DCR Pollock - Debut Review

With the release of their first full length album, DCR Pollock has defined so many things about themselves that many artists struggle with right from the gate. The sound is an echo of Ray LaMontagne with some modern inserts. An accessible genre that is difficult to classify (not that it even needs to be classified).

DCR Pollock had projections of old movie clips displayed on set.

Granted, this isn’t David’s first go at artistry. He’s had many different recording projects and endlessly writes tunes and poetry. He even went through a drawing phase, which I wish he would bring back.This album has been a ‘grower’ for me. I listened to bits before it was fully released and didn’t feel the hook. That may be my own fault, it’s certainly no gym-routine album. After it was released, it became my post-move soundtrack. All of my belongings had been consolidated into a bunch of boxes in the corner of a tiny, old apartment bedroom. In an already stressful and overwhelming situation, sitting and listening to David weep about the church didn’t quite motivate me to unpack my new life in my new home-away-from-home-away-from-home. I couldn’t give it much attention until I found myself more stable in my own life. Giving the sense of environment I was in, there’s something I can say for certain, and that’s that DCR Pollock makes me feel things. Things I didn’t know I still had built up inside me, things I wasn’t prepared for and didn’t want to feel at the time. It’s a combination of the familiar pop tones that are used for his beats, glossed over with a gritty filter that makes me believe I’m listening to a dusty record through a punctured speaker cone. Approaching the end of the album, Sad Francisco comes in to cheer up the day. It provides a brightness reminiscent of BØRNS. We can probably attribute that to the influence of the bass in this song. Thanks Jon!With help from David’s brother, Jon, with production of the entire album and playing the bass, and good friend Dan Bailey, best known for his work with Father John Misty, it’s assured that this album is very well constructed and certainly above par for a debut album from a young artist like David.

David and his voice.

David’s voice has evolved immensely since I first heard him sing. Initially, I thought, “Wow, this kid sounds like Aaron Weiss from mewithoutYou.” I loved that sound, whereas David did not. He wanted to be more soft and melodic, which he has certainly achieved. I think that in the future though, his voice could be more cut-through and focused. I just want to be serenaded by him.

DCR Pollock in the chapel.

Hosting his debut performance in a chapel in front of many of his closest friends (and some strangers), I imagine David was humbled to present this promising platform for his artist career. Be sure to listen to the debut album by DCR Pollock on Apple Music, iTunes, and Spotify. For lyrics and contact information, visit their website.
Be on the lookout for an email interview that I am conducting with David.

Photo credits go to Jia Qi Juszczak. Check out their photos on Instagram.

NEW SINGLE "West Virginia" by The Front Bottoms

It's raining, 

it's pouring,

The Front Bottoms are scoring.

Long-distance relationships are challenging, rewarding, but nearly never successful. They are enjoyable while you are involved, but once they end, you realize it was just not quite worth it; it was not all it could have been. 

This is the sort of feeling that crosses me when I hear Brian ask, "Is it raining where you are?" The disappointment that strikes him when the response he receives is "no" must be crushing. This exact feeling (unfortunately) has surged through me. You are then put in a position that leaves you thinking, "Well, now what?"

"But ain't that the truth, man?

Those are just facts

The farther you go from where you start

The harder it is to get back"

Prolonging: As time goes on through a relationship of this sort, it gets strenuous and draining, physically and emotionally. Late-night phone calls and curiosity of the other involved keep you up at night. Inevitably, this chapter in life will end (most likely with a phone call break up and a sudden wave of time not spent on Skype) and getting back to life as it was is no easy task. 

The angst has been building up, and it pours out; the break-up is like the collapse of a dam and it will flood you with emotions of confusion, regret, and emptiness. Feeling directionless after this sort of break up is much stronger than in a standard relationship. 

"Right now I'm just a volcano

On the brink of an eruption

Right now I'm just a psycho

Hell-bent on self destruction"

This part of the song takes a feel of some early 2000s punk: the sound of what Warped Tour used to be. For this new track, the acoustic guitar no longer takes the pedestal. Instead, we hear a highly compressed and distorted lead, though Brian is still holding strong onto his Luna acoustic guitar. 

"Love of my life

Gone for good

Love of my life

Gone for good"

Despite the chipper, glittery guitar solo after this chorus, the song still sounds like a vast empty-hearted tune. In the music video, considering the number of people at the house show, all the emotions seem very contrasted. The lyrics describe a break up process (a very special kind of break up), the video appears fun and crowded, nearly claustrophobic due to the fisheye lens, and the music sounds upbeat and abrasive, yet approachable. 

