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theworstbob · 7 years ago

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the thing journal, 6.18.2017 - 6.24.2017

the things i watched or listened to last week. in this post: i’ll keep you in mind, from time to time; the bridge; henri; under your spell; the last man on earth; beautiful thugger girls; into the maelstrom; makes me sick; truth is a beautiful thing; blind; the taking of pelham one two three; big fish theory; wolves

1) I'll Keep You in Mind, from Time to Time, by Moose Blood: One day I'll remember to write down what I think about an album when I listen to it on my computer and I literally have WordPad open in another visible window. It was a great time, it's a dope emo album and I'm the sort of person that will listen to emo in 2017 and describe it as "dope," and I apologize we're starting this off with me forgetting how I reacted to something.

2) The Bridge, dir. Eric Steel: a wonderful documentary about the golden gate bridge and the people who use it! you and your family will never look at the full house credits the same way again! This is a difficult film to review because it's a difficult film to watch. There is footage of people jumping off the Golden Gate Bridge, there are interviews with people who either knew someone who jumped off the Golden Gate Bridge or, in one instance, are someone who jumped off the Golden Gate Bridge, the throughline of the film is someone pacing back and forth along the bridge, struggling with the decision, not sure what they want to do. It's a brutal watch. And it has to be, it would have been irresponsible if this film tried to romanticize suicide, if it tried to present the jumpers as heroes flying to freedom. The people being interviewed say the jumpers were trapped in the prisons of their own heads, never quite found stability in this world, but those people are also clearly affected by the choice the jumpers made, are left wondering or, worse, knowing what they could have done better.

3) Henri, dir. Yolande Moreau: gpsh this movie took forever to get where it needed to go, and then when it got there, it didn't really do anything. i dunno, i guess i just never got on its level. i never quite figured out if the dude's relationship with the butterfly was condescending or creepy or if i was meant to think it was adorable that this mess of a man kept hanging out with the poor young woman, i could never tell if the film was sympathetic to its characters or if i was meant to laugh at those pitiful souls (it's a french film, so probably "laugh at" more than “laugh with”), and it didn't seem to take any of its characters problems seriously. i dunno, it just didn't seem like a film that needed to be made, it didn't seem to be saying anything about friendship or society or whatever, it just presented some idiots and said "make of this what you will." maybe i'm missing something, but i don't think i am? (also i signed up for Mubi. this is worth mentioning, that i signed up for a service that will present me with various foreign films and documentaries, so. look out for that, i guess.)

4) Under Your Spell, by The Birthday Massacre: shout outs to everyone who listened to this band because of game grumps There are moments on this album I can only describe as nu-metally; there are instrumental breaks on "Counterpane" that sound directly lifted from mainstream rock radio in 2003, straight-up Chevelle vibes in 2017. What The Birthday Massacre understands, though, is that 2003 has a place in 2017, and that's as color to the 1980s, and they somehow use buttrock to make their Depeche Mode-y song more interesting, feel different than it had on Superstition. The Birthday Massacre know how to make great rock songs, and it's so nice to know music like this is still being made in 2017. (Words used in this review include "nice" and "interesting." I swear I'm trying.)

5) The Last Man on Earth s2, cr. Will Forte: Binging this show may be a mistake, since the main character is so misanthropic and gross and none of the characters are good people. (Except Carol, who is trying her best all the time to just be as darn nice as possible, Kristen Schaal kinda carries this show.) It's not that I'm not impressed by this show, it's a really solid show, I just question whether I'm enjoying it. Or maybe I'm just not paying attention, I dunno, we've been over how bad I am at watching things. I loved the integration of Jason Sudeikis into the group and thought he and Will Forte played well as a successful younger brother and fuck-up older brother, like the perfect use of Jason Sudeikis is as a handsome and charming foil to a Will Forte type, and I liked Todd's slow evolution into a legit jerk, it's good! I like it! I shouldn't be consuming this in one gulp.

6) Beautiful Thugger Girls, by Young Thug: The Young Thug brand of trap is my preferred brand, for two reasons. One, Young Thug has an insane voice, and I don't mean that his songs are written from the vantage point of a crazy person, I mean that Young Thug makes these fucking mouthnoises that I was unaware a human could make. Every Young Thug song is an exploration of what his vocal chords can create. Two, Young Thug doesn't just make trap. There's a strong sense of artistic identity on his records, and that lets him play around in other genres, like, there's legit country influence on this record. It's not as towering a work as Jeffery, but few things in this world are; this is Young Thug taking some time to figure out the places he can take himself, and it is a thrill to listen to him explore his abilities.

7) Into the Maelstrom, by Bigelf: There comes a time when you need to set aside ego, forget whatever goals you've set, and admit that something is beyond your ken. I stopped listening to this halfway through. It's a prog album that didn't even have an incredible opener, just an okay one, and the rest I found interminable. I thought we were compatable. Y'know? I usually like prog. I usually like albums that start with a song called "Incredible Time Machine" and follow that up with "Hypersleep." But, like, I dunno, this just wasn't fun to listen to, like, there's no acknowledgement that "Incredible Time Machine" is a silly thing to name a song. My favorite prog bands are aware of how nonsense prog is and embrace it, but this took itself a tad too seriously for my liking. Which isn't to say it wasn't good, just that I didn't want to spend more time in this space, like by the time you get to the third six+-minute-long song of the album, you realize this is time you could've spent listening to "Style" on repeat, or something.

