If you're anything like me (and God help you if that's the case), this time of year you're watching horror movies out the wazoo to get in the Halloween spirit. And if you're even more like me, when you watch these horror movies, you like to do it marathon style. I have compiled a top ten list of horror movie double features (although they are in no particular order), for your Halloween viewing pleasure. Season's greetings!
FOR THE KIDS AND THE KIDS AT HEART
Monster Squad (1987) and Monster House (2007)
ROCK AND ROLL ZOMBIES
Dance of the Dead (2008) and Return of the Living Dead (1985)
SPOOKY SPOOK SPOOKTACULAR
The Ring (2002) and Stir of Echoes (1999)
THE SULTANS OF SLASH
A Nightmare on Elm Street (1984) and Friday the 13th Part VI: Jason Lives (1986)
TIM BURTON SPECIAL
The Corpse Bride (2005) and The Nightmare Before Christmas (1993)
SAM RAIMI SPECIAL
Evil Dead II (1987) and Drag Me To Hell (2009)
THE SUFFERING
Event Horizon (1997) and Hellraiser (1987)
THE EXORCIST SAGA
The Exorcist (1973) and The Exorcist III (1990)
THE CLASSIC COMBINATION
Dracula (1931) and Frankenstein (1931)
HALLOWEEN'S FINEST
Trick 'R Treat (2007) and Halloween (1978)
Saturday, October 17, 2009
Friday, August 21, 2009
Switchfoot and Jon Foreman Concert Reviews
Last night I was able to attend two concerts, the first being a free show from Switchfoot at Fourth Street Live in Louisville, KY, and the second being a solo performance from Switchfoot lead singer Jon Foreman at Coffee Crossing in New Albany, IN. As I have previously stated, I am something of a concert junkie, so this was quite a treat for me.
The first show, Switchfoot, was a bit of an oddity, as Switchfoot was actually the opening band, opening for Blue October, who I did not stay to see. My friend Daniel and I arrived around seven o'clock, right when sound check was starting. For those unaware, Fourth Street Live is a three-block stretch of road in downtown Louisville that is something of an entertainment center. This portion of road is not driveable, and there are restaurants, clubs, and shops lining both sides of the street, with a sort of skylight extending between the buildings. There are a lot of neon lights and big signs. The stage for the concert was erected in the middle of the road, about halfway into the compound, with a skywalk just above and behind the stage. The sides of the road were blocked off with ribbon so that the concert goers wouldn't block traffic on the sidewalk.
As Daniel and I took our places in the road/pit/designated audience standing area, we were surprised to find that the soundcheck we had heard since our arrival was being done by none other than Switchfoot! They played a few songs for us during the soundcheck, including an upbeat number from their newest album, Hello Hurricane, to be released later this year. They then left the stage for a short while before retaking the stage for their set. They played a number of their hits, including their signature tunes "Meant to Live" and "Dare You To Move," as well as a few songs from their aforementioned new album. One thing noticeable about the new songs is that they possess a decidedly darker vibe than Switchfoot's usual upbeat, laid-back surfer rock.
Switchfoot's performance was technically sound and enjoyable, albeit not nearly as energetic as they have been in previous concerts that I've seen them in. Jon Foreman's sense of humor was still intact, as was his penchant for climbing things and jumping off of them, but the performance seemed to be missing something. Perhaps it was because they were the opening act, which meant they could only play a partial set. More likely, it was the venue and the crowd, which were not the greatest.
Fourth Street Live, by its very nature, is not really suited for concerts, as the street provides a fairly uncomfortable surface to stand on, and it becomes quite hard to see the band. As well, likely because the concert was free, a number of the crowd were people just there to see the show, who were not necessarily fans of the band, and thus they were not particularly energetic. There were times when Jon would attempt to get the crowd to participate, but by and large no one was receptive. Since a large part of the success of a concert comes from the energy of the crowd, the lack of energy present here hurt the overall atmosphere and enjoyment of the show. So although Switchfoot sounded great, this particular concert, as a whole, was sub par.
However, the night then took a turn for the better, as Daniel and I met up with our friend Darrell and attended a solo performance by Jon Foreman at Coffee Crossing. Coffee Crossing is a moderate-sized coffee shop located in New Albany, IN. It is very like a coffee shop, with its ornate furniture and its dim lighting from hanging lamps. About halfway into the shop there is a bookcase/hearth set up that takes up a bit of space, and in the rear of the shop is the service counter and a small open refrigerator that stores bottled drinks. The tables that I assume are ordinarily there were removed, and all the chairs were set up in auditorium fashion, facing the small stage that had been set up for Foreman near the entrance to the shop. The crowd was a fair mix of ages, though the vast majority seemed to be in their teens or early twenties.
