Capsules

Monthy Reviews of Film, DVDs, Music, Literature, and Art

AQUEDUCT
I Solid Gold
Barsuk
Music
A+

There simply aren’t enough good words to describe the new Aqueduct album, “I Sold Gold.” The brain child of former Oklahoman David Terry, Aqueduct is a golden pop cross between Flaming Lips and They Might Be Giants. Terry’s primary instrument is a Rhodes electric piano that sounds like a Wurlitzer on an acid trip and is backed up with various Postal Service-like drum beats. The new album, “I Sold Gold,” is Aqueduct’s first full-length since being signed onto Barsuk, the label that has boasted such indie wonders as Death Cab for Cutie and Nada Surf.

Aqueduct’s distinctive sound and uninhibited quirky approach to music bring some much needed life to the stagnant indie scene. With songs like “Growing up with GNR” (I was only twelve/dammit all to hell/I was feeling fine/hearing Axl Rose on the radio/singing sweet child of mine) “I Sold Gold” will plaster a smile on your face that you couldn’t wipe away with a bat. The album includes a few songs from the first full-length—re-done and re-mastered—and one of them features Jason Holstrom (of United State of Electronica and Wonderful fame) playing guitar. Pick up the album and be sure to catch Aqueduct live. If you’re lucky you can catch them covering “Damn it Feels Good to be a Gangster” (made famous by the movie “Office Space”). Live or recorded, Aqueduct is psychedelic garage pop at its fucking finest. —Bryan Costanich

THE ASSASSINATION OF RICHARD NIXON
Dir. Niels Mueller
Film
A

This fascinating film is based on the story of Samuel Byck, a man who was such a loser, even his assassination attempt on President Richard Nixon in 1974 is little more than a footnote in history. Sam (renamed “Bicke” in the film) is a failure as a husband, a salesman and an aspiring businessman, and Sean Penn portrays him with heartbreaking devastation; Bicke’s misguided effort to align himself with a Black Panther chapter is both pathetic and sad. The film is an indictment of the American Dream, an alluring carrot held just out of reach to all, it seems, but where the least deserving is equally depressing. Making it all the more appropriate that it’s being released in time for Bush’s second inauguration. —Gillian G Gaar

THE AVIATOR
Dir. Martin Scorcese
Film
D+

It’s often impossible to tell what tone was hoped for in Martin Scorsese’s debacle “The Aviator.” Chronicling a 20-year span in the life of Howard Hughes, “The Aviator” climaxes in a gory plane wreck that leaves Hughes (DiCaprio) bloodied and crushed after the XF-11 he’s piloting straddles the rooftops of three Beverly Hills homes. Scorsese undermines his trademark of apocalyptic excess with reaction shots of the people inside the demolished houses and slapstick cutaways that look lifted from Spielberg’s “1941.” As Hughes, DiCaprio speaks with a staged Southern Texas twang, which makes the screenwriter’s purple dialogue sound that much worse. Like Natalie Portman in “Closer,” the charisma-free DiCaprio never comes across as anything but a little kid playing dress-up. In a cameo as Errol Flynn, Jude Law is as flamboyantly self-parodic as Harvey Korman on “The Carol Burnett Show.” Only Alan Alda, cast against type as a Republican Senator, transcends the shambles. —NP Thompson

BETWEEN THE BURIED AND ME
The Silent Circus
Victory Records
Music
C

“Between the Buried and Me” suffers from music schizophrenia. Blistering tracks lead into songs dripping with hypnotic melodies and light, harmonized vocals. Although this seems interesting at first, it becomes annoying: the extreme contrast of this band’s light and heavy sound is distracting and takes away from the overall quality that this album had the potential to put forth. “Between the Buried and the Me” there lies an ensemble that has not learned how to control its identity crisis and make it into something listenable. Perhaps some therapy would help. —Brian Kidd

BLACK MOUNTAIN
Black Mountain
Jagjaguwar
Music
A+

To hell with all these bands who are trying to make the ‘80s come back like a bad penny. I’m all for the current breed of bands, like Black Mountain, whose cultural barometer ends squarely at 1979. This quintet of longhairs has crafted a disc of zonked out rock ‘n’ roll with loving blues and funk leanings. Black Mountain’s album made me want to grab a bong in one hand, a guitar in the other, and head to the desert to let it loose! If you even have the slightest idea of what I’m talking about, go out and buy this disc posthaste. —Robert Ham

DIRTY FOUND
Found Magazine
Literature
B

The fine folks at "Found Magazine" have compiled an X-rated book of other people’s lost smut for your pleasure. Finally, all the stuff they couldn’t show you in the pages of the regular magazine has its own naughty forum. This thick volume is comprised mostly of pictures and drawings, but there are some found treasures awaiting the hungry mind, like the especially interesting diary pages of an adventurous libertine, complete with illustrations. Still, the nagging thought lingers: Are people’s sex lives inherently more interesting than their “regular” lives? You might be surprised. —Kristopher Monroe