8) Makes Me Sick, by New Found Glory: Yes hello hi welcome to The Thing Journal, where we review French cinema and New Found Glory albums like they're the same thing. For me, current New Found Glory is like finding a sweater I haven't worn in months, putting it on, feeling insanely good about how I look in that sweater, and then not wearing that sweater for another year.It's a comfortable and uncomplicated album, like hell yeah, I'm here for a song about staying indoors during the summer, you made this song just for me!

9) Truth Is a Beautiful Thing, by London Grammar: Early frontrunner for The Hotelier Award for "Album I Don't Completely Understand But Am Aware Moved Me Deeply." Like, you know that Parks & Rec episode, where Tom commissions an abstract art piece, and as he stares at $20 of art, he realizes he's deeply affected by the way the shapes interact and flow, but can't describe what he's feeling or what he's looking at? That's how I feel listening to this album. I don't know what it is about this particular brand of ethereal dream-like pop that left me floored on the bus ride home, I don't know what I actually felt as the woman crooned over the simple-but-expansive soundscapes, but here I am, trying to figure out what I listened to ("simple-but-expansive soundscapes" is the fifth draft of that phrase) and what emotion was stirred within me. This was so cool. How is it so cool? Ugh I hate that I keep complaining about how I'm bad at describing music but Criticism Santa never ever visits MY TREE'S UP, DUDE. I'M WAITING. WE CAN MAKE THIS HAPPEN AT ANY POINT.

10) Blind, by Eskil Vogt: I think I got half an hour deep into this film when I realized I wanted to see this again. The way this film plays with the reality of blindness, how it gives you the sense of the main character's read of the situation before she hears a noise and realizes there's something different entirely, it's just so fucking cool. It reminded me a lot of Charlie Kaufman, and while I can't be 100% sure it's a warranted comparison and not a comparison I'm making because I have a limited frame of reference, but just the way it explored the blind woman's mind, how the story she was writing changed as she felt worse about her blindness, how she got crueler and crueler to the blind character as she felt worse and worse about herself, the way this film dissected loneliness, it's all these things I've come to associate with Kaufman and all these things I love to see in film. It's such a quality film, legit my only gripe is that everyone talked so low and softly, I honestly couldn't tell if the film was going for a low-key vibe or if the Norwegian language is just people muttering at and somehow understading each other. So it's entirely possible my main problem with this film is the Norwegian language, which honestly sounds like a mess, what's up Norway, how come none of y'all enunciate.

11) The Taking of Pelham One Two Three, dir. Joseph Sargent: I don't usually like things about New York City because 50% of all things are set in New York City and it's really hard to use New York City in a unique way. Everything is set in New York City, y'know? I more than understand that New York City is the greatest city in the world. The other 7000 TV shows I have seen about New York City have made this abundantly clear, I don't necessarily need you to chime in on this front. This film, though, this film is awesome. This was like the thing I kept wanting Brooklyn Nine Nine to be, a thriller with incredible comedy, like this is straight-up the funniest film I've seen in weeks (Bob we know what you've been watching you haven't seen a comedy in weeks we don't think) shhhhhhhAnd the comedy is mostly derived from the way the film uses New York. At the outset, no one is as concerned about the people on the train than about how the trains aren't running on time, like it's way more important that the subway runs on schedule than it is that the train not get hijacked. Like, so many people in this film treat this like just another day of New York's bullshit, the research department taking as long as they usually do to create the list of names, traffic impeding the delivery of money to the train. I loved it so so much.

12) Big Fish Theory, by Vince Staples: Vince Staples is a rapper whose projects demand attentive listening, multiple listens to grasp everything that he's going for, so of course I listened to this once on a walk and am throwing it in between a 40-year-old movie and an okay punk album. I have no doubt that the second listen will be rewarding, that I'll unlock what's great about this album and connect to it, and it's not like I didn't enjoy my first listen, Vince Staples is great at what he does and makes music that can be enjoyed even when being skimmed through, but there's so much going on, abrasive dark production and meticulously crafted lyrics, that I know I didn't catch everything. I caught a lot -- imagine not immediately understanding like "BagBak" is going for -- but Vince Staples is on that Kendrick/Danny Brown/RTJ level where he makes work that demands its audience's full attention while still being something the audience can enjoy.

13) Wolves, by Rise Against: The album opens with "Light all the torches and wake up the King/The smoke you've ignored is a flame you can't contain," which is a predictable way for Rise Against to say "I told you so," but, as previously discussed, Rise Against has as much of a right as anyone to say "I told you so" a thousand times. The main problem I have with this album is that it doesn't feel markedly different from the rest of their catalogue. There isn't any acknowledgement that there's more of a sense of urgency in these times than there was previously -- things were still bad in the last few years, but it wasn't "let's elect a monster" bad -- but Rise Against is putting out the same album they've always put out, fire and brimstone here, glossy pop-influenced single material there, the only difference being that they'll now acknowledge that they've always been right. Like, it might have been worth exploring the space they glimpsed on "Bullshit," which is a song where they are 100% excoriating their listener base for not doing enough ("Oh no, please don't life a finger, don't get up, just sit right there/Don't worry about the thoughts inside your pretty little head"), try to analyze the current situation so that, when Rise Against says it's time to fight, there's actual strategy involved? But this is fine, standard Rise Against is usually fine. Ugh, the Trump administration isn't even leading to better punk music, THEY SAID THE MUSIC WOULD BE BETTER. WHAT THE FUCK HAPPENED TO MY SILVER LINING.

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