Fiddler on the Roof, Lyric Opera House (2012-02 USA-MD Musical)

Performers: 4
Structure: 3
Technical: 2
Emotional: 4

Overall: 3.5

The Lyric put on a solid performance of Fiddler on the Roof. It was impressive to see older members of cast having such strong parts— and they delivered. With great numbers, comedic timing, and difficult situations, it was a strong performance with a light beginning and emotional ending. I felt the gravity of such situations is not as relate-able this day in age, but it still provided a healthy amount of emotional investment.

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John Preece proved to be a master with Tevya. With so much experience, he added the right amount of nuances to the character, making me really believe him and his situation. The comedic touches, while perhaps feeling a tad out of place, gave the play an extra edge in enjoyment.

The first act was energetic, lighthearted, and fun. It had a lot of energy and drew the viewers in. The transition to the second act felt a bit jolting, both in its change in feeling and the fact that its execution and screenplay did not feel as consistent. Nevertheless, the gravity of the situation is still communicated and felt; Tevya finally draws a line that is consistent with "Tradition".

"Matchmaker, Matchmaker" featured harmonizing vocals from the three eldest daughters and synchronized mop play. The first Christian dance scene was intricate and fun. The wedding ceremony "Sunrise, Sunset" provided relaxing backing vocals. The "Do You Love Me?" showed off Golda's chops and made the viewer appreciate and understand their relationship.

The front lighting of the set was simply too strong and contrasty. Yes, the viewer needs to focus on the character, but it somewhat distracted from the ambiance; especially because the sets themselves looked to be detailed. The flow from scene to scene, however, was done seamlessly, with several scenes beginning before it was finished.

Make Way for Tomorrow, Leo McCarey (1937 USA Drama)

Characters: 2
Screenplay: 4
Cinematography: 1
Emotional: 4

Overall: 3.0


This classic film shows itself to be a powerful and moving film about coping with old age. I was pleasantly surprised with the amount of humor and good comedic timing of this old film. It manages to maintain a level of easygoingness, despite the gravity of the situation: an elderly couple whose home forecloses and is forced to be split up between their children. This film is particularly relevant now, with the economy and retirement of the baby boomers. It's both relieving yet sad that the general feeling of taking in our aging parents hasn't appeared to change much in 60 years.

We see the couple split up since each of their five children came up with excuses not being able to take both. It is easy to relate to the children, who try to live their middle-class lives and deal with the complications from their parents. However, the film can't help but make you feel sympathy for the awkward parents as they struggle to live on without their better half. While the children are created to be fairly stereotypical, the parents are crafted in a lovable aloof way. Beulah Bondi, as Lucy, gives us some real gems:

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One great scene is when Lucy finds the letter about the nursing home. At this point, I believe she has begun to feel her own burden as well as lose hope for the future of her and her husband. In a feat of charity, she suggests it to the son before he gets a chance to kick her out. But it's not all heavy and depressing, she manages to throw him an emotional curve-ball and tell him that he was always her favorite: classic.

My favorite is the bridge game lesson, where her daughter thought she successfully kept her mother away. After we experience Lucy's incessant rocking awkwardly and visibly annoy all of the guests, she gets a phone call from her husband. At first, her stereotypical loud talking is more unpleasant than the rocking and the crowd looks at her in disgust. But as their conversation unfolds, both the guests and the audience begin to understand the loving bonds that been stretched beyond comfort. This scene makes the us all feel that not only are we are now intruding on her conversation, but cognizant of what is happening to their well-being. It's powerful by that it not only makes us feel sympathy after feeling annoyed, but also lets us feel the same thing that the guests in the movie feel.


The film's powerful delivery is owed largely in part to the great pacing. Not only is the comedic timing well done, but each scene gives us ample time to feel each emotion and feel out each situation without being slow moving. While the bittersweet climax and ending surely isn't what everyone wanted, it serves as a poignant reminder to issues many of us will deal with.

