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Monday, Apr 21, 2014
Horror flick The Canal slowly builds malaise into an excellent and unsettling genre piece.

The official summary of The Canal is a bit inaccurate and may spoil a part of the film (official description here). So I thought to create a revision (using some of the same language): A film-archivist views footage turn-of-the-century news report about a man who slaughters his family in his present-day home. When David’s marriage dissipates in a flash, the ghostly murderer rises from the murky waters, casting David’s life into an unfortunate downward spiral that threatens the lives of everyone around him.


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Friday, Apr 18, 2014
Cloud Nothings helped Connecticut let loose some angst at a wild-all ages show.

Cloud Nothings fourth album Here and Nowhere Else is a barn-burner. This band, with Dylan Baldi on guitar and vocals, TJ Duke on bass and Jayson Gerycz behind the drums, has been moving up in the music scene quickly, having started out as a quieter indie rock outfit in 2009 but now unleashing their energy via frantic noise-rock, verging on punk. I decided to see the band perform in Connecticut rather than either of their New York City shows because this one, put on by Manic Productions the go-to guy for music, was all-ages and at The Space in Hamden, a basement-like venue that can be pretty dark and since CT has had a burgeoning local punk scene. New Yorkers may crowd surf at Death By Audio but I can’t imagine they would at Bowery Ballroom or Music Hall of Williamsburg. The Space was the place to watch people give themselves whiplash.


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Friday, Apr 18, 2014
Lucky Them focuses on a music journalist who can't break free of her history as the girlfriend of a deceased-Seattle rock icon but this romantic comedy falls short of its potential.

Summary: Ellie Klug has one last chance to prove her value to her aging music magazine, Stax. As luck would have it, her editor has just the assignment: a no-stone-unturned search to discover what really happened to long lost local rock god, Matt Smith. And wouldn’t you know it? Ellie and Matt have a history. Joined on the road by well-meaning but music-hating documentarian Charlie, Ellie delves into her past and quickly discovers that hype and mythology have not soothed the pain of her own experiences.


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Monday, Apr 14, 2014
The band played like a championship basketball team throughout the night, passing the ball around and racking up assists to make sure the squad would have balanced scoring with great shots that came from the flow of the offense.

When Galactic was first touring through California in the late ‘90s, there was no way to know what a perennial force on the national concert circuit the New Orleans band would soon become. They were a funky outfit that liked to jam, a welcome addition to the blossoming late-20th century jam rock scene. It’s over 15 years later now and the former young guns are now veteran scenesters who have become their generation’s top ambassadors of New Orleans funk.


The band has also developed their songwriting chops, becoming not just a jam band but also a group that can deliver some memorable songs. Galactic continues to call the Big Easy home and has even appeared as themselves on HBO’s Treme, cited as “those white boys who think they’re the Meters.” California has long served as a second home to the band, with some of their top performances taking place in San Francisco. This left some fans in San Diego lamenting how the band always seems to visit the Belly Up on a Wednesday night, since the band’s ultimate gigs tend to be late-night weekend affairs.


The San Diego music scene just doesn’t have the quality of venues or as big a fanbase as bands like Galactic can find in the Bay Area though, so Wednesday nights on the way up north will probably remain the case. But the Belly Up was packed once again with party people who were ready to get down. An early jam on Afro-Cuban jazz classic “Manteca” during their own “Funky Bird” got Phish fans in the audience going, thanks to the opportunity to hear the rare gem that became legendary after a memorable New Year’s Eve 2010 bust-out at Madison Square Garden. The seminal Dizzy Gillespie tune from 1947 is a staple in the jazz and funk scene of New Orleans, and one could therefore credit that scene with a key role in the development of the modern jam rock scene.


