Jane Eyre - Will the real film adaptation please stand up?

I love the book Jane Eyre. This might be a shock to some since I'm a homo-saphien of the male gender. Unfortunately, I've yet to find a film I deem to do the book justice. The most recent (2011) hollywood film portrays Jane as being both too pretty, as well as too dead-pan. Introspective and respectful need not be dead-pan. Why would Rochester be drawn at all to this... zombie? Then there's the ending. I guess hollywood is phobic of the religious element found in the ending of the book. All this on top of glossing through other plot elements and...

I've seen the 1996 adaptation, which was fair, as well as the 1943 version which I found to follow the book pretty well - until it completely axes the missionary character. Maybe they ran out of money and decided to jump to the ending?

Anyway, next stop is a BBC version as well as a PBS version I've heard about.

PS 

Atombender - "Wait of the World" album review

I listen to a lot of music - an assorted, plethora of tune-age of eclectic genres - dating back years. Of the "rock" variety (concerning which we often sub-categorize endlessly ad infinitum), when it comes to albums there are a handful of qualities which make the artists' work stimulating for me. Typically I'm simply looking for something that is... 1) Interesting. From the "interesting" plank I move into the subcategory of it being... 2) Moving.  At this juncture, I'm hoping the collection of songs will be 3) Continuously play-worthy (re-spinnable). Maybe it's needless to say, but I've listened to literally thousands of albums I've found to be interesting, I've listened to hundreds I've found to be moving - but then there's this 3rd category, where the work is interesting, moving, and even worthy of many, even countless, re-spins.


Without a doubt, the indie pop-punk band Atombender's recent release "Wait of the World" has already found its way into that third category for me.


So, utilizing an Aristotelian, 3-point polemic format (along with some cheese and crackers)...


From the perspective of an initial listen, there are countless qualities WOTW has which are really interesting. The songs have numerous catchy moments, plays-on-words, abrupt energy explosions as well as direction changes. The horn and retro-synth blend is more regular in this full-length offering than in their previous EP - as well as being even more enjoyable. The melodies, hooks, and harmonies are all packaged in a unique way and are right there for the taking. From the sneakily complex opener "Carpet Hearts," to the straight-forward, MXPX-like-punk-drive of "Back to the Basics" - to the playful, almost Dylan-esque lyric format of "Curse My Metal Body" (with the cynical, repetition of "everything that's beautiful is gone") - A-Bender's new album punches you in the mouth at your first point of exposure.


The album, furthermore, is also very moving. WOTW's lyric content is chock-full of life dilemma doubts and spiritual pilgrimage signposts. This becomes evident as one gives a more careful re-listening to tracks such as Amputations, US Hwy 30, Sinkhole, Great Lakes, Weight and Sea, and Ad Astra Per Aspera. I'll admit I'm a bit of a sucker for location/geographical references in songs and, well, this album has them. I'm close to certain "Sinkhole" is about some college town known as Ames, IA, and these types of references give the entire work that sort of "Asbury Park/Thunder Road" - or even Sufjan Steven-ish "Illinoise" vibe. For the record, I love that vibe - especially when, as in this case, it seems to be very genuine. Unlike some of these others, however, WOTW interjects glimpses of light as opposed to just ending up at the dark, dead ends of back streets. I must say, this was a pretty adventurous undertaking for a "pop" punk band's first full-length album, but they pull it off - and I mean, they really pull it off. Were it for merely the above reasons alone, "Wait" should be like a shared, time-capsule "magnum opus" for alternative music fans who have any connection to Ames, IA or the surrounding areas.