Shooting Star, Everyman Theatre (2011-02 USA-MD Play)

Characters: 2
Structure: 2
Technical: 2
Emotional: 4

Overall: 3.0

The two characters, Reed McAllister (Paul Morella) and Elena Carson (Deborah Hazlett), are former lovers who cross paths on their layovers. Snow causes delay after delay, and the strangers' conversation traverse the superficial small talk, amusing reminiscing, and awkward recollections.

Interspersed are well placed lines of wit and throwbacks to college romance of their time, of which not everyone can relate to. As the delays pile up, how much will they open up to each other? It's one of those rare opportunities, usually just a thought experiment, where you can go back with your ex-significant other and say or ask anything with no consequence. It's not like anything you say will be of any real consequence.

The two characters, on the surface, appear to have drifted down different paths with the decades that separated them. In a feat of discovery, they uncovered their misunderstandings and misconceptions about each other and their relationship. Slowly they begin to trust themselves with secrets long past and deep in their lives.

There is a wee air of fabrication with the unwinding of the story, and the airport feel just wasn't there, but the director made the right choice in focusing on the characters. I couldn't help but get wrapped up in the emotion and messages. The play felt intimate with one set and two actors, who did a great job. The concept itself is great, and the execution is good (though lacking a certain something), but the ending was surprisingly well suited.

The characters eventually realize that there isn’t much point in focusing on the past, so they move to their imperfect lives and connect on a new level. Once the snow blanket is lifted, the magic is gone once again as they revert to the usual formalities.

The ending hits home for me. They talk, they make plans, but never actually show up. They are strangers once again.

True Grit, Coen Brothers (2010 USA Western)

on IMDB

Characters: 4
Screenplay: 4
Cinematography: 2
Emotional: 2

Overall: 3.5


It was very refreshing to see such a strong young female role. She brought back memories of Natalie Portman in Leon: The Professional, except with a more prominent role. Steinfeld does a stunning job on screen. At only 14 years, she fills the boisterous snarky shoes extraordinarily. And her character is rounded out quite well with the more natural undertones of her character as the stories goes on. Cogburn is a great as the drunken headstrong fool. Sprinkled with silly antics and one liners, his character is less fleshed out, but provides a great deal of entertainment when interacting with Mattie and Laboeuf. LaBoeuf rounds out the trio well, with the logical and structured side, albeit a bit odd. The interplay between the characters is priceless.

The film starts of strong. The introduction scenes are entertaining and memorable. The short caricature introductions each match the flavor of their characters exceptionally. The pacing is well done, with nice downtime scenes between. The film does a good job of rewarding careful viewers: little tidbits of foreshadowing that are followed through. Interspersed throughout the film are bits of comic relief between the trio, and it is well timed and fresh. Thankfully the film rewards logic over brash courage in the end.

My only concern is the ending. It’s a bit anticlimactic, which initially is a letdown. But there is a bit of appreciation for an unorthodox ending for an unorthodox story. It leaves you high and dry, which one may not always appreciate

Following the clichés of westerns, True Grit begins looking like standard fare. With a slow fade in scene, silhouettes, and warm tones, we’re pleasantly surprised when the film strays from the beaten path character wise. Some scenes are very well shot, such as the ending frame. The only problems I had with the cinematography were the stereotypical traveling fades: a bit too much. Yeah, I presume they were trying to mock westerns, but the cuts were too fast and short.

While the film attempts to build up the sympathy for Mattie, the emotional investment of the story is diluted by the unorthodox humor. It wouldn’t suit this film to become too invested in the film, it’s more akin to something you just sit back and watch. At the climax points of the film, I just didn’t find myself caring all that much.

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After the climax, the epilogue’s continuation of the story shows how unremarkable everyone’s life is after such crazy events. It does a good job toying with our expectations. Mattie was totally supposed to go off and live a crazy life. She had some cojones, but nope, nothing. We never even get to see the others. It’s very well played. No lose ends were tied and it was refreshing.

