I joined the Word Is Bond crew in March, and since then, I've been enjoying writing about artists I'm familiar with (Bambu, Adrian Younge) and artists I'm not so familiar with (The Doppelgangaz). Here are links to--and passages from--my first five album reviews for WIB.
The Doppelgangaz, Hark (March 12, 2013)
"I don't think I've ever heard bursitis mentioned in a hip-hop track, let alone any kind of track, outside of Al Bundy and his elderly musician friends singing a 'We Are the World' parody about how 'We are the ones who wear bifocals and have bursitis.' That's an example of how unique and original The Doppelgangaz are as storytellers."
Bambu, The Lean Sessions (March 19, 2013)
"The new EP may be far from a last hurrah for a skilled emcee who'd rather devote more time to family and community activism, but if Bambu wants to completely quit the game, The Lean Sessions proves that he has a future as an astute TV critic ('Man, they keep killing black people on Walking Dead, so I switched/Breaking Bad been my shit, that 40-ounce got me blitzed')."
Adrian Younge
Ghostface Killah and Adrian Younge, Twelve Reasons to Die (April 14, 2013)
"Younge has taken elements of Morricone's sound--the fuzz guitar riffs that are highlights of Morricone's Danger: Diabolik and Once Upon a Time in the West scores, the chimes and the wordless melodies--as well as some touches from other film composers (like the sitar towards the end of 'The Sure Shot,' which is reminiscent of Manfred Hübler and Siegfried Schwab, or the piano licks that are all over the RZA's projects, like his Ghost Dog score), and he's brought his own stamp to them. Younge has provided Ghostface with the imaginary soundtrack for the superhero movie he must have always wanted to star in."
Trebles and Blues, From My Father (April 30, 2013)
"This kind of dramatic, trying-to-overcome-barriers material can turn kitschy or sappy. Think unintentional laugh riots like 'Accidental Racist' or any of the family photo slideshow videotapes that a lot of my Filipino parents' friends would subject their party guests to back in the '80s and were often soundtracked with ballads by Whitney Houston and Surface or, ugh, any non-Sid Vicious version of 'My Way' (let's face it, yo: Vicious recorded the only take on 'My Way' that's worth a damn). But fortunately, From My Father, an instrumental work as effective and beautifully crafted as The Blue Note, is neither of those things."
Eric Lau, One of Many (June 24, 2013)
"The best way I'd describe U.K. neo-soul producer Eric Lau's sound would be 'It brings to mind the minimalist production wizardry of Dilla, but without any recognizable samples and perhaps with a taste for crumpets instead of donuts.'"
I finally got around to checking out the 2011 silat flick The Raid after recently hearing Yo, Is This Racist? podcast host Andrew Ti's enthusiastic recommendation of it, in which he said it's a great stabbing movie, and it features "the most hilarious stabbing I've ever seen in my entire life." For the American market, director Gareth Evans retitled his stabfest The Raid: Redemption to avoid a rights dispute here in America over the film's original title, but let's face it, man, nobody calls it by that cumbersome American title in regular conversations, and neither do I.
I like the propulsive original score Linkin Park member/Fort Minor founder Mike Shinoda and Oblivion co-composer Joseph Trapanese wrote together for Sony's American release of The Raid, particularly because of its stripped-down sound. As Shinoda said in one of the Raid Blu-ray's featurettes, he and Trapanese wanted to keep the score stripped-down to mirror the film's claustrophobic feel, so that meant ditching electric guitars and Asian or Indonesian flourishes that he and Trapanese felt would have sounded too distracting to the audience's ears, as well as their own.
Oh, and by the way, uh, Hollywood, the fight choreography in The Raid makes your attempts at martial arts flicks (fight scenes in Banshee, Fast Five and Furious6aside) look like '80s and '90s Christian pop music videos. In other words, milque-goddamn-toast.