DISTANT
Dir. Nuri Bilge Ceylon
Film
B+

Winner of the Grand Prix and Best Actor prizes at Cannes in 2003, the Turkish film “Distant” finally has its Seattle premiere this month. Writer-director-cinematographer Nuri Bilge Ceylan composes lovely, wide-angle long shots of Istanbul and the Marmara Sea in winter. The colors are fetchingly washed-out, as if the landscape and the figures in it have been drained of vitality. Ceylan’s scrutinizing camera captures two distant cousins who become roommates for a time: Mahmut, a sunken-faced sad sack who ekes out a bourgeois existence as a photographer, and Yusuf, a grotesque, disturbingly simple factory worker. The men have nothing in common, except an apparent passion for cigarettes. Ceylan’s images and his use of sound design perfectly delineate the banal wreckage of these lives. —NP Thompson

“Distant” screens at the Northwest Film Forum January 2–February 3.

HOTEL RWANDA
Dir. Terry George
Film
A-

Every now and again, a film comes to the surface, which is both entertaining and educational. “Hotel Rwanda” is just that. Based on a true story, the film chronicles the horrific genocide that occurred in Rwanda in the 90s, where Hutu rebels massacred nearly a million of their Tutsi counterparts. The film centers around real-life hero and Hutu restaurant manager, Paul Rusesabagina (played by Don Cheadle), who managed to save over 1200 Tutsi people, with diplomacy, wit and courage. It’s the perfect subject matter for a film, as it naturally encompasses all the necessary elements of drama. As a bonus “Hotel Rwanda” will hopefully inspire its viewers to be aware of the world at large. —Karla Esquivel

IDIOT PILOT
Strange We Should Meet Here
Reprise Records
Music
B

With their major label debut, Idiot Pilot proves that they are much more than snide hipsters sporting white belts. Most likely, Radiohead and Vendetta Red have been in their CD rotation at one time: Just about every track contains ethereal acoustic and electronic passages, faux-Brit vocals, and earsplitting screams that that jolt the songs into crescendos of teenage-angst bliss. Although probably not yet old enough to drink legally, Idiot Pilot has put together a mature effort with potential to find a unique sound. Electro Screamo? Maybe, maybe not; either way I’d tilt my mesh cap to the side and give them props. —Brian Kidd

LEE COOMBS
Breakfast of Champions
Finger Lickin' Records
Music
C

Not so much bad as just appallingly mediocre. Most of the tracks, driven by breaks that were boring five years ago, are nearly indistinguishable from each other. Occasionally something pops up that might be interesting if it weren’t surrounded by so much hackneyed drivel. He’s done remixes for some decent names, but I dunno. I thought the UK was ahead of this shit. —Kristopher Monroe

THE LIFE AQUATIC WITH STEVE ZISSOU
Dir. Wes Anderson
Film
A

Director Wes Anderson is probably best known for his odd, deadpan humor found in soul-searching films such as “Rushmore” and “The Royal Tenenbaums.” While Anderson has kept a handle on his dark sense of wit, he has gone in a completely different direction with his latest film “The Life Aquatic with Steve Zissou.” As seen in his previous films, Anderson has a knack for delving into the personal realm of everyday living and revealing the quirky and tragic ups and downs. But in “The Life Aquatic” he takes hold of his imagination, and like a young boy playing make-believe, takes us on retro-Technicolor journey where mythical candy-colored sea life, a cast of oddball characters and modern-day pirates dominate the screen.

The film, which spoofs underwater film crews like that of Jacques Cousteau, stars Bill Murray as Steve Zissou, the director and “captain” of his cinematic aquatic expedition. His sole intent is to hunt down and document a leopard-spotted shark that killed his partner. His “possible” son (Owen Wilson) gives his up job and his inheritance in order to join the Don Quixote-ish adventure and to get closer to his so-called dad. Among the colorful host of characters is, Steve’s sardonic heiress wife Eleanor (Anjelica Huston) and the husbandless but pregnant journalist/love interest Jane, played calmly by Cate Blanchett. Throughout the film Seu Jorge can be found gently strumming his guitar and singing stunning renditions of early David Bowie songs in Portuguese, which creates an ethereal and timeless soundtrack. Watching this film is a sight to see, as the cinematography creates a vibrant dream-enhanced world. It’s a cross between a Fellini film, a spaghetti western and one of those cheesy sci-fi B-movie from the '60s. The film is also laced with plenty of humor, which will be appreciated by all. I’m also guessing the film itself is going to be a hit or miss with viewers. Either you will deeply appreciate Anderson’s bizarre underwater expedition, or you will drown in its over-the-top eccentricity. —Karla Esquivel