But the above is not even primarily what I like about "Wait." The album is also ridiculously re-spinnable. In just a handful of days since its release I think I listened to it something in the neighborhood of twenty-five to thirty times. I just can't seem to get enough of it. I've often asked myself what it is about certain albums that are able to find their way into my third category? To some degree, it's subjective - and replete with intangibles. However, I continue to explore some theories. Of course, the album needs to be interesting, and moving - that's how it got this far on my spin-list. But it also needs to be continually interesting - even progressively so. I see much of this having to do with fine-tuning choices being made about songwriting, arrangements, and production. In the case of WOTW, there are a myriad of delightful nuances within these categories which stand out. It's pretty remarkable to this reviewer that an indie band's first full length recording could exemplify such mature songwriting. After multiple spins, one becomes more and more aware of the diversities in the song structures - along with the variations and dropping in and out of vocals/instruments in the arrangements. Just explore the track "US Hwy 30" several times (again, love the geography reference) and I guarantee you that, aside from the fact that on a surface level it's a fun, catchy song - you'll hear different, enjoyable nuances with each and every intake. Focus only on the instruments the fourth (or seventeenth) time through, and you'll notice a staccato, popping synth sound in spots you'll swear wasn't there your first couple of listens. Savor the unexpected chord progression just prior to the terrific closing section, and you're likely to fall in love with this song as much as I have. This song is no exception, however. Essentially, the whole album is this way. From the vocals echoing the infectious, but initially subtle synth-riff in "Great Lakes," to harmonies bouncing from being unresolved to resolved, to lyric lines which remain unresolved - the album toys with the listener in wonderful ways. Both the band and the Des Moines studio guru Griffin Landa are to be commended for the production being professional, but not too glossy - for being well-thought out, while remaining rough around various edges. The vocal harmonies are tight and yet markedly "punk" (is anyone else like me getting a little annoyed of hearing sweet, over-reverberated Beach Boys-like harmonies on "punk" albums? Sometimes it seems as if "pop-punk" has completely "popped"). "Wait's" keyboard usage gives one the feeling someone just dusted off an old ARP mono-synth and ran it through a little guitar amp. Trust me, it's an exceptional feeling, and I wouldn't have it any other way. Lyrically, the album pours out meaningful, disclosing emotion while still maintaining a cryptic mystery which keeps the guests wondering (or "waiting?"). A prime example is the song "Night Guard." The words feature the delicious combination of being simple yet strangely opaque. The tone is thoughtful, yet haunting. The observer might be moved to reflection, or she might just get a little creeped out - or even experience both simultaneously. Aside from the fact that the band stretched themselves into attempting to write this slowly crescendo-ing/abruptly-ending piece reminiscent of perhaps U2/Coldplay - they also twisted into it into their liking with a powerfully placed voice effect, background primal expressions, and loads of spiritual angst. With Rohlf's lead vocal sounding eerily reminiscent of the old post-punk singer Mike Peters of the Alarm, and with the production still remaining raw, the song is like Arcade Fire meets The Clash accompanied by Modest Mouse - along with a brief shade of... Pink Floyd. All that said - incredibly, it works. I mean, it works magically. Along with additional, indefinable intangibles - the song almost seems to have a kind of staying, replay-ability of U2's "One." Yeah, I know - that's a pretty bold thing to say, but I'm telling you the song is that good.


Although I consider "Guard" to be a high point track, every song on WOTW grows stronger through repeated spins so that by the time the listener adventures through the anthemic group voices of the closing number (Ad Astra Per Aspera) he wants to play the whole thing again - without waiting (weighting?).


I have no intention of "rating" albums/books on this site, so if you're not completely certain what I think about    Atomender's WOTW, read the above review again. Or better yet, pick up the album and listen to it about thirty times for yourself.


-PS

Atombender "Wait of the World" in numerous formats available at Bandcamp:
http://atombender.bandcamp.com/album/wait-of-the-world

                 Atombender promo photography by Matthew Smith of The Beautiful Voyage
                 http://thebeautifulvoyage.com/


                 Atombender cover art by John Rohlf graphic design
                 http://www.jonrohlf.com/




                 Atombender on Facebook:
                 http://www.facebook.com/atombenderband
 
                 Atombender Facebook band page:
                 http://www.facebook.com/atombenderband#!/atombenderband/app_178091127385
       

Roslyn Stone coming to Des Moines Performing Arts Festival

Consider checking out the music group Roslyn Stone in and around the Des Moines, IA and adjacent areas. You'll love their very rootsy sound. You can hear a sample at their site by going right here.

My understanding is they'll be at the Des Moines Performing Arts Festival on Sunday, June 24 at 3:30pm.