I'm adding to "AFOS Prime" and "Beat Box" rotation the "We Have Company" and "Drug Lab" cues from the Raid score, which Sony's Madison Gate label made available only as a digital download. The Shinoda/Trapanese score has got me thinking about non-"Eye of the Tiger" existing songs I'd like to needle-drop as fight scene music if I ever get to direct a short film, feature film or TV series episode someday, although I don't think I'll ever be put in charge of an undertaking as massive as Furious 6.
1. Ghostface Killah featuring Raekwon and Cappadonna, "Daytona 500"
After The Boondocks brilliantly needle-dropped Raekwon's "Guillotine (Swordz)" when Huey imagined himself as a samurai, the world needs more fight scenes soundtracked with RZA-produced joints. Maybe "Daytona 500" is better suited for a car chase. If I directed a Fast & Furious sequel--though I just said it'd be so unlikely to happen--one of the car chases would have to be soundtracked with a bunch of Wu-Tang MCs spitting fire to a classic break like Bob James' "Nautilus."
2. Method Man, "Release Yo' Delf (Prodigy Remix)"
I hadn't noticed until recently that Prodigy sampled the horns from "El Colpo," a cue from Ennio Morricone's For a Few Dollars More score, during this remix. Prodigy's take on Meth's "Release Yo' Delf" was born to accompany any fight scene, whether it's a jewel thief laying the smackdown on a cop or an old lady beefing with another grocery shopper over the last loaf of bread.
3. Jeru the Damaja, "Ya Playin' Yaself"
Because Jeru did it before in his own music video, and it looked fantastic.
4. The Roots, "75 Bars (Black's Reconstruction)"
Black Thought's lyrical tour de force, in which he, as David Brothers once said, "stacks threat on crack on snap like the world's fastest game of Jenga," is a perfect cue for that great post-MMA black action flick that hasn't been made yet.
5. The Heavy, "That Kind of Man"
So many Heavy tracks work well as action genre music (Cinemax's Strike Back opens its episodes with "Short Change Hero"), and Madison Avenue must agree because ad agencies have played the shit out of "Short Change Hero," "How You Like Me Now" and "What Makes a Good Man?" (every other Dwayne Johnson flick that comes out always seems to have TV spots that feature Heavy songs). The angry groove of "That Kind of Man" is sort of like the retro-soul equivalent of Gerald Fried's exhilarating Star Trek fight theme (a piece that, by the way, was recently quoted by Michael Giacchino during the "San Fran Hustle" cue in his Star Trek Into Darkness score). If you removed all the vocals about relationship woes, "That Kind of Man" would have been a dope cue during the climactic knife fight in The Man from Nowhere.
Many TV critics who binge-watched all 15 new episodes of Arrested Development on Netflix last week complained that the show has lost its spark and its seven-year hiatus "was not good for its comedy." The new season's tacky-looking reliance on green-screen to accommodate the cast members' busy schedules and the forced attempts at political satire, which Arrested excelled at during the dark days of the Bush Administration (although I laughed at the new season's gags about "Halliburton Teen" and Halliburton's ice cream division), were among the haters' most frequent criticisms.
Lovers of smart TV--in other words, TV that doesn't involve singing contests, untalented trophy wives, creepy-looking child pageants or handfishing--who were disappointed with the new Arrested will probably be relieved to know that the return of The Venture Bros., another cult favorite that also experienced a prolonged break between seasons, isn't as shaky a viewing experience as some of those new Arrested episodes on Netflix. The seven-year hiatus has marred one particular aspect of Arrested, the interaction between Bluth family members, which was greatly reduced to cover up Mitchell Hurwitz's difficulties with getting all the original cast members in the same room, whereas the two-and-a-half-year hiatus between The Venture Bros.' fourth and fifth seasons, aside from a couple of specials to tide fans over, including last fall's Halloween special, has had no effect on "What Color Is Your Cleansuit?," The Venture Bros.' outstanding fifth-season premiere (which is actually the ninth episode in the season's production order).