MEGADETH
The System Has Failed
Sanctuary
Music
B-

Poor ol’ Dave might be the most conflicted character in the annals of metaldom. This album is testament to his stormy saga, with its Frankensteined mÈlange of crushing thrash abutting rather delightful melodic pop. For those who found “Risk” a guilty pleasure, this is enjoyable, but be warned, ‘deth traditionalists will abhor “The System Has Failed.” Sarcastic snarl? Yes. Ellefson? No. Christian? Yes. Typical? No. Political? Yes. “Rust In Peace II?” No. Still mad at Lars? Oh hell yes. With a back-story like Megadeth’s it’s unreasonable to evaluate this album as simply good or bad. Goddamn weird? Damn straight. —Wendy Colton

MEN AND CARTOONS
by Jonathan Lethem
Doubleday Books
Literature
A

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THE ORGAN
Grab That Gun
Mint Records
Music
A

Before the vocals kick in, I close my eyes and am transported back to 1985. I’m high on MDMA, smoking a clove, wearing way too much black eyeliner and teasing my hair out with Aqua Net in the bathroom before the Cure take the stage. While the Organ’s roots definitely bring back a flood of ‘80s-era sounds, most notably Joy Division and the Cure, they’ve somehow mined the territory and found something wonderfully unique. Maybe it’s the Blondie-esque vocals, the fairly depressing lyrics that somehow still relay a feeling of hope or the catchy dark pop, but it can’t just be the overbearing nostalgia factor, because I fucking love this album. —Dan Halligan

RA SCION
Live and Learn
SCIONtific Records
Music
B

RA Scion’s “Live and Learn” spills over with content so thick that listening will certainly command a reaction. The emcee tackles several social, political and spiritual issues, but the overall message is one of accountability. If artists claim an unwavering love of hip-hop culture, why do we let others control the message? Why do emcees spit empty bars? And what happened to the fundamentals? The beats recall the Native Tongues era, while the lyrics bring you back to the days when you rushed home just to sit, listen and learn. —Emily Youssef

RAMONES RAW
Dir. John Caifero
Image Entertainment
DVD
B-

I love the Ramones and the campiness of their movie “Rock’n’Roll High School,” so I’ve been waiting impatiently for the DVD releases of both “Ramones Raw” and “End of the Century.” “Ramones Raw” is the first movie to hit the home market and it lives up to its name with five hours of poorly edited home movie footage along with various live performances. In its entirety, “Ramones Raw” is not like a quick, fast-paced fun Ramones song at all. Sadly, it’s almost tedious to get through. Marky’s doesn’t really ask questions or capture the exciting elements that made the band so amazing. But there are enough gems hidden in the footage that are amazing enough to keep most Ramones fans happy—from early live shots, bizarre TV appearances and celebrity sightings to observing the band interact with each other and their rabid fans. —Dan Halligan

RAVENNA
The Reason
Smallman Records
Music
C-

Ravenna sounds confused, Screamo one second, adult contemporary the next. Each song gets more and more watered down until track nine, which is a ballad ‡ la Soul Asylum. I kept thinking Ravenna wants to be Small Brown Bike (their labelmates) crossed with Down By Law. Whatever they want to be, Ravenna has failed. “The Reason” left me both cringing and laughing. So, yes, I had an intense emotional reaction to this recording… and, um, isn’t that what emo is really about? —Diana Mayoral

THE REPUBLIC
So They Ran
Self-released
Music
B

Small, timid verse with acoustic guitar. Slightly more confident verse with whole band. HUGE GUT-WRENCHING CHORUS. Timid verse. HUGE ANTHEMIC CHORUS, EVEN BIGGER BRIDGE, HUGE HUGE CHORUS, fade out. Thus is the formula for today’s sensitive Brit-pop single. The Republic has this down, playing very pretty, very catchy, and vaguely hopeful lines (like “I’m on my way/It’s time to begin”) are sung with just the right measures of optimism and sadness for thirty minutes on their debut. “So They Ran” is both warm and cathartic (there’s even a song called, ahem, “Catharsis”). HUGE. —Joel Hartse

SAGE FRANCIS
A Healthy Distrust
Epitaph
Music
B

"A Healthy Distrust" marks Sage’s departure from home-produced CDs with layout evidently assembled at a Kinko’s to the world of the major labels. This record lacks the organic sound of “Personal Journals” and sounds a bit like labelmate Atmosphere’s debut, “Seven’s Travels.” While tracks such as “Product Placement” certainly carry his trademark biting tongue and political witticism, the overproduction of this album works against him at certain points. His Non-Prophets release “Hope” was a hip hop masterpiece that shook the underground by storm, and following it up is proving to be no easy task. —Robert Hanna

