Music

White Rabbits: Milk Famous

Running free with eclectic percussion sounds and choppy piano riffs, this album is where blue-eyed soul, Radiohead, Spoon, punk, and ska revival all come out to play, and, surprisingly, all these sounds play nice together; this album is a satisfying musical experience.


White Rabbits

Milk Famous

Label: TBD
US Release Date: 2012-03-06
UK Release Date: 2012-03-05
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iTunes

White Rabbits came out of the hat with magical, drum-propelled rock songs in 2009 on their second studio release It’s Frightening. Now they have turned up again with more of the same percussion and piano based songs with their third album Milk Famous. With sounds reaching from the pre-punk era to blue-eyed soul to ska revival to classic rock, this indie rock six-piece from Brooklyn continues to impress us with their unique sound. With not too much has changed since their second, the band’s latest album has a concentrated sound, yet on a deeper listen, it is glutted with an assortment of influence. Milk Famous is a thrilling sound phenomenon.

Shrouded in mellow, bubbly synths and rasping with slithery percussion, the album’s first song, “Heavy Metal” represses hiccups of heavy distorted guitar riffs which appropriately bolster hints of searing, well, heavy metal. Nevertheless, the second track on the album punches through with even more rigid metal riffs and sharp drum beats. However, there is also a refined quality to the song; “I’m Not Me” seems to flutter on delicate, yet distorted wings. The album’s third track, “Hold It to the Fire” has a definite Radiohead timbre with its longing vocals, sluggish guitar riffs and lingering piano harmonies. The song is actually quite suggestive of Radiohead’s recent “Lotus Flower". Beginning with an eerie intro, sounding like a score that would play behind a scene of an alien abduction, “Hold It to the Fire” melts into bouncy and dreamy synths as well as a wealth of percussion sound. In fact, at times, the percussion instruments sound like a train, and listeners will feel as if they are getting close enough to actually hear the iron wheels thud against the tracks. In the chorus, front man Stephen Patterson’s vocals sound fogged in engine steam as guitars shrieks like a roused train whistle. This song proves this band’s remarkable ability to play with sound, making it easily one of the best songs on the album.

“I’m awake, so come on now” sings Patterson in “Everyone Can’t Be Confused", and awake we all become. This song is just so snappy, tinged with blue-eyed soul and honestly reminiscent of the Fine Young Cannibals. With retro, effervescent pianos and playful vocals, this song is great for a summer drive – windows rolled down of course. The band’s second album gave us the thundering, percussion heavy hit single “Percussion Gun", which was used during the 2010 FIFA World Cup in South Africa. Lively and completely captivating, “Everyone Can’t Be Confused” contains this same radio single quality that will also likely break the song into the commercial world. “Temporary” is a mesh of disco, classic rock, and pre-punk, sounding like an Electric Light Orchestra / Television collaboration. Ironically, with its catchy refrain of “it’s temporary", this song is anything but temporary, leaving a threat of permanence in listeners’ heads. Other songs are also rooted punk rock sounds. For example, “Danny Come Inside” has a similar jazzy bass jive as Gaslight Anthem’s “Old White Lincoln”.

Drummer Jamie Levinson and vocalist and guitarist Gregory Roberts played in a ska band called the Hubcaps when they were in high school, and that ska influence remains manifested in their music now. Like the English Beat and the Style Council, without the blasting horns, ska revival flares up on songs such as “It’s Frightening”, “Back for More” and “The Day You Won the War". Also, while so many songs on this album sound similar to Spoon, these two songs seem especially influenced by White Rabbits’ indie rock cohorts. Although their recent release isn’t all that different from their last, It’s Frightening, White Rabbits still have enough tricks in their hat to keep us engaged, and honestly, enchanted. Listening to Milk Famous is like playing a game of connect-the-dots. Running free with eclectic percussion sounds and choppy piano riffs, this album is where blue-eyed soul, Radiohead, Spoon, punk, and ska revival all come out to play, and surprisingly, all these sounds play nice together -- this album is a satisfying musical experience.

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White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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If The Prince of Nothingwood will popularly be remembered for celebrating the creative spirit of its star Salim Shaheen, it is equally an important communication on Afghanistan, it's culture and its people.

"Now I am just more tired and poor. So no, I haven't changed. I'm just older and more tired," says French radio journalist and documentarian Sonia Kronlund, as she looks back on the experience of making The Prince of Nothingwood (2017).

Joining Salim Shaheen, the most popular and prolific actor-director-producer in Afghanistan on his 111th no budget feature, Kronlund documents the week-long shoot and the events surrounding it. She crafts an insight into a larger than life persona, yet amidst the comedy and theatricality of Shaheen and his troupe of collaborators, she uncovers the heavier tones of the everyday reality of war and patriarchal oppression. If The Prince of Nothingwood will popularly be remembered for celebrating the creative spirit of its star, it is equally an important communication on Afghanistan, it's culture and its people. Alongside the awareness of the country cultivated by mainstream media news outlets, Kronlund's film offers an insight into a country that can humanise the prejudice and xenophobic tendencies of a western perspective towards Afghanistan.

