standard teen love flick a la a Disney Channel movie, and it's also not your average vampire movie. There's something Shakespearian to the dialogue, setup, and character chemistry. The storyline sticks closely to the book, which is what fans will want.
The tangled plot begins with Bella's mom, Renee (Sarah Clarke), remarrying a
To most rock fans, "Aqualung" is the name of a classic song (and album) by Jethro Tull. This Aqualung, however, is a totally different animal. To his fans, "Aqualung" is the alias of British singer/songwriter Matt Hayles, whose music ended up in English commercials a few years back! On record, though, Hayles is a little bit Ben Folds and a little bit Pat Monahan with his tunes. He's a craftsman with the piano and uses the instrument to his full advantage.
On his fourth album, Words &Music, Hayles once again cuts a dashing piano rock path, revisiting songs from his self-titled debut, stripping them down to their barest bones and returning them to their acoustic roots. He also contributes a few new songs which are written in the same, spare and naked style. The songs are by no means empty, as Hayles' slightly falsetto voice is fulfilling and carries well over the strumming of his guitar and his intricate, tightly constructed piano melodies. Despite the form, the songs retain a soft
Though his devotees unfalteringly oppose the notion, it's impossible to ignore the reality that Phil Elverum's material has lost much of its luminosity in his transition between The Microphones and Mount Eerie. The change lies in the fact that the singer used to write less and say more, creating art that's emotional undercurrents could be felt before their exact story was understood. Take, for example, The Microphones' seminal release The Glow Pt. 2 compared to Mount Eerie's most significant outing No Flashlight. The former is an enveloping reverie, an aural journey through the melancholy twilight, frigid darkness and warming dawn of human relationships. The latter is a tangled briar of wordy lessons that require an attempt at the Guinness Book Record for world's largest album insert to clumsily explicate. Though it's hard to fault a musician for wanting to communicate, Mount Eerie tends to push its meanings so heavily that they compromise the music itself. Instead of crafting lush
The New Game is every bit as unsettling and unnerving as Mudvayne's 2000 debut L.D. 50 is. However, where L.D. 50 relies on flourishes of psychosis and unbridled angst for fuel, The New Game dissects and explores that mental depravity, embracing it—while simultaneously pushing it away. That push and pull is central to Mudvayne's fourth full-length record, and it's what makes the album one of the best heavy metal releases of 2008. The New Game sees the band taking stratospheric sonic leaps. "Fish Out of Water" brandishes a razor-sharp, polyrhythmic riff tempered by a jazz-fusion bass line. Meanwhile, drummer Matt McDonough lays down an impenetrable off-time percussive foundation for Greg Tribbett's riff mastery and Ryan Martinie's four-string wizardry. Above these instrumental textures, Chad Gray sings with an unmatched vitality. His voice crescendos from dark and brooding to cacophonous and chaotic. That's all in the course of one song too! On these tracks, Gray has found the middle
Seasoned producer 88 Keys makes his debut as an MC with a concept album built on the hilarious premise of a would-be nice guy's sexual disappointment, resulting bitterness, reckless debauchery, and, finally, unexplained death. Keys keeps regular company with Kanye West, who guests on one of the best tracks—dropping the immortal "I know a guy who got drunk and claimed a fat girl raped him"—and is credited as "executive producer" on The Death of Adam.
No matter who is ultimately responsible for the sound of the record, its expectedly solid beats, keyboard leads, jazzy piano and horn samples and smooth soul backing vocals are run through the gamut of tempos and moods in perfect accord with the wildly lurching narrative. It's all anchored by organ, strings and a surprising amount of over-driven rock guitars on a couple of tracks, including, "The Friends Zone," which makes use of indie-rock band Shitake Mushroom, but is even more notable for some of Keys' funniest rhymes, including "I
Bolt's bark is a lot worse than his bite—literally. The titular dog of the latest film from Disney Animation studios can shake the earth with his "ruff" intonation. In fact, once he lets it loose, a whole pursuing army is taken down in a hale of wind and debris as the earth shakes. However, Bolt is just acting on a high octane action T.V. show, though he has no clue. That's where most of the film's humor comes from. Bolt stars on one of television's hottest series, but he thinks he's actually saving the world. Once he accidentally gets misplaced in the studio's shipping department, he has to face the real world. Bolt may very well be the most effective analysis of celebrity delusion committed to CGI. In that respect, it's hilarious and very smart. However, for the kids, there are some rollercoaster action sequences and really heartfelt moments. The movie's teeth are a bit sharper than they seem.
