With the all of the hype and success surrounding writer-director David Robert Mitchell’s recent indie horror sensation It Follows, filmgoers have emphatically suggested to the industry, via their wallets, that they are tired of “found-footage”-style horror films typified by the Paranormal Activity and V/H/S series, and willing to see Hollywood progress into making more atmospheric, jump-scare-free spookshows. Unfortunately, the now-derided genre finds itself adding a legitimately frightening tale to its pantheon, just when audiences are abandoning it.
When the Unfriended trailer premiered earlier this year in January, it made the film seem like just another rote found-footage flick with laughable dialogue and bad acting. Count this as a prime example of bad marketing. As the film plays out, the concept and acting turn out to be the most positive features of the whole endeavor.
Our main protagonist, Blaire (Shelley Hennig), is your typical 21st-century high-school teenager who hangs out with her boyfriend and classmates constantly from her laptop on a variety of social media platforms, like Facebook, Skype, etc. When she receives a private message from a person she knew previously thought to be dead, her and her friends slowly get drawn into a web (ha!) of betrayal, lies and deceit which will pit them against each other in literally life-or-death situations.
Without spoiling the plot, the film is essentially a supernatural revenge flick with only slight moments of shocking gore and imagery here and there. But most importantly, it is also a treatise on the phenomenon of cyberbullying, lending Unfriended a social commentary edge that most horror films dare not aspire to. Director Levan Gabriadze (pronounced gab-ree-add-zee) had personal experience being bullied whlie growing up in Soviet Georgia and being in the Army, lending his film an authentic flair.
Unfriended‘s main conceit (some would say “gimmick”, though I wouldn’t be that cynical) is that it takes place entirely on Blaire’s computer screen. In real time, no less. The whole film is viewed through the lens of what Blaire is looking at on her laptop. It’s like watching someone on a computer instead of being at the computer yourself. What’s amazing about how the film is executed is that it’s not boring, it’s fascinating. Or more accurately, it’s fascinating because it’s boring.
That’s real life, though. Looking at a screen for hours at a time is one of the most boring things modern existence has brought us (indeed, I’m bored just typing this sentence!). In this way, the film not only comments on cyberbullying, but on our technology-addled society and how much more time we could be spending in the presence of others.
One other thing about Unfriended that you may not notice even after seeing the film: the entire thing was filmed in one take. According to a Slashfilm article covering the WonderCon 2015 cinema convention, the filmmakers revealed that “each actor was in their own room with a computer and they shot the entire movie in a single 80 minute take.” The article mentions that certain elements were added and changed in post-production to the shots (most likely including the true-to-life glitched-out video effects that cover the film every time events come to a head; it’s even over the Universal logo at the beginning!), but most of what the viewer sees consists of that one take. This fact raises Unfriended from a pretty interesting horror premise to a must-see movie.
Lest readers think I am being too hyperbolic, the film is not perfect and completely without its flaws. During moments when the tension starts to ramp-up, an obvious sound design element in the form of escalating white noise alerts you to the fact that SOMETHING BIG IS ABOUT TO GO DOWN AND YOU SHOULD BE SCARED. Honestly, the film would function much better without this unnecessary ploy at playing to the audience, just like how most space movies are better off being silent during scenes in space. Also, the story itself will depend on whether or not the viewer accepts the possibility of supernatural events in this otherwise “real” film world (the film’s ending will definitely hinge on this acceptance).
Still, these are minor complaints. Most of the time, Unfriended has a sense of depth and space that recent studio fare like The Lazarus Effectsuffer severely from. The fact that both films share a production company that has made quite a name for itself in financing and acquiring micro-budget films that pay dividends at the box office is beside the point. If you give it the time to play out and sink in, Unfriended may end up becoming one of your friends after all.