Jonathan Foreman took the stage around ten, and informed us that he did not have a set list, and requested that we pass around a sheet of paper and write down what we wanted to hear. He began the set with "Only Hope," one of my favorite Switchfoot songs. His set list consisted of songs from his solo albums, as well as his work with Switchfoot and Fiction Family. Throughout the set he remained candid and engaging, telling a number of stories and jokes in between the songs. It was a very different concert experience for me, very quiet and low key; it felt more like hanging out than performing. Foreman did seem to be much more comfortable and energetic in this environment than he had just a few hours earlier, and it's obvious that he enjoys this kind of candid, honest, intimate performance.
After he finished performing, he hung around outside the coffee shop and was gracious enough to wait around for everyone to shake his hand, take a picture with him, chat, or in at least one case, grab him in a bearhug and swing him around. He came across as very genuine and warm, a truly nice guy. It's odd, because with his earthy vocals, diverse musical sensibilities, and socially conscious yet playfully worded lyrics, Jon Foreman could be this generation's Bob Dylan. And yet, he remains fairly obscure, while fluff sells millions. I digress.
I have long been a Switchfoot fan, but I would like to check out some of Jon Foreman's other work as well, as it seems that he is an artist with something to say, and I would like to hear what he has to say.
The first show, Switchfoot, was a bit of an oddity, as Switchfoot was actually the opening band, opening for Blue October, who I did not stay to see. My friend Daniel and I arrived around seven o'clock, right when sound check was starting. For those unaware, Fourth Street Live is a three-block stretch of road in downtown Louisville that is something of an entertainment center. This portion of road is not driveable, and there are restaurants, clubs, and shops lining both sides of the street, with a sort of skylight extending between the buildings. There are a lot of neon lights and big signs. The stage for the concert was erected in the middle of the road, about halfway into the compound, with a skywalk just above and behind the stage. The sides of the road were blocked off with ribbon so that the concert goers wouldn't block traffic on the sidewalk.
As Daniel and I took our places in the road/pit/designated audience standing area, we were surprised to find that the soundcheck we had heard since our arrival was being done by none other than Switchfoot! They played a few songs for us during the soundcheck, including an upbeat number from their newest album, Hello Hurricane, to be released later this year. They then left the stage for a short while before retaking the stage for their set. They played a number of their hits, including their signature tunes "Meant to Live" and "Dare You To Move," as well as a few songs from their aforementioned new album. One thing noticeable about the new songs is that they possess a decidedly darker vibe than Switchfoot's usual upbeat, laid-back surfer rock.
Switchfoot's performance was technically sound and enjoyable, albeit not nearly as energetic as they have been in previous concerts that I've seen them in. Jon Foreman's sense of humor was still intact, as was his penchant for climbing things and jumping off of them, but the performance seemed to be missing something. Perhaps it was because they were the opening act, which meant they could only play a partial set. More likely, it was the venue and the crowd, which were not the greatest.
Fourth Street Live, by its very nature, is not really suited for concerts, as the street provides a fairly uncomfortable surface to stand on, and it becomes quite hard to see the band. As well, likely because the concert was free, a number of the crowd were people just there to see the show, who were not necessarily fans of the band, and thus they were not particularly energetic. There were times when Jon would attempt to get the crowd to participate, but by and large no one was receptive. Since a large part of the success of a concert comes from the energy of the crowd, the lack of energy present here hurt the overall atmosphere and enjoyment of the show. So although Switchfoot sounded great, this particular concert, as a whole, was sub par.
However, the night then took a turn for the better, as Daniel and I met up with our friend Darrell and attended a solo performance by Jon Foreman at Coffee Crossing. Coffee Crossing is a moderate-sized coffee shop located in New Albany, IN. It is very like a coffee shop, with its ornate furniture and its dim lighting from hanging lamps. About halfway into the shop there is a bookcase/hearth set up that takes up a bit of space, and in the rear of the shop is the service counter and a small open refrigerator that stores bottled drinks. The tables that I assume are ordinarily there were removed, and all the chairs were set up in auditorium fashion, facing the small stage that had been set up for Foreman near the entrance to the shop. The crowd was a fair mix of ages, though the vast majority seemed to be in their teens or early twenties.