But it was still highly entertaining and the ending was unique in a good way, once the initial dissatisfaction fades away. A radical western that will keep you entertained.

Spellbound, Alfred Hitchcock (1945 USA Mystery)

on IMDB

Characters: 3
Screenplay: 3
Cinematography: 2
Emotional: 2

Overall: 3.0

Spellbound does a great job combining mystery, suspense, a chase, romance, and psychology. In addition, its Dali-esque dream scenes are spectacular. The acting and chemistry is great. The pacing of the story engaged me to the point of actively looking for clues and trying to predict what will happen.

The plot itself is a unrealistic, and its characters are a bit thin and one dimensional. The skiing scene is atrocious, as with the ending scene. Despite its flaws and dated elements, Spellbound kept me guessing and invested in the outcome.

Forgetting Sarah Marshall, Nicholas Stoller (2008 USA Comedy)

Forgetting Sarah Marshall (2008 USA Comedy)

Characters: 2
Screenplay: 4
Cinematography: 1
Emotional: 2

Overall: 2.5

This film felt different than other comedies. While some of the script writing stereotypical elements a bit far, it still left a nice fresh feeling in my mouth. Jason Segel did an great job with the writing and pacing. The jokes are well timed, and range from vulgar to funny digs. Even though the cast is filled with those known more for their TV shows, there were good performances all around.

The film starts off with shocking and memorable scenes revolving around Jason Segel and his seemingly distance star ex, but slowly unfolds to something more realistic and relate-able. The ex isn't portrayed as a complete bitch and cause of all the issues, and each character shows themselves to be more rounded than you'd expect. Jason Segel was excellent with the lead role he wrote, Mila Kunis is charismatic, Kristen Bell is crazy, but Russell Brand and his character is hilarious.

The only thing is that you don't really feel that there really could be a relationship between any of the people that were. But that certainly doesn't detract from the enjoyment of the film. A refreshingly vulgar romantic comedy.

Waking Life, Richard Linklater (2001 USA Drama)

This review contains an in-depth discussion of specific elements through ROT13 encoding.

Characters: 0
Screenplay: 1
Cinematography: 3
Emotional: 3

Overall: 1.5

An interesting stream of consciousness with good subject matter on a mismatched medium.  While serving a  great introduction to lucid dreaming and philosophy of life, it lacks many essential qualities of a good film. 


The film revolves around Wiggin's character.  An explorer of his subconscious, he learns from himself the meaning of life.   Throughout the film, we see him grow from his humble beginnings as a simple observer— but there isn't much to it. 

The rest of the characters, or rather, projections of his subconscious, don't have much depth or growth to them. 

As a result, it's pretty hard to identify with any of the characters and care about any outcomes of the movie. 


Thrown at us are a bunch of theories and philosophies, overheard by the protagonist at some point in his life.  "They all sound familiar, like I'd heard them from somewhere." At this point in his life, his subconscious chooses to hash them out a bit.

While the theories and views of life are in themselves interesting, the protagonist and the audience is, for the most part, sitting quietly at a lecture.  There are no debates, few real discussions, and nothing for the audience to look forward to or invest in.

In addition, the theories are strewn together seemingly randomly while potentially being quite hard to digest, when not acclimated.  They don't build upon each other, or follow any kind of logical path.  There is no questioning, refutation, conflict, or conclusion.  We are just going from one rambling lecture to the next, learning of the raw theory.

On the other hand, it paints a realistic picture of the philosophical dreams we may have.  And there is a nice homage to Before Sunset/Sunrise.

Nevertheless, there are a number of clues that give a deeper meaning and interpretation to the film.


This movie of well known for its unique rotoscoping animation.  It gives an accurate visceral feeling of the dreamworld: walking the line of reality and fantasy.  While it can be a bit nauseating or old at times, there is always something interesting to watch.

