New Release @ MindSay

The Cab's new album Whisper War -- Augh, so before I even get into the album, I have a few complaints. I try very hard to give you guys a little bit of background about the band or the album before I get into the music; it helps set the scene for what I'm about to talk about. One of my biggest frustrations is when bands act like they're big and then don't even have a damn 'About Us' section. And sometimes, that wouldn't bother me, but with this band in particular, it's like they're nothing but pretty faces with no personality.

I'm going to be honest with you; I'm very torn on this album. Half of me loves it and the other half is disgusted with it. It's nothing but pure boy band fluff -- pretty faces (their pianist looks like a freaking girl) with pretty voices (and they do sound really good) singing trite and angst-ridden lyrics (who is this "girl" that everyone keeps singing to?). "Vegas Skies" is an entire song dedicated to (of course) "girl", alcohol references, and lyrics that sound like the poetry I used to write when I was twelve and thought my life was OVER because I got in a spat with my best friend. But if you can manage to completely ignore the lyrics, the steady piano and the light violins in the background combined with the acoustic bridge makes it a song that could really pull on your heartstrings. "One Of THOSE Nights" is the track that is most like their city- and labelmates Panic! At The Disco, but with a really shallow boy band twist. Believe me, if you're looking for a Panic! fix, don't come here. That's not to say this song isn't enjoyable on it's own, because it does have it's moments -- and can I just say, the electric guitar solo in the background near the end made me laugh the first time I heard this song. Seriously guys, what the hell was that? And "Risky Business"? Pretty sure I've heard this before... oh wait, "London Beckoned Songs About Money Written By Machines"! Except P!ATD did it incredibly better, with real lyrics and relevant references. But now I'm just poking fun at them, rather than actually reviewing them.

Now if you're okay with a boy band that literally sucks other genres into it and spits it back out onto a cd, then these guys will be great for you. I like a little bit more substance in my music, but I'm not everyone. All in all, The Cab sound like a shallow Panic! At The Disco trying to include their *NSYNC boyfriends in an attempt to build a Maroon 5 / All Time Low hybrid album. If that sounds appealing to you (and I know of a few people that it will) then go ahead and get them. I mean, they honestly make a great attempt at a boyband, and will probably be the heartthrobs of the rising generation -- but keep in mind, this is the same rising generation that has photos of themselves in their bras and panties at the tender age of 13.

Death Cab For Cutie's "I Will Possess Your Heart". - Who would have thought that an eight and a half minute song could be so enthralling, particularly when the lyrics don't even begin until after halfway through the song? Apparently Death cab For Cutie did, and personally, I think they got this one just right. It's hard to imagine this song without the beginning being so drawn out and sprawling; I'd call it an intro but it's so much more than that. It's the steady climb of levels and sliders and slightly out of focus riffs until it builds and then tapers off into the perfect volume for Ben Gibbard's deliciously mellow voice as he strikes the same bargain that I often strike with women: Just give him a chance. Some have called this single 'creepy' or 'desperate'. I call it honest and sincere and really, it just hits the spot on all of the things I've wished I could have in a song.

"How I wish you could see the potential, the potential of you and me..." Give adorable Mr. Gibbard a chance - listen to his new single. I promise you won't be disappointed.

[Edit!]: Just got my hands on the radio edit of their single and oh, Mr. Gibbard -- why would you let them get rid of that delicious sprawling that gave this single so much volume and strength? Rather than the climactic buildup we are simply launched into a song that just seems... empty and flat-line without the introduction. *Sighs* Such is the way with radio sometimes. I'm really grateful that we're moving towards music becoming entirely online -- it means we have to destroy beautiful songs less.[/Edit!]

New release Atonement starring Keira Knightley and James McAvoy is a heartwrenching tale of love, war, deception, uncertainty, and conflict (both internal and external).

 

From the trailer, it is easy to derive that the film is charged with emotion and saturated with pain and struggle.

 

But what is this movie really about?

"War?"

"Love between upper and lower classes?"

"Spur of the moment sex in the library between two of the most attractive figures in Hollywood?"

"Deception and the injustice of a young girl's misconceptions having such resonating effects?--Can the lovers overcome them in the end?"

"Passion?--Do they get to be together in the end?"

All of these themes are apparent in the movie, but no one of them can capture the essence of Atonement; not even the title captures the depth and magnitutde of the film.

 

In short, Atonement is about the intricate development of characters (one of the signs of true mastery in filmmaking) and the implications of their meaningful interactions.

 

It is about Cecilia Tallis (Keira Knightley), a well-to-do young woman who seems to somewhat scorn Robbie Turner (James McAvoy), the educated son of her family's housekeeper. Soon it becomes apparent that Robbie has feelings for Cecilia, and almost immediately after, Cecilia reveals a matched affection and attraction. In a heartpounding scene of emotions running high and unbridled passion, Cecilia and Robbie come together, during which they both confess their love plainly for the first time. Interrupted by Cecilia's younger sister Briony Tallis (Saoirse Ronan), they awkwardly extricate themselves from the room without a word, leaving the fanciful and somewhat eccentric Briony to assume her sister has been violated.

 

As events unfold, this misconception coupled with a series of unfortunate events leads to a night that shapes the rest of their lives, for better or for worse.

 

But, when all is said and done, and the credits start to roll, what is the viewer left with?

 

Personally, I found Atonement to be a masterpiece beyond description. I feel I can declare it unparalleled without seeming to gush because of how clearly the film earned such praise.

 

When all is said and done, no flaw can be found with the plot. Every piece fits, and all is explained that need be. Atonement is one of the few films that has an ending that is ideal because it in no way falls short. It is both a crescendo and a diminuendo, but more than anything else, it is the definition of consonance.

 

When the credits start to roll, viewers are left with a sense of awe and then realize that this film has somehow managed to pentrate the very bowels of their souls and are be washed over with pure emotion. All your senses will be overwhelmed, and it is likely that you will tear up quite a bit.

 

Atonement is many things, but mostly it is a paradox executed in such a way as to involve you without frustrating you to distraction. Atonement embodies too many things to name, but all of them together are what create what I can fearlessly proclaim a masterpiece.

 

For those of you who continue to read my reviews, you will find that this kind of approval is exceptionally rare, but if any film deserves to be called the best, I believe that this is that film.

 

Rivaling greats like Casablanca and Gone With the Wind, it is beautiful. Above all, it is art.