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January 4, 2008

Re-Review: Team Titans #1-24

Source (purchased/given/borrowed/the wife's): purchased
Date Purchased: monthly from around July 1992 - July 1994
Original Review: N/A
Thoughts/Memories/Remembrances: I recall enjoying Team Titans a lot, but then I recall enjoying most '90's comics a lot. My tastes have become more discerning since then. What I remember liking about the series is how it tied into Armageddon 2001 (only now remembering the New Titans Annual from that crossover is where the main characters were spawned), the series that I first really noticed Phil Jimenez's art, and having the really cool concept of dozens of 6-man teams displaced across the time stream as they went back in time to stop a tyrant and make a better future.

ReReview:
Wow... um, where to start? Team Titans, quite frankly, is a bloody mess at best, an utter crap-fest at worst, and didn't have a hope in hell of being a very strong book from the get-go. In the era of multiple covers (spawned by X-Men #1), an interesting gimmick kicked off the series: five different first issues, each with the same main story, but also each with it's own 16-page biography story of one of the lead characters from the team, each illustrated by a bankable artist like Adam Hughes or Kerry Gammill. The idea was solid, give the reader something worth obtaining the variants over (and at no extra cost), however, the origin stories they were revealing were awkward, far-fetched (for comic-book standards) and rather dull. Where the world of Armageddon 2001 (which I remember only with rose-colored glasses) that spawned the Teamsters was an intriguing alternate future, Team Titans veered into a dull and pocketed part of that future, where a character named Lord Chaos acts as despotic ruler of a megacity (that looks not unlike the Los Angeles of, say, Demolition Man) and is the Monarch's chief rival.

Continue reading "Re-Review: Team Titans #1-24 " »

January 2, 2008

Re-Review: the Golden Age

(preamble: as part of BNY, it's my goal to sift through my thousands of acquisitions and revisit them, to ultimately decide if they're worth keeping or letting them go)

goldenage1.jpg
Source (purchased/given/borrowed/the wife's) : purchased

Date Purchased: purchased in four quarterly installments mid-1993 to mid-1994

Original Review: N/A

Thoughts/Memories/ Remembrances: At the time (mid-'90's) James Robinson (Starman) was one of my favourite writers and he really could do no wrong. He painted superheroes in a very human way, with faults and emotions and thoughts constantly running through their heads. It was very obvious in Starman that Robinson had a fondness for golden age superheroes, and at the time I was so into the DC Universe (past and present) so did I. The Golden Age was an out-of-continuity story set in the post-war 1940's where Robinson could add his humanist angle to these classic characters. I remembered, in part, the surprise final issue reveal, and part of the climactic final battle but it all wound up a little hazy. I have carried a strong feeling towards this mini-series since, but don't think I've read it since my first purchase.



Re-Review: Wow, I can't believe how much of this series I didn't recall. The opening chapter is fantastic, written almost in the style of a 1940's newsreel (even though it's mostly the narrative voice of Johnny Chambers -aka Johnny Quick), bringing the reader up to speed on the major characters in play, the political climate and a recap of the superheroic involvement (or lack thereof) in World War II.

Continue reading "Re-Review: the Golden Age " »

January 6, 2008

Re-Review: Dr. Strangelove (or: How I Learned To Stop Worrying And Love The Bomb)

DrStrangeloveCover.jpg
Source (purchased/given/borrowed/the wife's): own

Date Purchased: January 08, 2007

Original Review: N/A

Thoughts/Memories/ Remembrances: I first watched Dr. Strangelove on laserdisc, likely in early 1997, but to be honest, I don't remember watching the movie. Chances are I fell asleep while watching it. The great thing about laserdisc was there was no encoding so it was easy to export the image to a videocassette. At the time, I taped pretty much every laserdisc I rented, including this one, so if I fell asleep while watching one, I knew I had a back up so no biggie. Overall, I had a sense of disappointment, thinking it would be so much funnier (at the time I thought satire=funny), as well, to be honest, I don't think I got it. Aden has much fonder memories of the film and an open slot in a 2/$30 purchase and her input led to the acquisition of this DVD.



