Album Review: Giza - EP

Gatekeeper is just a delight. I think that when defining/describing this group, it makes perhaps the most sense to compare their appeal to that of hazy 80's horror flicks (Halloween and the like). I don't mean this in the sense that the experience of these two things is even necessarily the same, but that in many ways, Gatekeeper captures the endearing feelings one may experience when thinking about these films post-viewing; the hazy cheesy-wonder of the 80's horror aesthetic is translated into musical form here, as the artistic shortcomings of these films is cast-aside. Essentially, I would just love to make a throwback horror flick, and score it to this beautiful album (or even the also wonderful first EP Optimus Maximus by this duo). I mean, just look at the damn album art (just too cool). I've even thought whilst bobbing my head, that this album would work well as the background track to an amusement-park ride with a retro-horror theme.

To delve more specifically into the sounds of this EP, one can't ignore the synth sounds of the 80's (I talk about the 80's a lot on this blog, don't I?). Works by director and synth-genius John Carpenter are obvious touchstones, as well as more modern groups such as Zombi. Hard-hitting arpeggios and tinny yet rich retro-sounding synths make-up a large part of this work. In terms of the drum-machine sounds, they hit really hard. Simple yet somehow knotty beats compliment the synths, adding a strong dance/disco-esque vibe to this EP. Hyper-cheesy samplings from crusty horror films and the like are also dispersed throughout Giza, adding character and a sort of narrative.

Gatekeeper proves with this EP that sometimes the most powerful experiences are those that feel genuinely not of one's time. Follow the link below, to view the killer visual companion-piece to the initial track "Chains", which was released on a VHS-only collection for this EP. Thanks for reading.

"Chains"

C.W.

Film Review: Donnie Darko

Donnie Darko is an incredibly compelling film to behold, simultaneously because of the plethora of intriguing questions that it raises post-viewing (while viewing, as well) and because of its consistently unique/surreal aesthetic that speaks to the viewer's senses. At its core, this film involves the time-bending alternate-reality-heavy adventures and occurrences centered around the enduringly likable teenage boy by the name of Donnie Darko. To be honest, that's quite close to as specific as I can be in regards to the plot without skipping-off into a sort of novel, or even more unforgivably, taking a bit of the mystery out of the film.

On a philosophical level, this film is an absolute gem; it raises the best sorts of existence-questions (those that have no objective answer). Are we as humans truly alone? At which level is empathy possible, if at all? If there is a God, how does the reality or illusion of free-will mesh with him? Two aspects of a philosophical nature are especially refreshing with this film. First, many of these questions are raised by Donnie himself. This is compelling, because nearly holistically, Donnie Darko avoids denying teenagers any validity or intelligence, as so many films do. It's nice to see an artistic work that recognizes the philosophical potential in people of this age, and the way in which those that are older shouldn't necessarily cease to propose these questions to themselves and others. The film manages to attempt to make sense of our confusing situation without acting as if it already has made sense of it; Second, Donnie Darko is a very open-minded film, that ventures into territory that may not even be trendy (the acknowledgement of the possibility of God is quite interesting in the realm of modern cinema).

Probably equally as important is the aesthetic of the film. It oozes a sort of hazy, surreal, 80's-ness, that places the viewer under a sort of existential sensory trance. Events waft-about with an odd sort of pseudo-tranquility, as the stellar soundtrack fills the viewer's ears (Joy Division, Echo and the Bunnymen, Tears for Fears, and what-not). My only complaint, is the rare occurrence of slightly off-hand cheap-looking special-effects that I don't necessarily find aesthetically pleasing. I do admit that there is a sort of endearing quality to these minute elements, but I do find them slightly off-putting.

But, truly, one of my all-time favorites; a very special film. The website is also very intriguing (follow the link below).

The link below.

C.W.

The Importance of Visual Association within the Realm of Film and Music

I feel that more often than not, very little importance is placed upon both album-art and the film-poster. Although I intend to focus more directly upon these two artistic venues with this post, this attitude is a trend far beyond these realms, spreading to really any sort of visual representation of an artistic work. Ultimately, what is forgotten is that the artistic experience itself is always subconsciously filtered-through these initial visual and aesthetic representations of the works. Many times, the enjoyment of a work is inseparably influenced by these things. Granted, the influence manifests itself a tad differently when it comes to music, and when it comes to film.

Although music surely conjures mental images in and of itself, a very strong and cohesive image, representing the aesthetic of the music in question, can exponentially increase the resonance of the music with the listener, and serve as a starting-point for unique images that are created by the listener from their own personal experience and aesthetic leanings. Ultimately, album-art can viscerally inform music-content in ways that nothing else can. The mind thrives off of having this spring-board of sorts, that can be used to make the event of listening to an enjoyable album that much more exhilarating.

Film-posters, although working in fundamentally similar ways, do differ from album-art. Most prominently, film-posters move to inform works that are simultaneously visual in nature. Although it is still odd to view a film that completely defies its poster, this can be perhaps less damaging than with album-artwork, if even a bit less so. With films and their connection with their posters, it is more a striving towards fulfilling what has been pre-built within the filmgoer's mind, rather than setting up a sort of foundation or filter. It's more about synergy than foundation-building.

On a more general scale, a crucial part, at least to me, of enjoying the arts as a whole, is to recognize that doing this is about much more than just the work itself. Everything is a collaboration of elements.

C.W.

Album Review: We Must Become the Pitiless Censors of Ourselves

John Maus is nearly as intriguing as an individual as this delightful little retro-pop gem and his music as a whole are. Maus frequently states in various interviews that I have viewed, that his primary goal as an artist is to take in hand what pop itself is, both as an ideal and as a sound, and in turn remove any unnecessary externalities. Being the eccentric (endearingly so) that he is, this is said in hundreds if not thousands of arcane words, that come across in the most confusing and polarizing way possible. Really, the intellectual pretentiousness of the John Maus persona serves as a fascinating contrast for his quite simple, reverb-heavy, retro-synth-pop musical output. I'm not sure how far-fetched this philosophy is, honestly. To me, this album is just an homage to 80's synth-pop with some unique elements added in, but who knows?

When I listen to this album, I either think to myself, "I certainly am glad that it is raining outside as I spin this." or, "I certainly wish that it was raining outside as I spin this". The beautiful album-artwork accompanying this is a holistically spot-on representation of the sounds within (perhaps I'll write a thought-piece on the importance of album artwork, and the mental associations that it inevitably conjures-up). The music here is very much pop from the 80's filled to the brim with Joy Division-esque vocal work from Maus, sincerely retro-sounding synth-arpeggios and chords, and simple yet crucial drum-machine elements.

Now, at first, this may seem very worn, but what makes this work so unique is the production that has been applied, not so much the make-up. The vocals seem as if they are drowning in the midst of a vast ocean of reverb; the synths seem to be recorded under water, and the drum-machine sounds like some sort of delightful thing that has been unearthed from the more hidden realms of your secretly cool grandmother's closet. This almost seems like some sort of pop album you would find hidden away in some neglected shelf of a record-store, listened to by not many more people when it was released than now (but, really, in the most endearing way possible).

In the end, this is really one of the best rainy night-drive type albums I've heard. Also, below is a link to one of the referenced interviews in which Maus' bizarre persona is on display. Also, bits of a Maus live performance are included (he just goes up there and sings along to tracks of his material, while acting a bit insane and stuff).

Click this, now.

C.W.