The score, mostly written and performed by the Tosca Tango Orchestra, is excellent.  The tango club scene's music, in particular, was scintillating.  Two of my favorite instruments: accordion and piano, in beautiful harmony.  

The score does a good job of letting us relax between the heavy dialog, without being haughty or seeping into every scene.



The film does a great job of introducing people to areas of abstract thought about life and of lucid dream.  Combined with the rambling stream of passion given characters and meaning behind the film, it reaches a certain level of appreciation for me.


View comments with spoilers.

While at first glance, it appears that it is a movie about waking up from a life of ignorance, there are a number of clues that point towards our protagonist being dead.

The beginning of the film starts off with his childhood, hinting at the possibility of life flashing before his eyes.&aofc; There are a number symbols of death: skull-and-crossbones, getting hit by a car, and many scenes involving him being transported somewhere on a train: a symbol of a journey one is not in control of.&aofc; He notes that this dream is "different" and "as if [he's] being prepared for something."&aofc; Near the end of the film, cryptic comments are made about death to Wiggins.&aofc; Lastly, the film goes from daylight and the protagonist "holding on" to the car to night time and not being able to hold on any longer, before going up to the heavens.

It is tragic that the protagonist makes all these insights just as he passes away.

Inception, Christopher Nolan (2010 USA Sci-Fi)

Characters: 2
Screenplay: 4
Cinematography: 3
Emotional: 4

Overall: 3.5

Although not without its flaws, the premise and execution stands out as an epic. To draw unnecessary comparisons, it had Taken's pacing (not action scenes) and excitement with Matrix's imagination and depth, combined with good directing and immersion. The film had bits of action, suspense, drama, and of course thrills while touching on worthwhile subjects like love, family, meta-thought, and the evil of that men do. It does a great job of getting the viewer invested in the outcome of the movie.

Its weaknesses include mostly flat characters, unrealized ambition, unimaginative action scenes and a bit of hand-waving.

I'd think it was a competent release. Close to excellent, but not quite. An intelligent, thrilling ride that immerses you from start to finish.


Characters:

One of Inception's weak points is its characters. Amongst the one-dimensional characters, weak character development, and minimal character exploration is the character-driven story. I never was able to identify with characters or care about their outcomes.

The story revolves around the classic dark and mysterious protagonist. To me, it is a slight dissapointment that the other characters remain within the shadows. It does keep the movie focused and from getting too complex, as well as give headway to one interesting interpretation.

DiCaprio does -okay- with the only role requiring strong acting. I would've liked to see more emotion in him, given what he was dealing with. You could attribute the other parts of his personality being played by his projections. The rest of cast does a good job of filling in their respective characters. I really wanted to see bigger shoes to fill for Page, who did feel a bit miss-cast.


Screenplay:

A smashing success. This is what made this movie such a big hit across the board. The viewer is thrown into the action, and runs along with the movie. From the opening scene, the film establishes that you will have the pleasure observing something special, grandiose, and unique. It succeeds in maintaining that level of novelty throughout the majority of the film. The last hour of the film is complex and beautifully done. And there are little gems of depth are sprinkled throughout.

However, there is no downtime to process, and if you get caught up on the psychological insights, it can be a little hard to digest. The pacing could have used a bit more variety. There are points where it felt the story was being pushed along. For example, Cobb and his team constantly seemed to jump around all over the world. Also, due to the narrow focus of the film, there world of Inception seems a small and obscure and is juxtaposed against the grandiose premise.

Overall, plot was very pleasingly intricate, with a twist-and-turn, keep-you-on-the-edge-of-your-seat type feel. The beauty of the screenplay is its symbolism and the open interpretation of the story. There are red herrings placed all throughout. Analysts and film buffs can be gluttons for discussion. I have included a list of theories in the ROT13 spoiler section.


Cinematography:

The world of Inception is captured quite well. This film was very good at drawing me in for hours and transporting me to an alternative world. The viewers, having been explained parts of the concept, get to both see and feel premise and rules of the world around them. Suspension of disbelief becomes natural. The music flows wonderfully, save the never-ending climatic music at the end.

