July 8th. Yeah, it’s a Wednesday night. And yeah, it’s probably going to be hot as shit outside, but don’t let that deter you from coming out to see a show that’s worth the listen. I mean, come on man, it’s hump day. Gotta get out of the box and get some listenin’ in. Read the rest of this entry »

Flounders Without Eyes—What’s the Rush: Flounders has six singers and songwriters who contribute to the album and take it far past its jam band genre. Read the rest of this entry »

The birth of the moon walk. As soon as I saw this, I had to learn. Thank you MJ!

Hey folks, Harry here I saw this at the IMAX. If you want to see this – that is how to see it. It makes two action sequences pretty fucking amazing to just stare at. You won’t really be emotionally involved because frankly, no character work has been done to make you feel involved. But for pure IMAGERY – there are two sequences that the IMAX experience makes unbelievable.The film is padded by an hour of completely unnecessary, worthless, offensive and repugnant sequences that do nothing but tread water. Be it the family dogs fucking, twice. An extended sequence of Mom hopped up on pot brownies on a reefer madness binge. The well talked about racist foul-mouthed robots that are built in monkey proportions, have a big shiny gold tooth and do nothing to advance the story an inch. It’s almost like Michael Bay showed the script to George Lucas and Uncle George let loose with another of his awesomely inappropriate animated racial slurs. But the racial stuff isn’t limited to just the animated variety. There’s a black man with bad teeth working in a Butcher Shop to earn new teeth that kinda blew my mind. But my problems with these things aren’t so much of the PC variety. Read the rest of this entry »

The Invincible Czars–Fortissimo: Austin’s “everything and the kitchen sink” rockers have become known for projects as outrageous as their name would suggest. Read the rest of this entry »

High Ceiling—Illusions: High Ceiling fuses the classic Roots, Rock and Reggae sound of groups like Easy Star Allstars or UB40 with unpredictable instrumental jam band tangents similar to bands like Tea Leaf Green. Read the rest of this entry »

Away We Go

by Bree Perlman

The saying “Home is where the heart is” takes on new meaning in Away We Go, a romantic comedy for the unaffected. Burt (the irresistibly charming John Krasinski) and Verona (a perfectly quirky Maya Rudolph) are a smart, modern (she doesn’t see the point in marriage), unconventional (and refuses to marry him) couple who discover through one of the film’s funniest moments, that they are having a baby. A series of circumstances free them up to go in search of a place to start their new family.

After the torturous look at love gone wrong with Revolutionary Road, Sam Mendes has pulled a 180, using Away We Go to celebrate a rare kind of love between two people who seem to fulfill every cliche known to man (and woman) about completion and one-ness ever created.  I don’t think I’ve ever seen a film so unapologetically committed to the notion of love.

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Phil Lee–So Long, It’s Been Good To Know You: Nashville singer, songwriter releases his first solo album departing from the Mighty King of Love. Read the rest of this entry »

Jeremy Nail and The Incidents–Self-Titled: Heart on your sleeve rock and roll meets Americana. Based in Austin, they celebrated their release of their self-titled EP on Saturday, May 22nd at the Belmont. Read the rest of this entry »

by Bree Perlman

Two comments were heard repeatedly from the audience at the screening of The Hangover: “That shit is out!” and “This is every man’s worst nightmare.” Both, were alarmingly, hilariously true and could easily have served well as the film’s interchanging poster slogans.

The Hangover is a genuinely committed, gross out, raunch-fest comedy, that if at times uneven, never succumbs to sentimentality or sap. This is no small feat considering the premise which is about as formulaic as they come: A crew of  friends go to Vegas for a bachelor party that goes all wrong.   Part of its success is the fearlessness with which they push the dark-comedy envelope. Part of it is the treatment of the whole  buddy movie/road trip and their ability to embrace one of the most worn out plots in film with a  a  we-know-the-concept-sucks-but-trust-us sensibility that seems to motivate the filmmakers to stay one step ahead of its audience’s we’ve-seen-this-before expectations.

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