STICKLEBACK
by Graham Annable
Alternative Comics
Literature
B-

Annable’s work reads more like a cartoon than a traditional graphic comic offering, but that’s no insult. As someone who’s usually more attuned to cartoon animation than comic books, I can honestly say I’ve never read anything more hilarious than his previous Grickle books. "Stickleback" retains Grickle’s main character, and while it didn’t bring tears of laughter down my face like the previous books, it did make me lose it toward the end, just when I thought I wasn’t going to laugh that hard again. He has an amazing way of telegraphing the smallest gestures—especially facial expressions—into grand comic moments. —Kristopher Monroe

SUBTLE
A New White
Lex Records
Music
B+

Anticon Records’ Doseone and Jel have put together a new band that’s attempting to up the ante on how far their collective can push hip-hop’s boundaries. Jel utilized an everything-but-the-kitchen-sink method when producing the nearly alien-sounding tracks. The production coupled with Doseone’s Burroughs-esque stream of consciousness lyrics makes “A New White” a difficult listen for popular hip-hop fans but for the experimental set, the rewards and possibilities are phenomenal. —Nathan Walker

TED LEO +THE PHARMACISTS
Shake the Sheets
Lookout! Records
Music
A-

I write this missive with the half-held thought that the passionate Mr. Leo must have been weeping softly into his bed linens on the morning of November 3, 2004. Perhaps he writes songs instead of merely shedding liberal tears. Good for him. Good for us… because his vocal assault charms in the way that only Bowie and Costello’s imaginary stepchild could have, making otherwise standard Lookout! power-pop skadoo into relevant and heartfelt political balladry. —Timothy Schofield

TURING MACHINE
Zwei
Frenchkiss Records
Music
B

This album reminds me of the feeling of running down a mountain. It feels dangerous, fun and teetering close to the edge. The entirely instrumental Turing Machine play a math/kraut rock hybrid that rarely veers from the guitar-bass-drum format and the songs plow straight ahead. The only fault I can find in the record is that it’s rare that I want to run down a mountain. —Nathan Walker

TWO OF US
Dir. Thadd Day
Polyvinyl Record Co.
DVD
B-

“Two Of Us” is a cute documentary about the husband and wife duo that is Mates of State. Director Thadd Day follows them across the country as they play their twee music to adoring fans across the country and cuts it up with in-studio footage of them recording last year’s album “Team Boo.” Though it’s a strictly fans-only release, the documentary has its bright spots. You’ll chuckle as the band attempts to lure a metal head to their show, or as they brainstorm the title of their next album. You’ll cringe when you realize that being a husband and wife band probably isn’t all that it’s cracked up to be. They unwittingly admit there’s never any wild touring van sex. But witnessing how overbearing one half of the band can be, it may be a letdown for fans. —Nathan Walker

THE WAIFS
A Brief History...
Jarrah/Compass Records
Music
A-

Although the moniker has all kinds of Supermodel/body insecurity/eating disorder implications to it, this folksy five-piece plays bluesy, roots rock that is unmistakably Americana. Never mind that they’re Aussies. This double disc carries over thirty songs recorded live all over Down Under, but without the occasional crowd reference to “Melb’n” one would never know. The lead vocals of Vikki and Donna Simpson jump off the record with indelible power, ease and clarity while picking and licking their acoustics with the same assertive energy. The boys round it out with the appropriate rhythms and blues. —Shawn Telford

WE VERSUS THE SHARK
Ruin Everything
Hello Sir Records
Music
B+

If I were the type of person that habitually threw house parties, I would want We Versus the Shark to headline every time. They could even get indie kids to dance with their exuberant combination of math rock, disco beats and odd time signatures. Although occasionally grating, the band’s angular riffs and stop/start dynamics are a colorful contrast to the wintry gray gathering just outside our bedroom windows. —Brian Graham

THE WOODSMAN
Dir. Nicole Kassell
Film
C+

“The Woodsman” boasts a stunning performance by Kevin Bacon, but that’s about all. The film is about Walter (Bacon), a middle-aged pedophile who has just been released from prison after serving 12-years. The only apartment he can find is across from a school which immediately makes the audience feel they are being set up. Trying to get his life in order, he gets a job at lumber mill, where he meets tough girl Vickie (Kyra Sedgewick, Bacon’s real-life wife). She falls for him, knowing he has some kind of deep dark secret. When she learns of his lurid past she isn’t shocked or horrified in the least—which is also completely unbelievable. On the plus side, the film tries to humanize and create empathy with Bacon’s despicable character, but it’s ultimately hard to digest with the many blatant holes in the script. —Karla Esquivel

WOLFMOTHER
Wolfmother
Modular
Music
D+

I guess when your singer sounds eerily like a young Ozzy, you can’t help but start a band that sounds a little too close to Black Sabbath. These Australian gents do a fair job of recreating a sound that I can hear the garage rock scene morphing into, but all it really made me want to do was grab my copy of “Masters of Reality.” —Robert Ham