PS

A Schaeffer Moment

"...philosophy is universal in scope. No man can live without a worldview; therefore, there is no man who is not a philosopher"

-Francis Schaeffer - Complete Works of Francis Schaeffer Vol. 1 p. 280

Atombender Album Release Concert - Zeke's in Ames, Iowa May 11, 2012

Ames, Iowa's alt/punk band Atombender has developed quite a reputation for putting on amazing shows. This year (2012) I decided to check it out for myself. As it turns out, I wasn't disappointed. I've seen them twice now, but at their most recent show they especially outdid themselves. Their album release concert in Ames, IA (May 11 at Zeke's) was packed with an avid AB fan-base who attended with euphoric anticipation. After some solid opening acts (I caught most of the History on Repeat show which was very enjoyable), the bender boys took the stage at roughly 10pm. Following an ironic recorded music intro, they immediately pealed into the opening song ("Carpet Hearts") from their new album release ("Wait of the World"). The live performance of the song exemplified the edgy-yet-playful arrangements on the album of powerful drums/bass, guitar, and their unconventional blend of horns/retro-synth. Mix in the in-your-face vocal performance of two of the best front-men in the indie-rock scene (John Rohlf - vocals/trombone; Justin Smiley-Oyen - vocals/trumpet), and you have an introductory synopsis of an Atombender live assault.

After kicking out another new song ("Great Lakes") featuring very melodic vocal harmonies and an infectious synth-riff echoed by the vocals, they broke into an older fan-favorite - the highly energetic "FM Waves" from their previous EP "Poison Gasses for the Masses."

If you haven't seen an AB show, try to channel into a vibe of a bunch of friends hanging out. The sense of unity between the band and fans is such that at times they almost seem to blend into one unit. Cartoon character dressed fans are down front helping to rescue falling mike stands while front man ("Smiley") regularly joins the crowd for some some zany romping and frolicking. It truly is an adventure that everyone in the room has embarked on together.

In the midst of several more high-powered new songs, the band then offered a slower tempo number ("Night Guard") which featured guitar player (Zach Brenner) on piano and the addition of another percussion player (to accompany drummer Ben Wiedenhoeft). The album version of the song is one of several featured epic, yet still raw punk-ish tracks (the others being Weight and Sea and Ad Astra Per Aspera) - and the live version enhanced the successful effort they've made to stretch themselves musically/lyrically. In this reviewer's opinion, this was one of several unique highlights of the show.

Other strong new songs displayed included "Sinkhole," "Amputations," and one of my personal favorites "Curse My Metal Body" (one of several new songs that stuck in my head from the previous concert I attended in Des Moines). After suggesting "let's have a dance contest" during a stellar cover of  "Kids" by Mgmt (featuring an excellent, pronounced synth-riff by keyboard player Michael Davis), they eventually closed out their set by performing the track that finishes the new album: Ad Astra Per Aspera. Singer John Rohlf described it as a song of hopeful focus through difficult times. The distinctly spiritual mood of the song translated well into the live setting.

Following a very zealous audience recall, they favored fans with two more songs - the crowd-pleasing staples "Silent" (which bass player Jacob King humorously introduced as "Yoda in My Pocket") and "A Better Plan" from their earlier EP. In all, the concert was a high-octane, yet emotionally reflective event. Rumor has it that the mainstream band Hello-Goodbye felt Atombender should have been the rightful winners of the battle of the band contest at ISU's "Veisha" a couple of years ago. After seeing their album release concert, I can see why (One report says that the judges felt the band exhibited too much energy - imagine that).

I heard that because of plans/schedules it's possible it might be a very long while before Atombender performs again - but in the very least do yourself a favor and pick up their new CD "Wait of the World" available on itunes, bandcamp, amazonmp3 - among other places.

P.S.

A Kafka Moment

"Indeed it was more than obvious that their hopes of hearing the violin played well or entertainingly were disappointed, that they had had enough of the recital and were only suffering through this disturbance of their peace out of politeness. In particular, the manner in which they blew their clouds of cigar smoke to the ceiling through their mouths and noses displayed severe aggravation. And yet the sister played so beautifully. Her face was tilted to one side and she followed the notes with soulful and probing eyes. Gregor advanced a little, keeping his eyes low so that they might possibly meet hers. Was he a beast if music could move him so?

from The Metamorphosis by Franz Kafka - 1915

The Choir - Chase the Kangaroo Tour - The Last Show - - - May 3rd - Ames, Iowa

There are a handful of bands over the years I've appreciated watching evolve as artists that have remained "under the radar." One reason they've remained in relative anonymity to the "masses" has to do with them not selling out to conventions.

One such band is The Choir.