That said, in the aftermath, I was left wanting more imagination in a dream movie. The premise was novel, but the sets, action/fight/chase scenes could have been much more.


Emotional:

Despite the weak characters, Inception had everyone invested in the outcome of the story. Why? It felt so epic, with nuggets of insight, imaginative expansion on what we experience every day, and pacing.

It set out to be very ambitious and very deep, but the ideas are never developed and aspects remain unexplained. I didn't care about what happened for most of the characters and whether or not their lives were at stake. I just liked watching it because it was well put together.


View comments with spoilers.

Cobb's subconscious was the only one to enter in the dream worlds. Six characters' subconsciousness with everyone's own issues would be a convoluted mess.

Cobb's issues tie intimately with the premise. We see the impervious and knowledgable yet fragile and flawed man fight with his demons and jepardizing his heist.

Arthur really gets to step up and steal the show in the Matrix-feeling climax of level-2, and you feel a bit proud watching the young man from 3rd rock kick some butt. He gets one comic relief moment, his move on Ariadne, which was otherwise unnecessary, except for proving that they may not be projections.

Ariadne is expectedly introduced as an outstanding born-with-it prodigy, and it just kind of happens. Instead, the spotlight shines on the fact that she is the only one that even wants to come within 10 feet of Cobb's mess.

The rest of Cobb's heist-style team consists of the standard experts. Fischer's character also is portrayed as a little weak.

And what the hell Mal? Calm down, Stabby McStaberson. Okay, okay, she's a projection.

http://www.imdb.com/title/tt1375666/board/nest/167276283?p=1

If anything shows the strength of the screenplay, it is the conception of the paradox theory: Inception was made to be an impossible staircase. It was crafted in such a way that there red herrings whether we walk up towards the idea that it is reality, or down towards the dream theory.

The film leaves much up to the imagination. The dream-sharing phenomenon/technology and architect's process is never explained, along with the time and place.

High points of the screenplay are the opening scene, explanation of the premise, Cobb being caught between two buildings while being chased, and Mal's suicide. I also enjoy the allegory of shared-dreaming to shared-movie-watching that occurs when we all enter the theater together.

Low points for me are Ariadne's training (went on too long, basically turned into her showing off 3d rendering. Although, the mirror thing was neat.), militant dream projections (I feel it is out of place for a movie of this premise, but certainly helped it's mass appeal), and parts of exploring Cobb's issues.

Mal's arc, an underlying drive for the whole movie, was also disappointing to me.


Everyone enjoyed the links between the dream world and the one above, with the water, music, and of course the van flipping around.

One question: why did the 3rd dream not experience free-fall? Also, Ariadne's physics bending is never used, not even in limbo. It felt like a tease. Okay, we do get a freight train.


The concept of the movie resonated very well with me. I used to be very into lucid dreaming, where you manipulate and control your dreams. Obviously the concept of this movie borrowed some from the art of lucid dreaming, which can include dreaming within a dream.

Although, it has a lot in common from this Scrooge McDuck comic "Dream of a Lifetime" circa 2004:
http://disneycomics.free.fr/Ducks/Rosa/show.php?num=1&nzc;loc=D2002-033&nzc;s=date
http://comicbookmovie.com/fansites/blinkuldhc/news/?a=21055

We are never told much about the corporation, and in turn the whole operation feels like a bit of a sham and a vehicle for Cobb's emotional trip.

The Berklee World Jazz Nonet (2010-06 USA-DC Concert-Jazz)

The Berklee World Jazz Nonet

Aesthetic: 4
Technical: 3
Structure: 2
Emotional: 3

Overall: 4

This was some kind of youngin Berklee jazz supergroup. Nine Berklee students from all over the world (Canada, Greece, India, Ireland, Israel, Japan, Palestine, Puerto Rico, and USA) had the pleasure of kicking off the D.C. Jazz Festival. The Saxophonist was the youngest ever to be named downBeat's "rising star alto saxophonist". Outside of music, the singer worked on Bolt, Shrek 3, and some others.