Formed in Stockholm in 1972 ABBA was and still is the biggest hit band to ever come from Sweden. They had many successes together in their years. One of the biggest competitions was the Eurovision Song Contest in 1974 which they won. It was held at the Dome in Brighton, UK. This was the first time a musical group from Sweden had ever won the contest. Their winning song at the contest was Waterloo.
This past year K-Pop fans were delighted to experience the solo career debuts of many high profile artists, including Taemi (SHINee), CL (2NE1), and even Jonghyun (SHINee). Now, three months into the new year, another artist joins the ranks of solo artist before her, as Amber of f(x) became the first of her group to make her solo debut with the release of her new album Beautiful.
I am super excited to say that the Featured Artist for the month of March is none other than Brent Walsh. The lead singer for the progressive indie alt band, I the Mighty, has recently released his debut solo album 7 and let me just say that this album is hands down one of my favorites. I have listened to it so many times and just cannot get enough of it.
Let me first start off by saying that discovering Brent Walsh was one of the best music discoveries that happened to me in the past couple of years. His voice is one of the most captivating singing voices I’ve heard in a long time. Brent has the ability to transition from his rough and regal sound to high notes that would blow your mind. Each song on his album just proves how strong and powerful his vocal dynamics are. It is so easy to be lost within his songs and his intoxicating voice. What you hear on this album is exactly what you’ll hear live.
Walsh’s album 7 has such an amazing flow from song to song. The album is perfect in showing of Brent’s musicality. His song “Typical Blues Song” is definitely not typical. The blues song not only shows off Brent’s amazing guitar skills, but also captures you. It’s one of those songs that makes you close your eyes and really listen to the music.
My favorite song on his album is hands down “Default World” and I am not lying when I say that I have to listen to it at least twice a day. The song is just that good. It’s perfect in getting my feet tapping and my day going. The song’s chorus is just one of those chorus where you just want to sing at the top of you lungs. The fast strumming of the guitar sets this pace that gets you going and wishing that the song could play on forever. Which is exactly what I wished he had done when I saw him play it live at The Crux, where he absolutely killed it.
Make sure to check Brent Walsh out and purchase his debut album 7 !
You can follow everything happening with Brent Walsh here :
Imagine Dragons became famous with their biggest hit Radioactive. This alone stood them up for great success. Their first album Night Visions was a complete hit in 2012 with ratings that surprised people. Their second big hit song was Demons which raced to the number one spot.
Falling in Reverse’s new album, Just Like You, dropped with the tenacity of a sonic boom this last week. Breaking into iTunes’s top 50 charts and with their top song reaching well over half a million viewers on YouTube, this may be their biggest hit yet.
Falling in Reverse is a post-metal core band out of Las Vegas, Nevada who got their start in 2010. After the lead singer, Ronnie Radke, had left his prior band Escape the Fate, due to personal complications, he immediately looked to start a new one. He gathered some guys and by 2011 Falling In Reverse’s first album titled, The Drug In Me Is You, was released with the support of Epitath Records. Within the first week of its release it had sold over 18,000 copies ranking them 13th on the Billboard top 100 bands list.
The band sky rocketed right from the beginning and with the use of this new album, they have only managed to climb up the totem pole. This new album consists of 14 new songs which many alternative rock magazines are considering to be some of the best work to be put out into the genre. Among these 14 songs, the ones gaining the most popularity consist of God if you are above and Just Like You. These songs are not your classic FIR tunes. They both have a unique twist on their bridges which adds to the feel of the song’s ending. Falling In reverse has always stuffed a variety of unique ideas and ornamentation into a their music but they accomplished a new feat by with putting out this album.
As a fan of this band from their start, I have had the advantage of having seen their development and how their music has changed; however, even if you are new to listening to this band or even just curious about their sound they are a truly talented band and deserve all the credit they have received. They will most likely be making an appearance at this year’s Vans Warped Tour so if you get the chance to go I would recommend putting them on the list of bands you plan to see.