The musicianship of The Front Bottoms has come a long way. They have not appeared to market themselves as just a two piece band anymore, as they once did. They have filled out their sound. Matt is a much more structured drummer. Still using one of the simplest set-ups (bass, snare, hats, floor tom, ride) he has a more robust sound. He drives this song a lot more, adding syncopation with the vocals. The lead guitar and the bass play a more significant role in the overall sound and I hope that is the case for future tracks. 

I'm still left wondering why this song is called "West Virginia." I am hoping there will be a good story in an interview with the band in the near future as there always seems to be. 

Ever wonder about the story behind their song Rhode Island? Find out here, skip to 3:30. 

Watch the new music video here and sign up for The Front Bottoms Motorcycle Club here, where you mob around the beaches of New Jersey in your new TFB leather jackets, helping old ladies cross the street together.

Have A Good Season - Last Picture Day EP review

When the studies gets tough, the tough get studyin'. Studying to Have A Good Season, that is.

This EP has been the soundtrack of my daily library visits as of late. The pacing is perfect. It doesn't get too fast, and it doesn't put me to sleep. The vocals aren't overpowering or abrasive. They're adding into the tracks as another instrument, like that layer of frosting in the middle of the birthday cake. Not being the spotlight of the EP should not be equated with a devaluation of the vocals. In the song Squid, the lyrics are modeled as a dialogue. It addresses very introspective questions that aren't directly talked about enough in daily life:

"'Please respect the dead.'

 'How does one respect the dead?'"

Then the chorus repeats this line over some syncopated drum and guitar patterns that are simple yet still interesting to listen to:

"If my mind has a mind, am I ever truly alone?"

This is the sort of meta-awareness that has always astounded me. I'm glad someone could work this idea into song lyrics.

The song Dinosaur Bones gives us a good taste of what the vocalist really has to offer. By singing along to a slower ballad, we're given a taste of how Have A Good Season can bring down the energy and still pack a punch to their listener. We loom over loss as the vocals trail off with the decrescendo-ing guitar and washy cymbals: 

"All I have left, was all I had left. Now all I have left."

The whole mixing of this EP has a unique sound. The guitar and bass are clean, but contain enough grit when sustained to make you want to gently headbang (the kind of headbang where your hands stay in your pockets and you lock your knees on 2 and 4). The Japanese Bonus Track gains emotional strength about one-third through (3:30) where the guitar leads begin to slide, pull-off, and hammer-on. It gives a feeling of tension between the tightness of the drums and the looseness of the guitar lead. 

We get a similar taste of this style of guitar lead in the premier track When the Brain Tells You to Breathe (a brilliantly titled song) right after the intro of the song as it locks right into a similar sliding guitar lead. The guitarist isn't the only one to take a lead role. In the end of Oh, Carl, the drummer powers us to the end, taking the lead and locking in with the guitar. (That bell hit at 4:04 sends shivers down my spine). It just makes me want to know you, Carl. 

From listening to some of these lyrics, the amount of stories packed into this EP is beyond me, I'm sure. Their rock is tight, and their roll is smooth. 

Next time you step into the library to think, give the Last Picture Day EP a listen.

Related artists: Heart Attack Man, Citizen, Secret Stuff

New Single by the young D.C.R. Pollock -- Try Harder

Unexpected Love; Just What I Needed

In his new single, singer/ songwriter/ artist/ fashionista David Pollock writes about his struggles as a lover (which I happen to know he's actually very good at). Having recently recovered from his gloomy Letters to friends (of which I did not receive one), he seems to feel recovered from the loss, transformation, and relocation of friends he once had. Searching for love to fill that void, Pollock writes:

"I'm trying hard to make you love me, but it's harder than it seems."

Being single in high school must be rough, but I'm sure this suave young gentleman won't have any trouble finding love down the road. 

Pollock uses space in his music to create a dynamic from section to section, layering into the space as the song builds. Having written with Pollock before, I find that his idea of song structure has always been unique. There's not a typical intro-verse-chorus-verse-chorus-outro, but rather a construction of sounds that build from one section to the next. This can make a first listen not so easy, since the reprise tends to be subtle. This challenge is something that brings me back to listen over and over.

About halfway through the song, "Try Harder" turns into a party anthem [but more like a small party that you would have with five of your closest friends after you've found out that your long distance partner has cheated on you with your cousin]. The synth-like drone is abrupt but equally pleasing by filling in the gaps between the spacious bass line and simple drum pattern. I think Pollock must have found a MicroKorg laying around his garage (you'd be surprised what he finds "laying around"). 