The Venture Bros. is a rare example of a lengthy hiatus paying off hugely. Maybe it's simply because The Venture Bros. is animation, where you can easily work around certain obstacles the Arrested crew had to deal with and you're unable to be distracted by the stars' aging looks and attempts to freeze time on their faces because you can't see those faces. (But you can detect some signs of aging in the stars' voices, like when 2008's Batman: Gotham Knight got longtime Batman voice actor--and soon-to-be-two-time Venture Bros. guest star--Kevin Conroy to voice an anime incarnation of Bruce Wayne who looked as if he didn't shave yet, and the disconnect between middle-aged voice and youthful-looking character design was really off-putting.)
Or maybe it's because Venture Bros. creators Chris McCulloch, a.k.a. Jackson Publick, and Doc Hammer are huge perfectionists who wanted--and were granted--more time from Adult Swim to work on the fifth season, even with Titmouse Inc. now lending a hand with the animation since the Halloween special. (By the way, the addition of Titmouse has resulted in a slight uptick in animation quality--peep the dazzling-looking moment in the Halloween special when Hank, who's voiced by Publick, and his friend Dermott, who's voiced by Hammer, are surrounded by zombies.) Judging from the results of "A Very Venture Halloween" and now the ambitious, hour-long "What Color Is Your Cleansuit?," Publick and Hammer deserved the extra production time (and the duo is more than up to the challenge of crafting consistently funny comedy for an hour-long running time, a format that doesn't often work out so well when other half-hour comedy shows like The Office take a stab at it).
"What Color Is Your Cleansuit?" picks up right where "Operation P.R.O.M." left off and opens during the morning after the home school prom Dr. Venture (James Urbaniak) threw for Dean (Michael Sinterniklaas) and Hank, but it also cleverly ties in to "A Very Venture Halloween," a pivotal story for Dean, who finally learned from Ben, J.K. Simmons' disheveled scientist character, that he and Hank are clones, a helluva thing for Dean to discover when he's still in the middle of trying to get over Triana Orpheus' rejection of him. It turns out that the entire Halloween special occurred between the first and second acts of "What Color Is Your Cleansuit?," so that means the season premiere takes place over the course of several months (the off-screen growth of the angstier, now-Goth-y Dean's hair length from spiky to quasi-emo between the first and second acts is a nice little way for Publick and Hammer to establish the passage of time without relying too much on clunky-ass exposition). The months-long time frame makes Dr. Venture's pathetic inability to notice the gradual mutations his color-coded-cleansuit-clad interns have exhibited even more amusingly pathetic. Their mutations were inadvertently caused by the mutagenic radiation from the ray shield project he's recruited them to finish for his brother Jonas Jr. (Urbaniak)--without pay and with Dr. Venture taking all the credit for their work, of course, because it's Dr. Venture we're talking about here.
"Operation P.R.O.M." was a particularly intriguing episode for this show about failure because it started to point towards redemption for several characters, especially the long-suffering Gary (Hammer), a.k.a. Henchman 21, who grew a backbone over the course of the fourth season, got over the death of his Ray Romano-voiced best friend 24, quit henching for the Monarch and joined SPHINX. But as we see in "What Color Is Your Cleansuit?," Gary still can't catch a break because people still call him 21, and former Venture family bodyguard Brock Samson (Patrick Warburton) prevents 21 from joining his SPHINX team on their exciting missions and saddles him with less exciting Venture Compound security detail (Brock's absence for most of the premiere and perhaps most of the rest of the season, due to what I assume is his investigation of the whereabouts of his once-thought-to-be-dead lover/nemesis Molotov Cocktease, is bound to disappoint Brock's biggest fans).