Re-Review: None of it, besides the legendary climactic bomb-dropping sequence, had stuck with me. I didn't remember Major Kong, or General Turgidson , Col. Mandrake, President Muffley or, really, even Strangelove himself. Some movies I watch and they stay with me, but almost nothing from my previous viewing ten years ago remained in my brain. For such a legendary movie, a Stanley Kubrick film no less, that's pretty absurd.

Continue reading "Re-Review: Dr. Strangelove (or: How I Learned To Stop Worrying And Love The Bomb)" »

January 5, 2008

Re-Review: Ghislain Porier - Beats As Politics


Source (purchased/given/borrowed/the wife's): purchased
Date Acquired: March 28, 2005
Original Review: ... well put together, however, there's not enough rhymes to make it a solid hip hop album, and it's not enough turntablism to make it a good dj album..."
Thoughts/Memories/Remembrances: Disappointment. I was in the market for a new DJ to get into, and equally enthused for more Francophone hip-hop, and some random tracks of Porier's I had heard were intriguing and inviting. But this didn't measure up to expectations.


Re-Review: Quite frankly it's a dull album. To its credit, it's over 4 years old at this point and still has modern qualities to its style and production, but it never did retain my interest after I bought it, and upon revisiting it still doesn't. As the album plays through its scant 33 minutes, I even find myself wondering if I hadn't just listened to one song or another already; it just blurs together into a disinteresting mash. It's certainly got beats, but none of those beats have any hooks. The guest rappers, Séba and Diverse, provide something to attract the listener's ear, but the backing loops and rhythms don't glue you to the track, and eventually the words themselves just fade into the atmospheric nature of this album.

Rating (keep/sell/undecided): Sell

January 7, 2008

Re-Review: Steel Dawn

steeldawn.jpg
Source (purchased/given/borrowed/the wife's): purchased

Date Acquired: February 21, 2007

Original Review: N/A

Thoughts/Memories/Remembrances: I don't remember how many times my friend Mark and I watched Steel Dawn in the mid-'80's, but it was a lot. Yet, for all the viewings, all I could remember of the film were the following: Patrick Swayze, a sword, a mullet, crimped blonde hair, a brief glimpse at boobies and lots of sand. A couple years ago Toast and I were having a discussion about his affinity for post-apocalyptic movies (including those with Kevin Costner) and this film came to mind. Of course, neither one of us could remember the title immediately, and not being near the internet at the time, over the course of the evening it became something notable. Once we discovered the title, it became a bit of an in-joke, but also an object of desire. I tried to track down a copy of the DVD for Toast's birthday, but it'd long been out of print, but did find a copy on videocassette. A few months later, I happened upon the DVD in a used book/video store and it was a no-brainer purchase. The film, for those that recall it, has a stigma. I think it's not the film but the stigma of Swayze that people only recall.


Re-Review: All you need to know is music by Brian May.
Okay, perhaps not.
The film opens with our hero, a mulleted, bearded, headbanded Swayze in the midst of the desert, standing on his head, as the sand around him stirs. Something from beneath emerges, is it a monster? Nope, it's a... stick? And another, and another... oh, a hand, oh, some strange rags and/or tendrils. A half dozen sand creatures attack our dirty dancer who, we can only surmise, was on his head waiting in some post-apocalyptic battle-stance for these creatures to attack (it's later revealed he was meditating). They wish to steal his stuff, but he and his unusual sword twirling slice them all to bits, and he's on his way.

Continue reading "Re-Review: Steel Dawn" »

January 11, 2008

Re-Review - The Truth: Red, White and Black

truth-red-white-an_400.jpg
Source (purchased/given/ borrowed/the wife's): the wife's

Date Acquired: July 26, 2007

Original Review: N/A

Thoughts/Memories/ Remembrances: The original miniseries ran monthly in 2003, with the trade collection issued in 2004. I know I overlooked it at the time, but I don't know when I realized that it was Kyle Baker, one of my favourite comic book creators, handling the art chores. Anyway, since I realized that, this has been one of those "on the list" books to buy, but I also just never got around to it (it's $29.00 Canadian price tag was also a hindrance) until recently when the wife and I found it for 1/2 US cover at the San Diego Comic Con. Aden being the big Captain America fan she is, and me, the Kyle Baker aficionado, she spotted it and made the purchase. Somehow it got shelved upon return from San Diego instead of filed on the "to read" pile, and it was really only a week ago I rediscovered it in our collection.