This sound isn't what I would have expected from D.C.R. Pollock, but he's known to keep listeners on their toes when he finds new ways to experiment. 

Take a listen to the new single "Try Harder" on SoundCloud or Spotify. Keep an eye out for an upcoming album release! Stay updated with his new website.  

Butch Cassidy and the Sundance Kid

A tale of adventure, brotherhood, love, and loss; this western film is one that will be known as a classic for more than just it’s cast. With Paul Newman as Butch Cassidy and Robert Redford as Sundance, it’s easy to see the potential of the success of this production. Aside from that, the format of the editing is something that really sets it apart from most movies of the time in 1969.

Opening up with a silent short, displaying images of Butch Cassidy’s Hole in the Wall Gang from Wyoming, you can expect to see some train robbers, bank robbers, brotherly companionship, and gunfights. This non-diegetic element (the film within the film and the soundtrack) explains that this story is one loosely based off true, historical events. I say loosely because the movie is not categorized as a documentary of any sort, but rather it dramatized some true events.

There were also some interesting views on morality in this movie. Butch and Sundance were robbers in the developing western civilization of the United States, and while they didn’t intend to kill, they were still committing an “immoral” act, according to most; robbing. Their counter antagonists were constantly after them, pursuing an arrest. Since they were so slick and always got away, they were soon chased after with intent to be killed. (You see this in the last scenes of the film.)

The interesting contrast here is that, even though Butch and Sundance are the “bad guys” of the movie, the wrong-doers, they are the ones classified as the protagonists, the characters that we follow and relate with throughout the course of the movie. The officers in the States, and the officers in Bolivia are the good civilians, protecting their citizens from harm’s way, namely Butch and Sundance. These officers though, are the antagonists of the film, the ones who we want to see fail in their endeavors.

This is a theme that has become a staple to western films. The idea is a counterintuitive one that I find worthy of addressing; especially concerning a plot line so monumental to the genre. 

There are some more antagonists who were, more or less, true antagonists; “bad guys.” They were a group of cowboys who were hired to chase down Butch and Sundance when they attempted their usual robbery of the same Union Pacific Railroad train a second time. These antagonists were following behind in their own train, waiting for Butch and Sundance to strike again. When they finally get the opportunity to strike, they sure do and the chase is on. 

The unique thing about this chase: you never see the pursuers faces. They aren’t identifiable in this regard. It makes for a more mysterious looming sense that Butch and Sundance are lingering in a more unclear state than they were before.

New formatting techniques, rising Hollywood stars, and a contrast of traditional moral view points make for a movie that sets the bar for the soon-to-boom western film genre. Butch Cassidy and the Sundance Kid is a classic that takes you back in time to the civilizing west. 

Works Cited

Barsam, Richard Meran., and Dave Monahan. Looking at Movies: An Introduction to Film. New York: W.W. Norton &, 2010. Print.

Butch Cassidy and the Sundance Kid. Twentieth Century-Fox Films, 1969. DVD.

Juno: the birth of a genre

Sixteen and pregnant; a classic drama portraying the irresponsibility of our youth. This is not the template story line you get from the movie Juno. Although the main character, Juno MacGuff (Ellen Page), is sixteen and pregnant, she does not handle the situation in a traditional fashion. Her wit and trivialization of the situation make this melodrama one that will make you want to console the awkward couple, Juno and Paulie Bleeker (Michael Cera), despite their being poor decision-making teens. 

The downplay of this seemingly dramatic situation is mainly attributed to the slang that is used throughout and the casual relationship Juno shares with everyone, using phrases such as "silencio" and "honest to blog," which is something her best friend exclaimed when she told her she was pregnant. These phrases, along with other cinematic elements, are fairly new to this generation of the film industry. For that reason, this film has set a new expectation for a genre that will proceed it.

Juno's best friend, Leah, on the phone in her bedroom

The structure of the story line is a unique rising action plot. Typically, a rising action story will start with an exposition and continue with events that lead to a climax. From there, a conclusion is brought to the plot. What's different about the plot in Juno is, while basically a rising action plot, it also derives writing styles of an episodic plot. This is because of the structure of the three acts which are presented as fall, winter, and spring.

The story is written as if each act contains it's own rising action plot within. Fall is a time when things seem to pass before us. It's also when Juno and Bleeker fool around, a climax being her discovering that she's pregnant. Winter is a time of distress and dismay. The climax here is when Juno leaves a note on the doorstep saying, "Vanessa, if you're still in, I'm still in." I also view this as the climax of the overall plot line. Spring is a time of growth and rebirth. In this act, Juno has the baby and her and Bleeker rediscover their love for one another.