Anyways, on to the performance. First off, the bad. The Millennium Stage is just in the halls of the Kennedy Center, with a little stage facing a gigantic hallway. The sound was, well, better than I thought it would be, but still not that great. There was a lot of lagged reverb which hurt the clarity, and as always, parts of the bass were too high in the mix. This posed a problem during many of the complex jazzy passages. Also, I probably always think this, but the piano was too low in the mix! The second thing was that these kids were young and a little nervous, particularly the vocalist. This included her awkward semi-dancing during the instrumental parts.

However, a couple songs in, they got real relaxed and let themselves groove. They let out some groovy jamming and hit the audience with some sweet sax and guitar solos. Oh and the piano and qanun playing duets was heavenly. I absolutely adored that middle-eastern instrument. And the way they played off each other and in sync was awesome!

One of their songs was a slower number. Normally I am not the biggest fan of slower jazz, but it progressed really well. The vocalist was warmed up and started some powerful singing. She was much more comfortable, you could see it as she moved around stage. She also had some nice duets and exchanges with the sax player. Oh and boy was the sax player good. In this number, her sound was so soulful. Following this, the song progressed to some nice slower groves with other instruments joining in. They really started putting the feel into it.

Although some sections got lost in the echoes and bad mixing, I was overall quite impressed with the group.

Mahan Esfahani (2010-05 USA-DC Concert-Classical)

Harpsichordist Mahan Esfahani performs Baroque and Classical music

Aesthetic: 3
Technical: 4
Structure: 1
Emotional: 2

Overall: 3

This was an emotional performance for Mahan Esfahani, who was able to play on Wanda Landowska's own Pleyel harpsichord. She's the one responsible for bringing it back for the harpsicord in the 20th century. Only after the performance, at the Q&A, did I learn more about the technical differences of this instrument and how it was more difficult to play. We were lucky to have some serious instrumentalists there asking questions.

Esfahani's performance was masterful. The technicality of the pieces and layered notes did not prevent me from closing my eyes and relaxing. I am not the biggest fan of the harpsichord sound, especially the baroque style tuning and melodies, but I was able to enjoy the performance. Some of the other pieces he chose to perform were excellently delicate or foot-tap inducing and different from the standard affair. I particularly enjoyed sections where he played notes where certain strings were decoupled and it sounded similar to a classical guitar.

Also, Esfahani was like a comedian in between songs. A nice treat to the performance, I must say. It was a tough crowd, though, many seniors and real technical instrument people!

More Adventurous, Rilo Kiley (2004 USA-CA Rock)

*. More Adventurous

Track Rating

1. It's a Hit 2
2. Does He Love You? 5
3. Portions for Foxes 3
4. Ripchord 3
5. I Never 4
6. The Absence of God 1
7. Accidntel Deth 0
8. More Adventurous 2
9. Love and War (11/11/46) 0
10. A Man/Me/Then Jim 3
11. It Just Is 2

Overall: 4.0

Rilo Kiley's fourth studio album is a delightful indie-pop record with a diverse assortment of sounds and singing. The sound of the album is, well, adventurous, while lyrically exploring different perspectives on things like love, God, marriage, suicide, and death. Jenny Lewis's singing is a treat on nearly all of the tracks, and has great accompaniment from the rest of her band. She can be sweet and somber as good as she can be poppy and even powerful.

The first half of the album is quite consistent, containing two tracks that I absolutely adore. Sprinkled with political commentary, a character study, catchy pop, powerful country, and a sweet acoustic tune, it's quite an adventure. The consistency in the second half drops down with a number of tracks, while having their merits, overall are skip-able. That said, there is still a great somber ethnic tinged track and two other good tracks. There is enough great material on here for me to call it an excellent release.