Review - Like many truths, this Truth is shocking, absolutely shocking. In the backmatter of the book, writer Robert Morales documents his inspirations, which come from history books, periodical articles, war films, comic books, folkloric rumours. He uses his dozens of sources, most of which present a truth of sorts, to create this fiction about black soldiers during World War II used as guinea pigs to test a super soldier serum.

Continue reading "Re-Review - The Truth: Red, White and Black" »

January 29, 2008

Re-Review: The Life and Hard Times of Guy Terrifico (cd and dvd)

life_and_hard_times_of_guy_terrifico.jpgSource (purchased/given/ borrowed/the wife's): purchased
Date Acquired: cd - November 27, 2005, dvd - May 14, 2006
Original Review: movie review - "It's not as winged or sharp a mocumentary as "A Mighty Wind" or "This Is Spinal Tap" but I don't think it intended to be. There is an affable candor to it that sweeps you in, and the character of Terrifico is almost larger than life, Elvis-esque in many ways, and though perhaps a little stiff as an actor, Murphy excels as a performer both vocally and physically... The movie comes off more as a doc, rather than mock."
cd - I was pleasantly surprised. And not just surprised, these songs are country with that alt pop edge which Murphy excels at. In serving the needs of the film Murphy, with director Michael Mabbot, have created a fascinating and genuine country album that isn't just kitschy mocumentary music.
Thoughts/Memories/ Remembrances: Okay, click on one of the reviews above and read how much I lurve me some Matt Murphy. From my first exposure to the Super Friendz (the Halifax-based pop band, not the cartoon) in high school through to the arrived-in-Toronto-just-as-I-did Flashing Lights, and then back again, and recently the ensemble City Field. He's a pop-music machine and one hell of a live performer. So to find him doing -gasp- country music and not just ironically but classically, and for a film which he stars, and is actually good in, no less (or that's what I recall anyway, in revisiting perhaps my cloud of adoration/apologizing will lift to see a different truth). The recent Walk Hard: The Dewey Cox Story is a less sincere, less earnest exploration of the world of country music, and the music, strong though it is, is still comedic in tone. I wanted to revisit Guy Terrifico to not just compare, but to see whether I can overcome my MM adoration and really see how I actually respond to it.

Re-Review: I honestly had some trepidation as I approached watching the film again. The CD wasn't nearly as hard to engage, since I genuinely like the bulk of the songs on the soundtrack and have listened to them often, but the film, having only watched it once prior was a bit more of an unknown. Was it actually entertaining or had the music I like so much skewed my opinion?

Continue reading "Re-Review: The Life and Hard Times of Guy Terrifico (cd and dvd)" »

January 24, 2008

Re-Review: Gusgus vs. T-world

Source (purchased/given/borrowed/the wife's): purchased
Date Acquired: erm...late 2000-ish(?)
Original Review: n/a
gusgusvtworld.jpgThoughts/Memories/ Remembrances: I really enjoyed Gusgus back in the late 1990's, as I was seeking out anything different, and at the time Gusgus were different. I don't really even recall how I came to discover them but I believe it was through a freebie review copy whilst working at my university newspaper, although I could be wrong. gusgus vs. t-world was acquired in an effort to keep a step ahead of the Jones', or the GAKs in this case, and have some new and different and interesting material for our many mixtape exchanges (podcast of said tape exchanges coming soon). This album was a departure for the Icelandic group, vox-free and downtempo to a buzzed-out extreme, this I remember as my favourite effort of the band, and the last item I acquired of theirs.