Juno's note to Vanessa

Other remarkable elements of the film are the set and color pallet designs. These elements are displayed in a manner that would not initially be perceived as professional film quality. While the dingy furniture quality in Juno's house does play a role in her family's appearance, it also attributes to the image of indie films. Everything looks as though it was purchased secondhand.

Juno with the family's living room set

Lastly, the soundtrack is an element that adds to the freshness of this production. The songs used in this film are all recorded by Ellen Page and Michael Cera, serenading one another with simple, yet endearing metaphors that would probably be inside jokes between their characters.

"You are always trying to keep it real.

I'm in love with how you feel.

I don't see what anyone could see

In anyone else

But you."  

The structure of the story line is interesting, something different from most rising action plots. With quirky humor, earthy color pallets, an appearance of low budget set design, and “unique" recording techniques used on the simple soundtrack recorded by some of the stars themselves, this movie was a monumental marking of the indie film genre. Putting these in perspective of longevity, I would not expect the movie to age well.

Works Cited

Barsam, Richard Meran., and Dave Monahan. Looking at Movies: An Introduction to Film. New York: W.W. Norton &, 2010. Print.

Juno. Dir. Jason Reitman. Prod. Lianne Halfon, John Malkovich, Russell Smith, and Mason Novick. By Diablo Cody. Perf. Ellen Page and Michael Cera. Fox Searchlight Pictures, 2007.

A Positive Performance on AIDS

A Positive Performance on AIDS

Set in a non-traditional venue called the Firehouse Performing Arts Center in the Fairhaven Historical District, I saw a performance of Positive on Friday (2/7) night and was touched by the stories of our locals. This performance was written by the company of the production, under the guidance of Pam Kuntz, a director of the performance. Don’t arrive expecting to see a traditional play, because that’s not what the producers, Kuntz and Company, have planned for you.

Throughout the performance, secrets concerning HIV and AIDS conditions of the local actors and dancers are unraveled in a beautifully artistic way. Nearly everything that is portrayed on the stage is derived from personal experiences of the actors. Though, none of it is directly attributed to any specific individual by name. This makes for a heartfelt and sympathetic tone throughout the night.

The performance is structured not using one fluid story line, but rather a pattern of themes portrayed through contemporary dances set to appropriate lighting. These two things made the play most unique: the structure and the lighting. The creator, Pam Kuntz, along with many of the cast members, wrote out this performance including their personal struggles. The performance was patterned as follows: a short bit of dialogue between two characters, a dance scene displaying the partners, and then a reprise showing all of the patients waiting in a hospital-like scene to hear news about their conditions. This reprise was most powerful to me because of the lighting, which was designed by Mark Kuntz.

The lack of a proper set design and minimal props meant that the lighting and sound were crucial, and it was spot on. This is what gave you cues as to where the characters were or what they were doing. During the reprise in the hospital, the lighting shone onto the characters from below. It was interrogative, harsh, and stale, pale lighting. It cast a sickly glow onto the AIDS patients, pulling a strong sense of sympathy from the audience. 

The Firehouse allows for an up-close interaction with the performers

There was also a painting projected by light that was painted by Keith Haring which was utilized very well. During a scene change, the actors would line up on the floor preparing for the dance scene and to brighten them up, this painting, paired with a cold and eerie whooshing sound, would appear. It wouldn’t be projected all at once. It showed up from stage front to stage rear in synchronization with the whooshing sound. It was a minor detail I found to be a real display of skill by the lighting designer in partnership with the sound director, Angela Kiser.

Kiser picked out great sound samples for all of the scenes. The sound effects all magnified the drama of the action. The songs were very reminiscent of an era. There were clips from artists such as The Andrews Sisters and the Bee Gees, taking the audience from decade to decade with the same issues in the characters lives still present, no matter the time. The actors dancing fit right in to all of the song’s time in history. This was really powerful in changing the setting. The only downfall were some of the lengthy dance scenes that seemed to drag on a bit longer than necessary. The contemporary dancing was stunning to watch, but one only needs to see so much of a square dance scene before it has become too much. 

Firehouse Performing Arts Center

The writing, lighting, sound, and dancing were all so strong in this unique performance. Not to mention how quaint and warm the venue is with it’s fireplace and wooden flooring. It’s not your typical play. Go in with an open mind, excited to see something fresh and you won’t be disappointed. The performance runs from February 6-9 and 13-16 at 7:30pm at the Firehouse Performing Arts Center in the Fairhaven Historical District. Tickets can be purchased for $15, $12 for students and seniors, at Village Books, only a few blocks away.