Galactic bridges the past and future of the New Orleans music scene like no one else, playing a key yet often overlooked role in modern music. No one else is keeping the proto-funk influence of the Meters alive more than Galactic. The band has gone through several vocalists in recent years, but seems to have figured out a winning formula. Their last two studio albums both used a series of guest vocalists to set templates that can be expanded upon by any touring singer with some blues mojo. Maggie Koerner from Shreveport, Louisiana is the latest to fill the bill and she fits right in with the Galactic krewe. The blonde firecracker hit the stage here after a couple of instrumental numbers with “Hey Na Na”, from 2012’s Carnivale Electricos, and instantly displayed a bluesy firepower that felt legit.


Koerner starred further on the new “Dolla Diva”, another gem with that classic Galactic future funk swagger that exemplifies the band’s talent for mixing funk, jazz, blues and classic rock into their own special gumbo. Saxman Ben Ellman starred on the blazing instrumental jam that followed, going to town over a hot groove from drummer Stanton Moore and bassist Robert Mercurio that had the crowd hollering for more. Guitarist Jeff Raines and keyboardist Rich Vogel were all over “Blackeyed Pea”, a staple funk jam and long a key weapon in the band’s arsenal.


Brushy One String from Ocho Rios, Jamaica had opened the show and returned to lead the band on “Chicken in the Corn”, a gritty blues rocker. Koerner continued to star on tunes from 2010’s Ya-Ka-May, nailing the bluesy vocals on “You Don’t Know” and “Heart of Steel” with spirited conviction. She cranked her blues power to another level on a cover of “It’s a Man’s World”, which instantly resonated with the audience. It was here where it became clear that Koerner has some serious mojo of her own, as well as on the new track “Higher and Higher”.


The band paced the show well by alternating segments of vocal songs with the instrumental tunes where they could stretch out some more. The common denominator through it all is the ever groovy rhythm section of Moore and Mercurio, always deep in the pocket.


Trombonist Cory Henry adds yet another flavor to the mix. He got the party people worked up over Mercurio’s fat bassline on “From the Corner to the Block”, with some hip-hop vocals and “who-dat” shout outs. The collective groove united on “Church”, with the band falling into a flowing mid-tempo jam that had the room swaying in bliss. Raines delivered some timely psychedelic guitar, followed by tight unison horn lines and a smoking sax solo from Ellman.


The band played like a championship basketball team throughout the night, passing the ball around and racking up assists to make sure the squad would have balanced scoring with great shots that came from the flow of the offense. Koerner was back at crunch time for a double encore where she not only helped sealed another victory but also covered the spread with her multi-dimensional range. Her star was shining bright on a “Does It Really Make a Difference?”, connecting with the crowd on the cathartic soul number.


Galactic could have run the clock out there with victory well in hand, but they threw down another slam dunk with a raging rendition of the Rolling Stones’ “Gimme Shelter”. Koerner belted out Mick Jagger’s lead vocal with a dynamic power to conclude the show in style. The show ended at what might be considered setbreak time in San Francisco or New Orleans, but there was no doubt that Galactic brought their full future funk power to the stage in the two-hour set.


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Friday, Apr 11, 2014
Lorde crowns herself as a pop princess at riveting, polished Kansas City show.

Lorde utterly dominates several Billboard charts nowadays, especially for her Adult Pop song “Team”. But she has earned considerable notoriety for much of the past year for her genre-defying debut single “Royals”, and for her critically acclaimed first proper album, Pure Heroine (2013). Youthful singer-songwriter Ella Yelich-O’Connor is a denizen of New Zealand. Among other accolades, she also won two Grammys—Song of the Year and Best Pop Solo Performance—this year, both of which for her worldwide hit “Royals”. She could have easily won for her fine album, too.

Logically, Lorde is amidst a whirlwind U.S. tour in which she headlines approximately 18 scheduled gigs in three and a half weeks, from Austin to Oakland. She then tackles the festival circuit as her itinerary includes three South American Lollapalooza dates, and two shows at Coachella. In short, Lorde is a busy, talented, and in-demand artist. Her sold-out show at The Midland was simultaneously enchanting and triumphant, and it italicized an emerging artist who can solidly deliver her songs within a live setting, and with few, if any, mistakes.


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