Re-Review: To be honest, I'm kind of embarrassed by my Gusgus affection, mainly because Gusgus were pretty mainstream, having achieved some exposure on a few movie soundtracks while also maintaining a sound that screamed mass-market, dance club friendly. For all my insistence that they were doing something different, I really think they were about as generic as you could get in the post brit-pop and fading days of trip-hop era. It was homogenizing what Bjork was breaking ground in, and I think even when I was singing their praises I was already tired of it. For sure they produced some engaging hooks and maybe a couple memorable songs, but their sound wore thin and fast upon repeated listening.

Continue reading "Re-Review: Gusgus vs. T-world" »

January 25, 2008

Re-Review: Lush - Split

Source (purchased/given/borrowed/the wife's): purchased
Date Acquired: 1997/1998(?)
Original Review: n/a
LushSplt.jpg Thoughts/Memories/ Remembrances: I first came across Lush when I sat down for the first time at my desk as the entertainment editor at my university newspaper, the Argus. There was a copy of Lovelife and for certain I fell for the band. A dozen near-perfect (Brit- aside) pop hits (from what would turn out to be their final album) fast made me a fan. I searched out more from this quartet and eventually (weeks?months? later) came across "Split", their second full release, and hoped to experience more magic. Alas, beyond the opening track, I don't think I ever cared much for it.

Re-Review: Pressing play one does not expect to be met with silence, and yet that's what Lush delivers for ten seconds, some shortly-stroked violin strings signal their approach and deep cello delivering an ominous warning. Chimes plink away, seemingly (but not really) alternating from ear to ear as Emma Anderson's haunting, hushed vocals carry the instruments to a build, the guitars, drums and bass all joining in to something that feels almost epic in scope, yet still intimate and beautiful. This is Light From A Dead Star, the first track from Split is a grand (brilliant even) lead-in, but unfortunately leading to something much less inspired and certainly less engaging.

Continue reading "Re-Review: Lush - Split" »

February 1, 2008

Re-Review: Ratatat

Source (purchased/given/borrowed/the wife's): purchased
Date Acquired: June/July 2004
cover-Ratatat.jpg Original Review: "a no vox duo that mixes 80s-style power guitar with 80s-style electronics, creating something that's a cross between Commodore 64 video game music and the soundtrack to Night Rider... This shit is fun!"
Thoughts/Memories/ Remembrances: It doesn't seem that long ago, but over three years have gone. I listened to Ratatat's self-titled debut heavily after I first got it, I even recall loaning to my boss after discovering his taste in music was pretty solid. I didn't pick up the duo's follow-up last year, primarily due to reducing spending on music, but the desire was(is) there. I will get a Ratatat tune stuck in my head from time to time, their swirling, stadium-rock hard to let go.

Re-Review: Yeah, this is the stuff. Listening to it now my head's bobbing, my toes tapping and a half-grin on my face. To quote myself, "this shit is fun" (emphasis: me). It doesn't really matter what track it's on, I'd need an EEG to detail exactly how much I'm responding to it.

Continue reading "Re-Review: Ratatat" »

January 30, 2008

Re-Review - Beastie Boys: Awesome I ... Shot That

Source (purchsed/given/borrowed/the wife's): purchased
Date Acquired: 2007
Original Review: n/a
awesomeishotthat_l200603171750.jpg Thoughts/Memories/ Remembrances: I bought this primarily because I enjoyed the Beastie Boys' Criterion Collection Video Anthology so much. I also bought it because it was fairly cheap in the used bin, as well I had been hearing much about it in Toronto's weekly freebies and it sounded interesting. I didn't get around to actually watching it until now.

Review: Gotta hand it to the Beastie Boys, they like to do things differently. They're constantly reinventing themselves sonicly, wavering between rap, punk, and funk-instrumental. As far as I know they're the only musicians to get the Criterion treatment for their music videos, and this film is a first for concert videos, almost entirely shot by fans. At the close of their 2004 "Challah At Your Boy" tour, MCA (Adam Yauch) conceived the idea to give almost 50 hi-8 hand camcorders to select attendees at the concert to get a completely different perspective of their live performance.