However, what starts out as mundane detail escalates into a situation where the fate of the world is being threatened by mutated college interns with "Sixth Finger"-style telekinetic powers, extra limbs and a vengeful streak, all led by Martin, who's voiced by perfectly cast guest star Aziz Ansari (as Wyatt Cenac's intern character Tommy amusingly notes, you get a bunch of mutated nerds together, and things get all Syfy Original Movie up in this piece). The path towards redemption that "Operation P.R.O.M." started continues when Gary ends up rising to the occasion, as do Billy Quizboy (Hammer) and Pete White (Publick), who are far better scientists than Dr. Venture, and together, Gary, Billy and Pete attempt to save the day.
Dean also gets a chance to triumph here (although temporarily), when he competes with Martin in a series of challenges to become the "Lee-Hun-Took" of Martin's tribe and win the hand of a mutated intern named Thalia (SNL's Kate McKinnon). The more sensitive half of the Venture brothers views Thalia as his rebound girl in a great dream sequence where he fantasizes about Thalia continually placing her hand on his crotch in a hilariously mechanical, TV-14-level (rather than TV-MA-level) manner that proves that even though Dean has burnt up the learning bed that educated him as an act of rebellion, he still has a lot to learn about the opposite sex.
In the previous four seasons, what distinguished The Venture Bros. from other nerd comedies like Chuck was its stubborn refusal to hand its loser characters huge victories, but I think at this point in the series run, it's earned the right to finally let the likes of Gary, Billy, Pete and Dean win a few battles. This is why I think the increasingly diminished presence of Brock, the killing machine who always saved the day in previous seasons, is great for the show. It gives most of the rest of the show's characters a chance to shine in Brock's old role as hero.
One character who hasn't needed such a moment of redemption because she's always so much smarter and more sensible than the man she both works for and is married to is the raspy-voiced Dr. Mrs. the Monarch (Hammer), née Dr. Girlfriend. In "What Color Is Your Cleansuit?," her suggestions to the Monarch on how to attack Dr. Venture and her overall cognizance of things, lack of knowledge of Game of Thrones aside (she's aware that Gary, who made out with her in the fourth season, quit the Fluttering Horde, while her husband is under the impression that Gary still works for him), all prove once again that this hottie is the real brains of the Monarch's criminal organization.
In addition to Gary's heroism and Billy's smarts, whether in the lab or during a crucial trivia contest with his lifelong rival Augustus St. Cloud (Publick), a nerd collectible-obsessed snob who drives around in the Anton Furst version of the Batmobile, of course, and thinks he excels at nerd trivia (I love the little detail in which Augustus, early on in the episode, misidentifies the first Highlander film as being from 1983 instead of 1986 and isn't corrected by anyone), Dr. Mrs. the Monarch's actions during "What Color Is Your Cleansuit?" reinforce a recurring theme of The Venture Bros.: the second-in-commands or underlings are far more deserving to be running things than the idiots who get to do so in this cruel world, whether they're the Monarch or Dr. Venture. "Don't take this as an insult, but working for you and the Monarch--it's like the same thing," notes Gary to Dr. Venture in one of the premiere's best bits of dialogue.
Dean, Gary and even reformed pedophile Sgt. Hatred (Publick), the Ventures' current bodyguard, have changed a lot over the course of the series run, while Dr. Venture, who's neck and neck with Malory Archer for the worst parent in cable animation ever, still has ways to go. After his scene with Dean while the teen torches the learning bed he confined him to for all of his life instead of letting him experience a normal child's education ("I haven't learned shit! I could tell you how many tastebuds are on the human tongue, but I've never even French-kissed a girl!... I'm sick of living my life in a box!," says Dean to his dad), I now feel like the real villain of the show has never been the Monarch or any of the Guild of Calamitous Intent members. It's self-absorbed Rusty, whose obsession with living up to the legacy of Jonas Sr., his not-so-great-as-the-history-books-say adventurer dad, always results in disaster or bringing down everyone around him. No wonder Brock isn't itching to come back to the Venture Compound any time soon. But what Brock perceives as a low point in his espionage career remains--even after an extended hiatus--wildly funny and entertaining as hell for the rest of us.