For many of us here at the Pulse, 2005 was the year we were trudging through middle or junior high school, just starting to get exposed to new ideas and especially new forms of music. These albums helped us along the way. We look back 10 years ago…
Japanese band ONE OK ROCK is no stranger to the J-Rock scene, having been around since they formed straight out of high school in 2005. This February 11 marked the release of their newest album, 35XXXV, and after releasing a few teaser videos had fans eagerly awaiting its release. Stick around after the break to see just what to expect from one of the largest J-Rock releases of this year.
Every top 20 spot on this list is Thriller. Every year Thriller. Always Thriller. But I digress…
Well, it’s that time of year again. Cue the many pop culture year-end lists that show up all over print and web publications at around the beginning of December (yes, I realize these things start earlier than they should, bear with me). Also cue the many pop-culture year-end think pieces that describe why year-end list-making is a time-honored critical and social tradition that should be upheld.
Although I mostly appreciate the in-depth analysis of pop-culture goings-on, it does tend to get samey year after year. My point with this list in particular is to help you, the reader, discover a great piece of music that you otherwise may have missed in the thousands of albums that are released in a given year. I also hope to avoid the groupthink that occurs when multiple publications shower the same critical accolades on the same group of albums that may not really deserve it. My music taste covers both popular and more esoteric music from a variety of genres, so I hope that you will find this list useful. Without further ado, here are my top records of the year, ranked from 1 to 20!
1. Gazelle Twin – Unflesh
While no record this year was an insta-classic (5 out of 5) in my eyes, this one came insanely close. Note to the easily freaked out: this is some of the craziest, weirdest, creepiest electronica I have ever heard. Working with co-producer Benge, Gazelle Twin (aka Elizabeth Bernholz) creates soundscapes that fill the listener with a palpable sense of awe and dread… in the best possible way. Not only that, but the album’s music and lyrics are permeated with stark social commentary. Comparing the record thematically to Radiohead’s Kid A, PopMatters reviewer Guy Mankowski observes that “on both albums, doubts about technology, particularly with regards to the suppression of natural processes, are portrayed musically”. My personal Album of the Year.
2. Opeth – Pale Communion
Much has been made of this band’s leap out of the progressive death metal genre they helped establish, and into straight-up 70’s-style progressive rock. You’ll find many an Opeth fan in 2014 shaking their head at the band’s new direction, and in particular, the lack of frontman Mikael Åkerfeldt’s famous death metal growls on their two most recent albums. While I can understand the criticism that Opeth are no longer making music that’s original to them, when the results are this good, it nearly doesn’t matter. The musical curveballs thrown at the listener on Pale Communion are just as filled with the same songwriting prowess and invention as their previous albums. Complimenting the natural flow of the album is an absolutely stellar production job from engineer Tom Dalgety (Royal Blood’s self-titled album) and mix engineer Steven Wilson of Porcupine Tree, and as PT fans know, nearly everything Wilson touches is audiophile ear candy; this may be his best mix yet. If you consider yourself a fan of emotionally poignant and technically audacious rock music of any kind, take a listen to this (especially if you’ve got a great sound system to showcase it).
3. Closure in Moscow – Pink Lemonade
A definite out-of-left-field surprise to anyone who considered themselves a fan of the band’s post-hardcore-styled psychedelic cult jam First Temple, Closure in Moscow throw their previous rulebook completely out the window and construct a semi-concept album filled with theatrical prog tendencies, R&B/soul influences, psychedelic excess and even a chiptune track tacked on to the very end to tie it all up. For daring to alienate their previous audience and the band’s wacky ambition, Pink Lemonade becomes the definition of “glorious mess”.