1. It's a Hit

Melody: 2
Arrangement: 3
Structure: 1
Emotional: 2

Overall: 2

Nice amount of variety musically, changing riffs and sounds. Little things like salt shaker effects, chimes, backup vocals, horns, bass drum in the right speaker. Lewis does a great job with the chorus and a good job with the laid back delivery of lines.

Chorus lyrics don't do it for me. Pretty crappy lyrics, old and uninspired political commentary especially by 2004. Variety doesn't completely save the short repeated melody.

The upbeat and catchy sound works well with the vocals and cynical message, especially on the first several listens. However, the lyrics and repetitive melody get worse the more I listen to it.


2. Does He Love You?
Melody: 4
Arrangement: 4
Structure: 3
Emotional: 5

Overall: 5

Somber and slow introduction, sad lonely instrument underlining the opening lines. Good lyrics and developed story. Great vocal delivery, starting slow and sad and slowly building up. Music does a great job of supporting the story and moods throughout, slowly adding things as the song goes along. Keeps the melancholic mood and sound when changing melodies. Shifting moods of hope and despair back and forth. Good baselines and drumming throughout. Love the riff where the narrator gets all happy in her dream that he is calling her. Great climax, and conclusion, with her coming back to reality. Wonderful composition of strings at the end in a variation of the melody.

Transition to reality with "Let's not forget ourselves" is a little abrupt and lacks some of the emotional change I would imagine occured.Conclusion music isn't as sad or insane as I would like it, until maybe the very end. .Out of place on the disc.

Despair is captured nicely with over-analyzing what he has said and what the narrator thinks can happen.  First thinking its hopeless, that the other girl and her love will have a baby and open a shop, but then remembering what he probably wrote to the narrator, the narrator plays out a whole huge scenario about how he will leave the other girl.  And narrator's dream isn't only about him leaving, but the other girl wanting to get back together only to find him talking to the narrator.

(Or it could be what kaleidoscopeeyes8 says here: http://www.songmeanings.net/songs/view/3530822107858506428/ with letters which is also interesting and probably what was actually meant)

Love how the music supports it, starting to get a little frantic and busy like her thoughts are racing when he thinks of him loving the other girl.  When she begins to imagine them breaking up, the melody subtlety changes and becomes much happier.  When thinking of how the other girl wants him back, you hear her get loud and almost a little bit happier.  Finally, coming back to reality, when she says "He will never leave you for me", the guitar mimics the same vocal melody, as if to underline it and solidify her realization.  Then there are some light distorted guitars, but most of the emotion and distress, I suppose, is captured well enough with the last sounds from the layered strings.


3. Portions for Foxes
Melody: 3
Arrangement: 2
Structure: 1
Emotional: 3

Overall: 3

Catchy beat and melody. Good changes in sound and riffs throughout the song. Not bad singing, especially some entertaining lines like "C'MERE". Awesome guitar sound after 2nd chorus. Good ending

Chorus is okay. Lyrics are a little hard to follow and repetitive.

4. Ripchord
Melody: 3
Arrangement: 2
Structure: 2
Emotional: 4

Overall: 3

Nice change of pace, relaxing introduction. Great singing for the song. Effective guitar strumming rhythm. I like the lyrics, and it is a nice short song. Elliott Smith style.


5. I Never
Melody: 5
Arrangement: 4
Structure: 2
Emotional: 4

Overall: 4

Great surprising sound that was very unexpected. Amazing singing. Strong drumming, supportive, not boring, perhaps the best on the album along with #11. Clear, authoritative, and not overpowering. The strings are great.  Good subtle use of piano and xylophone and it is all put together nicely. Great lyrics of what first seems like enduring love.  Bennett's jazzy guitar coda comes out of no where and is a definite highlight.

Voice gets a little weak on the bridge, as well as lacking musically.

Apparently, she had to sing this naked in the studio to get the vocals just right.  The lyrics are great because on the surface they appear to be a simple love song.  However, if you notice the tense changes:

I have never met you
I had never met you
I've never loved someone the way I loved you.