Continue reading "Re-Review - Beastie Boys: Awesome I ... Shot That" »

February 16, 2008

Re-Review - Tenacious D: The Complete Master Works

Source (purchased/given/ borrowed/the wife's): borrowed
Date Acquired/Borrowed: May 2006
Original Review: n/a
200px-Tenacious_d_the_complete_masterworks_2003.jpg Thoughts/Memories/ Remembrances: In the year 2000, what was once (and sometimes still is) referred to as "the future", a young lad who looked a lot like me only, you know, younger and less bearded, was experimenting with revolutionary software called "Napster". Using a deathly slow dial-up internet connection, the young man would search and retrieve .wav and .mp3 files from this new file-share technology and burn unusual mixed CDs for his friends of these found sounds. One mixed disc was of a certain wintery/Christmassy theme, and having just been informed of the brilliant Jonathan Richman song "Abominable Snowman in the Market" by his best friend and his best friend's brother, he searched and found that song. Then he tried searching for "Yeti" with no results, followed by "Bigfoot" and "Sasquatch". The latter led this handsome fellow to download a track called "Sasquatch" by a band called Tenacious D. After downloading, this clean shaven kid gave it a listen, and marvelled at its absurdity:
"There were some scientists/ trying to figure out the sasquatch riddle/ and they figured out it was the missing link./ "In search of ...Sasquatch"/ that was a kick-ass "In Search Of..."/ with Leonard Nemoy/ kickin' out the jams/ haiiii"
He listened and enjoyed on repeat a dozen times, thinking something was missing, however... a visual component perhaps, and thought to hisself (perhaps aloud), "I must have more". And he downloaded more in all his handsomeness, coming across "Tribute" and "With Karate I'll Kick Your Ass" and "Rocketsauce" and "Kyle Took A Bullet For Me" and "Kyle Quit The Band" and "Lee" and "Double Team". It's when this charming twenty-something kid heard that last one that he remembered hearing it before, on a Saturday Night Live performance (Season 23, hosted by Matthew Broderick, 05/02/1998) and didn't like it much then. 2 years older, suddenly gave him wisdom and perspective and he could see that it was not true arrogance on the part of the performers, but faux arrogance masking insecurity. Or something.

Continue reading "Re-Review - Tenacious D: The Complete Master Works" »

February 15, 2008

Re-Review - Unrest: Cath Carroll ep

Source (purchased/given/borrowed/the wife's): purchased
Date Acquired: mid-late 2001(?)
Original Review: n/a
cathcarrollep.jpg Thoughts/Memories/ Remembrances: I first heard "Vibe Out!", the second track on this ep from the long-defunct no-wave band on the now defunct but nevertheless classic CBC Radio late-night program Brave New Waves. This was during the time that I was insane about catching the show, staying up listening from until 2am and then pressing record for an extra 45 - 50 minutes of the 4-hour broadcast to listen through the next morning. Since I did this nightly, I'd take catchy tunes from the previous night's broadcast and transfer them to a separate mix tape, one of which was "Vibe Out!" With it's early digital Speak'n'Spell introduction stating "Vibe Out!" (naturally) launching into a faltering bass line and tinny guitar strumming which then made way for Bridget Cross's soft, self-accompanying layered vocals alternating between droning drums, bass and guitar until the three and a half minute mark where the trio just Vibe Out and jam for another five minutes, no vox, just some sweet, unaggressive bass, guitar and drums action. It would be half a decade before I'd actually buy any of Unrest's recorded material... lucky for me, the first thing I would acquire was this ep which included that song which accompanied me, hands pounding on the steering week in rhythm, on many an evening car ride back home. I always liked this album, four tracks, the final, Hydro, a 33 minute jam session, but Vibe Out! still remains my first and favourite Unrest song