Jonathan Foreman took the stage around ten, and informed us that he did not have a set list, and requested that we pass around a sheet of paper and write down what we wanted to hear. He began the set with "Only Hope," one of my favorite Switchfoot songs. His set list consisted of songs from his solo albums, as well as his work with Switchfoot and Fiction Family. Throughout the set he remained candid and engaging, telling a number of stories and jokes in between the songs. It was a very different concert experience for me, very quiet and low key; it felt more like hanging out than performing. Foreman did seem to be much more comfortable and energetic in this environment than he had just a few hours earlier, and it's obvious that he enjoys this kind of candid, honest, intimate performance.
After he finished performing, he hung around outside the coffee shop and was gracious enough to wait around for everyone to shake his hand, take a picture with him, chat, or in at least one case, grab him in a bearhug and swing him around. He came across as very genuine and warm, a truly nice guy. It's odd, because with his earthy vocals, diverse musical sensibilities, and socially conscious yet playfully worded lyrics, Jon Foreman could be this generation's Bob Dylan. And yet, he remains fairly obscure, while fluff sells millions. I digress.
I have long been a Switchfoot fan, but I would like to check out some of Jon Foreman's other work as well, as it seems that he is an artist with something to say, and I would like to hear what he has to say.
Tuesday, August 18, 2009
Coheed and Cambria Concert Review
You may or may not know this, but I love going to concerts. Love it. It's one of the things that I am passionate about. I love hearing the band live, feeling the reverberation of the music rattle my bones, seeing the showmanship that they put forth. Most of all, though, I love feeling like a part of something with the other concert goers. I love that feeling that, for the two hours we are there, we are all connected, no matter how different we may be otherwise, by our love for the music. It's a deeply spiritual experience for me.
Over the years, I have seen some truly great shows. I have seen Alice Cooper twice, and both times he put on an amazing show of great music and stage performance. Metallica was kind of like a big summer blockbuster: big, loud, and awesome. The only difference is, I'd rather watch Metallica than Transformers 2 any day. Muse was an amazing experience, and I felt so incredibly alive after the show, despite the fact that 95% of the audience (including myself) were dressed in black. But since they became one of my favorite bands three years ago, seeing Coheed has been at the top of the list as far as shows I have wanted to see. Well, last night I had my chance, and they sure as hell did not disappoint.
Before discussing the show, I want to discuss the environment. Headliners is a pretty nice place for a show. There is considerable floorspace in front of the stage for the audience. The stage is small, but intimate, and it proved ample for the show. Opposite the stage, elevated somewhat on a ramp, there is a bar, and to the right of the stage (from an observer's point of view) is a balcony. It was hot inside with all of the people. There were mechanical fans blowing down on us, but everyone kept repositioning them to better suit their own needs. As such, we were drenched in sweat, but that added to the atmosphere somehow.
Before we could see Coheed, a local band came out to open. Not particularly talented, there really did not seem to be any semblance of rhythm or melody to their music, so it all came across as a lot of screaming and banging. It was kind of like Leatherface attempting to play a rock show. Worse than that, however, was the group's attitude, as they felt the need to drop f-bombs constantly (apparently they were working under the assumption that a band's coolness is directly proportional to the volume of their cursing), and remind us in between songs that they were, indeed, assholes. At times they went so far as to diss Coheed as well as all of us. Eventually, any time the band stopped playing, everyone started chanting "We want Coheed!," so the band began playing feedback in between each song. After playing about fifteen songs (which took them just a shade over twenty minutes to accomplish), they left the stage almost wordlessly, and we waited with anticipation for the band we really wanted to see.
When Coheed took the stage in a midst of sci-fi music, blue light, and fog, one could not help but feel their stage presence immediately. These guys belonged on stage, the point reinforced by lead singer Claudio Sanchez's epic mane. As they tore into a thundering rendition of "No World For Tomorrow," with us in attendance singing along with every word, the energy simply built, and it did not stop building until close to ten-thirty, when they left the stage. Coheed played a number of their best songs, including "In Keeping Secrets of Silent Earth: 3," "A Favor House Atlantic," and of course, a bad ass rendition of "Welcome Home." They also included a sweet cover of The Church's "Under The Milky Way," which would feel right at home on their next album, and capped it off with a long version of "The Final Cut," during which the band showed off their musical mastery with some sweet soloing and fun stunts, such as Claudio playing guitar with a drum stick used like a bow.