In October of this year at the UK premiere at the BFI London Film Festival, Kronlund spoke with PopMatters about being driven by questions rather than inspiration. She also reflected on the subjective nature of documentary filmmaking, the necessary artistic compromises of filming in Afghanistan, and feeling a satisfaction with imperfections.

Why filmmaking as a means of expression? Was there an inspirational or defining moment?

Not really, no. I have always done documentary. I used to write scripts and TV series but I only make documentaries myself for radio and television. For this story, I figured out after a while that it deserved a bigger ambition and a bigger screen and that's why I don't very much believe in inspiration. To be honest, I made this film because I had to do something. I didn't have a big project where I thought: I want to make this. I went there and I found a little money and at the end the ambition and the inspiration came along the way. But there was not an urgent necessity to make this film. It fits with a lot of things that I'm interested in, like popular culture -- What does art stand for and why do we go to the cinema? What is the purpose? This is a question I'm interested in, but inspiration, not so much.

Has The Prince of Nothingwood provided you with the answers to those questions?

It has, and I hope it helps people to think about this question. It tells you that there is an urgent need to make images, to make films, even during war,and even if you don't have the money. And even if the films are not very good, they will find somebody who will like them. So something is going to happen, and I think that's very touching. I don't like Shaheen's films, I hardly watched them -- I paid somebody to watch them. But I'm very moved by all these people that do like his films, and it makes you think about the value of art and the purpose of why we make cinema. I used to study aesthetics in London, so it was one of the questions I had and while the film is lighter than this, that's what was in mind.

The film uses Shaheen as a doorway, beginning as a story about one man which becomes a story about Afghanistan, its people and culture.

Yeah, but it's not so much about Afghanistan and it's not my purpose is to say things about the country. There's one guy like him in Iran who makes cowboy movies in the Iranian desert and there's also a guy like that in Tunisia. I mean you have this person with an urgent need to film whatever they have under their hand and since it's war, then it tells you something about the war. But it's not so much interested in him.

There was a lot of editing, 148 hours that you haven't seen [laughs]. Making a documentary is really telling a story and I don't have any idea of objectivity -- it is my point of view on Shaheen. Some people say to me that they would like to show his films, that they really want to see his films, and I say: "You don't see how much I have edited. I show you the very nice parts of his films." People think he's a great filmmaker and that's the story I wanted to tell -- but I could have told another story.

To my mind, objectivity is a human construct, a falsity that does not exist.

Except mathematics maybe, and sometimes physics.

The purist opinion of documentary as objective is therein built on a faulty premise. From the subjective choices of the filmmakers that bleed into the film to the subjectivity of the subjects, it's not purely objective. Hence, it calls into question the traditional dividing line of the objectivity of documentary and the subjectivity of narrative fiction.

Totally! It's the editing, and why you chose this guy, how you film it and what you show, or what you don't show. It's not only subjectivity, it's storytelling. Not many people ask me about this, they take it for granted that it's the real Shaheen. But I'm not lying, I'm not saying things that aren't true, but I am telling a story, a fictional story out of what I filmed. I took scenes that happened one day and I put them with another story that happened three months later and that's why we had seven months of editing with three editors. So it was a lot of work.

One of the striking aspects of the film are the light and comedic moments offset by a darker and heavier sensibility, which include moments when, for example, Shaheen talks about arranged marriages.

We made 70rough cuts and there was one version we tested and you couldn't believe you were in Afghanistan. People would say: "Oh this is too funny. You don't see Afghanistan, it's just a bunch of crazy guys." I then said: "Let's put in a little more darkness." You then have to strike a balance and to me, if it's not perfect, I'm happy.

Shooting the film in a dangerous and volatile part of the world, was the approach that once you had enough footage you then looked to shaping the film in the edit?

It's not when you feel you have enough, it's finding a balance between security and artistic concerns. That's it. You have a plan and you have an agenda. There are things you want to do, but it has to be balanced with security concerns. The real story I was going to tell about Shaheen I found in the editing room and in the end, I only kept five days of the shoot. The whole film takes place in Bamyan (Province), nothing in Kabul, although I had weeks and weeks of footage there that I had to take away.

There's a moment when Shaheen asks if you are scared, which sees him verbalise our silent recognition of your boldness and courage to bring this story to the screen.

It's very difficult and it's not like you are walking in the street and there's a bomb. This is not what's difficult. The difficulty is to cope with your fear and to have rules and to follow or to not follow those rules. There are many foreign people that never go out at all in Kabul -- it is forbidden. You have British diplomats who do not even drive their car from the airport to the embassy -- they will take an helicopter that costs £2,000 each way. Then you have foreign people who walk in the street without a scarf -- these girls get kidnapped.

In between these you have Shaheen, who is telling me all the time that I'm too scared, because it's a man's value to be brave and he's a brave guy, there's no question about that. He was in an attack two weeks ago. There was a bomb in a Shia Mosque and he helped to carry out the bodies. So there's no kidding about the fact that he's a brave guy and he has to be because he's been fighting to make his films. But you are in the middle of this and I'm not a brave person at all and I don't think being brave is a very important question. It is, but I'm not brave, I'm very scared and so in the middle of all of this stress it's enough just to manage to not go crazy, or to not drink too much [laughs].

Salim Shaheen and Sonia Kronlund (courtesy of Pyramide Films)

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