Know that the viewpoint of long-time Choir fans (including yours truly) is that these guys are almost iconic. Thus, their recent 2012 tour featuring the 25th anniversary of the "Chase the Kangaroo" album was akin to icons performing an iconic album. Try to imagine Floyd-heads attending a "Dark-Side..." anniversary tour with the album being played in its entirety - in sequential order - and that's a hint of what this concert was like for us. At Zeke's in Ames, Iowa (May 3, 2012), I had the privilege of experiencing not only a "bite" of this historic moment, but of being able to attend the very last show of the tour.

The setting was intimate but very enthusiastic. Derri Daugherty (vocals/guitar), Steve Hindalong (drums/percussion/Bckgrnd vcls), and Tim Chandler (bass) were in exceptional form. The opening drum beat of "Consider," quite frankly, had a goose-bump effect on me. Then, with Daugherty's guitar echoing/reverberating in an edgy fashion, and Chandler's punchy bass lines rounding it off, I knew it'd be a special night. Kudos to Zeke's for their mix. The instruments remained powerful, yet one could hear the vocals distinctly. It was a nearly perfect sonic balance. Hearing "Children of Time" reminded me of my appreciation over the years for the song's lyrics, which I consider to be way ahead of their time - perhaps even still today (you might read Norman Geisler, William Lane Craig, or even Augustine, for a fuller appreciation of the ramifications of the song's lyrics). The acoustic-driven "Clouds" was one minor variation from album-exactness, but was enjoyable and very well-received (also, prior to a stirring live rendition of "Sad Face" - in an impromptu audience interaction moment someone in the crowd sang out loud an impersonation of the church lady voice "no dreams will their be shattered..." prompting humorous reactions from both band and audience).

"I Washed My Robe in the River" was particularly "driving" in its force, and hearing "Rifleman" performed live... with Hindalong narrating the speaking parts and playing harmonica from behind the drum kit... well... for this spectator it was sort of like having an out of body experience. I never imagined I'd be in an intimate crowd of enthusiasts listening to this band perform such an obscure, opaque song I've admired for so many years.

Acoustic "Clouds"

Hindalong narrates "Rifleman"

Daugherty then shared a detail about the influence of the late Gene Eugene on the song "Look out for Your Own." A very memorable moment of reflection (following this, someone in the crowd also belted out the line "Everybody in the band appreciates Mark..." to which Daugherty responded "hey, wait a minute, get your own band" with laughs all around). Hindalong stepped out from behind the drums, and on acoustic guitar sang and played the song with some hilarious, updated lyrics replete with self-deprecating humor about the band. This was a very "playful" moment in the set with much laughter.

"Everybody in the band... appreciates Derri"

"So Far Away" was introduced as being like a couples' number in a skating rink during the 1970's. Even though we all remember... Journey... (*gasp*) I would personally give the song more credence than that (although the not-taking-ourselves-to-seriously vibe is refreshing). Following the last riffs of the final song "Chase T.K." being banged out with notable energy, the enthralled attendees were especially noisy and appreciative.

From there the band tore into some other notable fan favorites, including "Sentimental Song" and "Burning like the Midnight Sun." They also played the excellent number "Cross that River" from their brand new 2012 release "The Loudest Sound Ever Heard." Hindalong spoke in an especially thoughtful way about the meaning of the song - and the genuine empathy and encouragement they hope people get from it. This was one of the highlights of the show.

The band left the stage to a passionate, raucous response from the audience - which brought them back out for more. After Daugherty made some jokes about "encores" in general, he thanked the audience for their support, and they broke into one more song, which was an amazing live version of "Circle Slide." With its quintessentially creative, artistic, ethereal "choir" -like vibe, the song wrapped up the evening.

"Circle Slide"

A special thanks to Zeke's for hosting the show, to the Choir for traveling to our neck of the woods to perform, and also to the individual band members for interacting with the audience afterwards.

For whatever it's worth... "everyone of us... as fans... appreciates the Choir"

P.S.

Just saw band The Choir in Ames, Iowa

After quite a stint of being AWOL from my Pot-lucking - got a chance to see The Choir at Zeke's in Ames, Iowa tonight (5/3/12). Wow - more on that later (coming up will be not only a take on the concert but also a review of their latest album "the loudest sound ever heard"). For now... wow... thanks guys.

P.S.