During the show, a couple of things became evident about Coheed and Cambria. First, these guys love their fans, as evident by the warm smile Claudio flashed the audience frequently, and by the amount of audience participation they built into the show. As a member of the audience, you didn't feel like you were watching Coheed perform, but rather that you were performing with Coheed. Second, these guys seemed to be having a lot of fun, and to really love what they do. That enthusiasm is infectious, and I wish all bands had that attitude. And third, was their humility. They didn't feel the need to run their mouths constantly (see the opening act), but rather let the music speak for itself. When they did speak, it was mostly to thank the audience. This is a band that has the attitude to be around for a very long time.
Any complaints? There were a few songs that I would have like to have heard, most notably "The Road and The Damned," that they did not play, but that's going to happen. And although I felt sweating like a pig added to the intimacy of the whole thing, I would have rather been cool. But these are only minor quibbles.
Coheed has been one of my favorite bands for quite some time, but after last night's show, they have kicked the door down and become my favorite band, and I believe that, all things considered, last night's show was the best I have ever seen. And believe me, that's not faint praise.
Over the years, I have seen some truly great shows. I have seen Alice Cooper twice, and both times he put on an amazing show of great music and stage performance. Metallica was kind of like a big summer blockbuster: big, loud, and awesome. The only difference is, I'd rather watch Metallica than Transformers 2 any day. Muse was an amazing experience, and I felt so incredibly alive after the show, despite the fact that 95% of the audience (including myself) were dressed in black. But since they became one of my favorite bands three years ago, seeing Coheed has been at the top of the list as far as shows I have wanted to see. Well, last night I had my chance, and they sure as hell did not disappoint.
Before discussing the show, I want to discuss the environment. Headliners is a pretty nice place for a show. There is considerable floorspace in front of the stage for the audience. The stage is small, but intimate, and it proved ample for the show. Opposite the stage, elevated somewhat on a ramp, there is a bar, and to the right of the stage (from an observer's point of view) is a balcony. It was hot inside with all of the people. There were mechanical fans blowing down on us, but everyone kept repositioning them to better suit their own needs. As such, we were drenched in sweat, but that added to the atmosphere somehow.
Before we could see Coheed, a local band came out to open. Not particularly talented, there really did not seem to be any semblance of rhythm or melody to their music, so it all came across as a lot of screaming and banging. It was kind of like Leatherface attempting to play a rock show. Worse than that, however, was the group's attitude, as they felt the need to drop f-bombs constantly (apparently they were working under the assumption that a band's coolness is directly proportional to the volume of their cursing), and remind us in between songs that they were, indeed, assholes. At times they went so far as to diss Coheed as well as all of us. Eventually, any time the band stopped playing, everyone started chanting "We want Coheed!," so the band began playing feedback in between each song. After playing about fifteen songs (which took them just a shade over twenty minutes to accomplish), they left the stage almost wordlessly, and we waited with anticipation for the band we really wanted to see.
When Coheed took the stage in a midst of sci-fi music, blue light, and fog, one could not help but feel their stage presence immediately. These guys belonged on stage, the point reinforced by lead singer Claudio Sanchez's epic mane. As they tore into a thundering rendition of "No World For Tomorrow," with us in attendance singing along with every word, the energy simply built, and it did not stop building until close to ten-thirty, when they left the stage. Coheed played a number of their best songs, including "In Keeping Secrets of Silent Earth: 3," "A Favor House Atlantic," and of course, a bad ass rendition of "Welcome Home." They also included a sweet cover of The Church's "Under The Milky Way," which would feel right at home on their next album, and capped it off with a long version of "The Final Cut," during which the band showed off their musical mastery with some sweet soloing and fun stunts, such as Claudio playing guitar with a drum stick used like a bow.
During the show, a couple of things became evident about Coheed and Cambria. First, these guys love their fans, as evident by the warm smile Claudio flashed the audience frequently, and by the amount of audience participation they built into the show. As a member of the audience, you didn't feel like you were watching Coheed perform, but rather that you were performing with Coheed. Second, these guys seemed to be having a lot of fun, and to really love what they do. That enthusiasm is infectious, and I wish all bands had that attitude. And third, was their humility. They didn't feel the need to run their mouths constantly (see the opening act), but rather let the music speak for itself. When they did speak, it was mostly to thank the audience. This is a band that has the attitude to be around for a very long time.
Any complaints? There were a few songs that I would have like to have heard, most notably "The Road and The Damned," that they did not play, but that's going to happen. And although I felt sweating like a pig added to the intimacy of the whole thing, I would have rather been cool. But these are only minor quibbles.
Coheed has been one of my favorite bands for quite some time, but after last night's show, they have kicked the door down and become my favorite band, and I believe that, all things considered, last night's show was the best I have ever seen. And believe me, that's not faint praise.
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