4. Nothing More – Nothing More
Modern alternative rock with an edge came back this year with a large vengeance. Starset’s Transmissions, Icarus the Owl’s self-titled record, and, to take a more prominent example, Linkin Park’s The Hunting Party each proved that “radio rock” can be made with solid songwriting, technical skill and emotional heart. No album excelled in this vein more this year than Nothing More’s self-titled musical journey, which, in guitarist Mark Vollelunga’s words, represents “the journey from the “ocean floor” to a “funeral pyre”. “As you go through the songs, there’s this “letting go” process that happens,” and I couldn’t agree more. Featuring the dynamically explosive Jonny Hawkins on vocals, Nothing More covers topics from religion (“Christ Copyright”), the media (“Mr. MTV”) and more personal lyrics dealing with the death of the lead singer’s mother to cancer (“God Went North”). All in all, when the genre of rock itself is floundering in the Top 40 mainstream, bands like Nothing More do a great job of keeping it alive and relevant.
5. clipping. – CLPPNG
Industrial hip-hop as a genre is really nothing new. Though it’s become typified in the last few years by albums like Death Grips’ The Money Store and brought to mainstream attention by none other than Kanye West’s Yeezus, its origins as a genre go all the way back to at least the 1980’s. The new style of mixing hard-edged and noise-influenced beats with the boom-bap stylistic traits and lyrical wordplay of hip-hop has only really come to prominence recently because the aforementioned artists in question have added a more pop-influenced approach to writing hooks and verses. Add clipping. to the small number of artists who not only do it well, but chart new territory in the genre’s development. One of the select hip-hop acts to be recently signed to prominent indie label Sub Pop (along with Shabazz Palaces), clipping. impress with a mix of grimy and unsettling beats (“Body & Blood”), musical ingenuity (“Get Up”), and extremely impressive turns of phrase that prove the group is here to stay.
6. Skindred – Kill the Power
One of the few bands that could be considered “nu-metal” that consistently put out quality work is Skindred. Their cross-genre experiments in metal and reggae in addition to hip-hop, pop, electronica and, increasingly, dubstep, means an album of pure fun, dancy and headbanging tunes that you can enjoy equally blasting in the car or with headphones.
7. Flying Lotus – You’re Dead!
After the interesting detour but slightly unfulfilling Until the Quiet Comes, FlyLo returns with a stunning statement about life, death and the metaphysical spaces in between. Hosting a variety of collaborators including Kendrick Lamar, Herbie Hancock, Snoop Dogg and Kimbra, You’re Dead! demands repeat listens to catch all the nuances and crazy textures going on beneath the surface of Flying Lotus’ musical vision.
8. The Quitters – Contributing to Erosion
I don’t always care for modern punk bands, but when I do, they surprise me with their accessible yet gracefully executed songwriting, clever lyrics and old-school punk attitude. The Quitters has become one of those bands.
9. Jack White – Lazaretto
Jack White needs no introduction. And whatever you may think of his offhand comments regarding bands that try to copy his style, the fact remains that he reaffirmed his place among rock’s top pantheon with songs that reflected his blues, psychedelic and old-school rock-n’-roll heritage. Plus, White’s production skills remain top-notch, and the CD competes with Opeth for greatest dynamic-range mastering in music this year. An aural, musical and lyrical treasure to behold.
10. St. Vincent – St. Vincent
Whether or not Annie Clark’s self-titled fourth album is as good as her standout third album, Strange Mercy, released a few years back, is irrelevant. The fact is that Clark remains a singular musical presence, expanding the boundaries of what we say when we talk about “pop music”. Singles “Digital Witness” and “Birth in Reverse” are just two of the many morsels of joyful eccentricity the listener finds on St. Vincent.
11. Mastodon – Once More ‘Round the Sun
After their 2011 offering The Hunter, some fans left disappointed by that album were left wondering whether the ‘don could recreate the heights of 2009’s Crack the Skye ever again. Their new album, Once More ‘Round the Sun, proves the sludge metal veterans deserve to be mentioned in the same sentence with the words “metal greats”. Combining the progressive approach of Skye with the more pop-leaning tendencies of Hunter, Mastodon craft perhaps their most pleasingly accessible body of work to date.