Voice acting this time around, John Travolta nails his part as Bolt. His performance is
The holidays are meant to be joyous occasions where families come together to rejoice in each other's company—in theory, at least. In practice, families are far more bizarre than the outside world could ever know. The holidays can be a time of awkward encounters, airing of family drama, and the cataclysmic mixing of outsiders. A Christmas Tale (Un conte de noël), captures family awkwardness and absurdity in a well-built story that is, well, totally French.
The film tells the intricately woven tale of Junon (played by French national treasure Catherine Deneuve), an aging mother of three who has developed leukemia. The family is not unfamiliar with the disease; many years earlier Junon and her husband Abel (Jean-Paul Roussillon) had a child with leukemia that their daughter, Elizabeth (Anne Consigny), was unable to donate her bone marrow to. In an attempt to provide a new donor, the couple had a third child, Henri, but before they could use his marrow, his afflicted brother died. Now,
When Andrew Bagby was killed on November 5th 2001, he left behind much more than his memory. Childhood friend and filmmaker Kurt Kuenne set out to create a loving documentary about Bagby that illustrated the life of this quirky friend for Zachary, the child he left behind. The result, Dear Zachary, is as an emotionally captivating snapshot, seven years in the making, that examines Bagby's life and death through Kuenne's all-encompassing lens.
Bordering on journalism, Dear Zachary comprehensively interviews nearly everyone in Bagby's sphere to create a full picture of the man who once starred in Kuenne's childhood films. Bagby made a exceptional bad guy on Kuenne's prototypical home movies, but in real life he was a really good guy. He was once a med student in Canada, he gave great wedding toasts, and everyone had a funny story about him. But it was the brutal story of his murder that left his friends and family reeling.
On a November day, Shirley Turner, a much older woman Bagby
As G.M. and Ford teeter on bankruptcy, a disaster that would surely plunge Detroit further into the abyss of unemployment and crime, its hip-hop scene has been having distinctly different luck. Better luck. And Royce Da 5'9", a longtime staple of Detroit hip-hop (having been linked at various times to such rap luminaries as Eminem and DJ Premier), is looking to capitalize on it. While The Album won't be what launches him into stardom, it does do a good enough job at keeping Royce's name popping in the streets in the meantime. Is that enough, though?
First, the good. Royce is in full lyrical heat on The Album, and his voice–slippery and slyly menacing, able to flip from whisper to growl in half a bar–perfectly complements the grimy, lo-fi production. His flow, always his strongest point, is at full strength on good chunks of the album–listening to him effortlessly segue from mercurial to stuttered and clipped frenzy without skipping a beat is Royce at his best.
With all of his
Scottish party boys Shitdisco made their debut overseas with 2007's Kingdom of Fear, which has now been Americanized as The Emanator. The name change makes sense, as the metal-sounding Kingdom of Fear is actually a much worse name than Shitdisco. There's nothing fearsome about the group's hedonistic, gleefully derivative dance music that nips from everyone from Talking Heads to Gang of Four to Franz Ferdinand to even a Rage Against The Machine riff. It's a high-speed and glossy album, meant for dancing and sweating and hooking up.
To that end, The Emanator holds its ground. The tempos are relentlessly brisk, the hooks repeated enough to batter their way into even a stubborn listener's consciousness, and "Reactor Party" in particular is an irresistible hit–with the most iPod commercial-ready hook since the Caesars' "Jerk It Out." Lyrically, Shitdisco are as subtle as AC/DC, just about as sex-obsessed, and even a little sillier, as borne out on the dance-punk opener "I Know Kung