It's about a crush, an infatuation, a first love that is a projection of the ideal that she wanted.  She had never met the person and she was already in love and ready to change.  She changes everything for it, and perhaps loses part of herself, and goes away to a fairyland ("A place that exists in the pages of scripts").  It is a beautiful and heartfelt song of the naivety many of us experience.  But in the end, as implies by the past tense, it ended.


6. The Absence of God
Melody: 3
Arrangement: 1
Structure: 1
Emotional: 1

Overall: 1

Very good acoustic intro and playing throughout the song. Interesting lyrics on philosophies of different people. I enjoy the subtle backing vocals in the first verse.

Singing goes back and forth from good and meh.

Sometimes it feels like a song someone just put together and started playing off the top of their head.  I suppose the narrator isn't the happiest with herself, drugs, lies, etc.  She's looking for a new way to look at life, going through what her friends have told her.  In the end it's revealed why shes looking into different perspectives.


7. Accidntal Deth
Melody: 2
Arrangement: 1
Structure: 0
Emotional: 1

Overall: 0

Good message.  Some people think a lot about changing the way they think when they are stressed out, when they just need to find an outlet.

Don't really like the delivery of the lyrics for the most part.  Especially the cougars nest part. It just ruins it!  Repetitive delivery.Musically repetitive, although they add some variety, the electronic sounds are too much for me.


8. More Adventurous
Melody: 3
Arrangement: 2
Structure: 1
Emotional: 2

Overall: 2

I like the acoustic guitar intro, especially with the xylophone and clean guitar on top. Enjoy the harmonica. Interesting views on love. Lewis's vocals are lovely.

Delivery of lyrics goes back and forth from good to bad, along with it being repetitive.


9. Love and War (11/11/46) 0.
Melody: 1
Arrangement: 2
Structure: 1
Emotional: 0

Overall: 0


Drumming is decent. Diverse singing. Clapping part is good, however.

Don't really like the style of the song and music. A surprise, but not a good one like #5

10. A Man/Me/Then Jim
Melody: 3
Arrangement: 3
Structure: 3
Emotional: 2

Overall: 3

Love the organ and ethnic sound of the drumming with the horns. The lighthearted yet somber music and singing goes well together. I enjoy the way the song changes perspectives. I adore the slide guitar and then bass melody that is added. The song retains it's relaxing tone throughout the remainder of the song.


11. It Just Is
Melody: 2
Arrangement: 2
Structure: 2
Emotional: 2

Overall: 2

Sad song about Elliott Smith. I like the delivery of "And this loss isn't good enough". The strings add a nice touch, and the song is kept short and sweet.

Ensemble Caprice (2010-05 USA-DC Concert)

Ensemble Caprice perform Bach, Telemann, and the Bohemian Gypsies

Aesthetic: 4
Technical: 2
Structure: 2
Emotional: 4

Overall: 4

This was quite a unique performance and delightful surprise to the performances that typically grace the Library of Congress. Along with interesting anecdotes of how Bach was an asshole at times, calling someone a "Zippelfagottist", the music was refreshing and energetic. It perhaps can be described as Classical Baroque in Gypsy style. Gypsy music, like jazz, contains much improvisation and melodic twists, expanded through shorter melodies.

Ensemble Caprice's performance was just enthralling, it was a treat to watch the performers feast off of each others enthusiasm. Needless to say, it was entertaining just to watch them. And it was nice seeing some serious recorder sections.

At times they were perhaps a bit too into it and did not seem as in sync as they could be, and their solo's were not technically impressive, but their style and energy did induce rhythmic clapping in the audience, something I can't say I've seen before in a classical music environment. If it was a little warmer (we were informed the room was colder than normal for the instruments, and oh did they sound sweet), there totally would've been some shindigging!

All in all, it was a great performance, too bad their CD's sold out!