12. Animals as Leaders – The Joy of Motion
Much like Mastodon, AaL had somewhat of a crisis moment with their last album, 2011’s technically brilliant but slightly disappointing Weightless, especially after their 2007 self-titled debut record lit a fire under the entire progressive so-called “djent” movement of metal that we find ourselves in today. However, The Joy of Motion more than makes up for any losses in relevance by featuring frontman/primary songwriter Tosin Abasi at his most instrumentally and emotionally evocative. A few moments on the new record equal or even surpass moments on the self-titled. If you want to get into modern heavy metal, but don’t like obnoxious screamed vocals clouding up the musical prowess of the individual members, definitely give these guys a listen.
13. Damien Rice – My Favourite Faded Fantasy
A contender for one of the most heartbreaking and beautiful records of 2014, Damien Rice returns with a stunning collection of progressive-inspired folk songs that feel perfect for those warm winter days where the sun is peaking out above the clouds and the snow is just melting off the roof of the cabin. It also features Rick Rubin’s most dynamic-production in more than a decade, which is more than can be said for some of his recentrecords.
14. Mekong Delta – In a Mirror Darkly
If you’re a fan of Master of Puppets and …And Justice for All-era Metallica, or even if you know about the existence of bands like Dark Angel, you nearly bound to love Mekong Delta. Progressive thrash metal is one of my favorite strains of metal, and Mekong Delta live up to the promise of their genre. High-pitched vocals, crazy drumming and riff after riff after riff keep me coming back to this album again and again. Plus, just when you think it couldn’t get any more awesome, they throw in a massive instrumental, “Inside the Outside of the Inside” (skip to 26:02 in the video).
15. Crying – Get Olde/Second Wind
Pop/rock? Ehh, well, it could be good. Mixing it with 8-bit video game/chiptune synthesizers? You have my attention. Not to mention painfully honest lyricism from frontwoman Elaiza Santos. It all adds up to an experience that, far from making you cry, will make you smile.
16. The Green Seed – Drapetomania
My pick for best throwback old-school rap album of 2014. ‘Nuff said.
17. Alpine Decline – Go Big Shadow City
Hailing all the way from a little town called Beijing, China, I’ve played these guys on my and co-host John Park’s radio show (Castles in the Sky) and they definitely deserve the hype. Hazy and shoegaze-y but with crystal clear production so everything packs that much more of a wallop, Alpine Decline conjure up mental images of the “land of the rising smog” with aplomb (at least, that’s how they called their home nation in the radio liner they sent us).
18. Slough Feg – Digital Resistance
Fears about how much technology is permeating our everyday lives have made many a great album, like the aforementioned Kid A and Unflesh. But many bands don’t seem to have the panache or class to write a great concept album about “the way we live” without writing actual tunes in the process. Cult metallers Slough Feg are here to do just that. With a mix of Deep Purple and Iron Maiden-esque guitar licks and a clean, analog production from frontman Mike Scalzi and engineer Justin Weis, Slough Feg lead the digital resistance in the face of all the technology that gives us joy, yet isolates us at the same time.
19. Shabazz Palaces – Lese Majesty
Much like clipping., Shabazz Palaces are a new Sub Pop signee who put the experimental back in “experimental hip-hop”. Off-kilter beats, offbeat lyrics and off-the-chain messages decrying the current state of mainstream hip-hop make this a hip-hop album to remember.
20. Amaranthe – Massive Addictive
The last album on this list is one of the cheesiest; yet, I have always dug Amaranthe’s mix of power metal, melodeath, and buckets of electronic synthesizers and keyboards, not to mention their super-clean production courtesy of producer/engineer Jacob Hansen. Even with a new harsh vocalist, the band never lets up on their sugary sweet style of metal. Recommended for fans of Japanese band Blood Stain Child (and if you don’t know who they are, look them up, too!).
What were some of your favorite albums from this year? Let us know in the comments! (Unless you say Run the Jewels 2, because you’re oh so unique in that regard )