Re-Review: It's only now, with the miracle that is Wikipedia, that I come to understand the unusual format of the "Cath Carroll ep". "Developing from an experimental approach of never playing the same song twice," Wikipedia goes on to say that Unrest create "finely crafted pop songs interspersed with strange avant-garde percussive and sonic tracks." The "Cath Carroll ep" starts with one of those finely crafted pop songs, the titular track, and after it's completed it's 3:20 run, an ensemble of organized chimes and clashes along with that ever-pulsating bass and looped percussives pipe up and for the 10cc Mix for another four minutes. "Vibe Out!", in all its glory, follows up, which leads back into another pop slice called "goodbye". "goodbye" has a "Lush"-like sweetness to it, full of jangly britpop-like charm from the Washington D.C. trio, with a moderate tempo occasionally pushing towards tambourine-driven upbeats before reigning itself back in. The crowning glory is, as stated before, the 33:23 "Hydro" which is a straight-up bass, guitar, drums jam, the miracle of which is once it's over, I'm sad to see it gone. "Hydro" after the first minute or two no longer presents what I like to call "active listening" but it's steady-driving, occasionally switched-up, always rockin'. This is the kind of song I like to have on in the background when I'm working, writing, or just doing stuff that requires a bit of concentration. It keeps those rhythmic pleasure centers active but doesn't shock your brain into paying attention to it for over half an hour. If I were making music, every damn track I'd do would be like this, just going for it, nodding your head, tapping your feet and playing off your peers to create something that may not be Beethoven, but is intriguing solely for its freedom from confined premeditation. I can listen to "Hydro" over and over again and not get bored, and it's comfortingly familiar, even if it doesn't really stick in the brain afterwards (and if Unrest is never "playing the same song twice" the jam method is one way to ensure that. Conceptually stimulating and passively engaging.

Rating (keep/sell/undecided): keep for sure and find more Unrest eps when BNY is over. I forgot how much I liked them.

February 21, 2008

Re-Review - Thom Yorke: The Eraser

Source (purchased/given/borrowed/the wife's): purchased
Date Acquired: July 18, 2006
Original Review: **1/2 (two and a half stars, no write-up)
ThomYorkeEraser.jpg Thoughts/Memories/ Remembrances: Well, I really like Radiohead, but as a band they peaked for me with "Kid A" (although because of Buy Nothing Year, "In Rainbows" will remain as but a wee pang of longing). Thom Yorke's solo project wasn't much of a diversion from the (4-albums-in) now-typical Radiohead fare of vox, electronic warps and gurgles, sequencers and instrumentation, and by the unsupported 2.5/5 ranking I gave it 19 months ago it didn't really strike a chord. I cant even remember if any Yorke tracks made it onto my massive 4-disc 2005/06.5 compilation, and with, like, 75 tracks on that puppy, if he wasn't included that says a lot about how into this disc I was (which is to say not very much).

Re-Review: At this stage, I believe I've listened to "The Eraser" more times in the past week than I have in the 19 months combined. It's forty minutes of Thom Yorke singing hauntingly against sequenced loops, pianos, and minimalist compositions. I love Yorke's voice, it's soothing and relaxing, but the man has power that, when he chooses to use it, sends shivers up your spine and makes the hairs on the back of your neck stand on end. Yet here one track blurs into another as the downtempo glitches and tones backing Yorke's vocals set an equilibrium from which it can't escape and never tries. There's no adventure here, no sense of exploring his limits, in fact it appears Yorke spent a more concentrated effort on the sequencing than working on song structure, vocals and lyrics. The man's talented, without a doubt, but working solo on all this left him devoid of the collaborative spirit that's made him an excellent frontman for Radiohead and phenomenal guest vocalist with the likes of Bjork and PJ Harvey. In fact, if Yorke wants to do another "solo" album, he should serious contemplate doing duets.

If there's a standout track, I'm remiss to find it. Each song has its moment, a clever lyric or curious loop, but the moment passes quickly. None of these songs linger, none stay in your mind, to be recalled at inopportune moments, or nag you incessantly until you listen to them again. There are no bitter songs here, nothing that will put you off, but there's nothing outright stimulating that will rope you in. I've always called "Kid A" a great album to fall asleep to, but "The Eraser" is an album that will just plain put you to sleep. I want to like it because it's Thom Yorke and I want to hate it because I'm disappointed in this, but it's just such an innocuous work that I can't muster the passion for either. The more I revisit it, the more I search for something to hang onto, and find very little. If only his refrain from the title track - "The more you try to erase me, the more that I appear" - actually applied to this album. The more you erase this work, the less it matters.

Rating (keep/sell/undecided): sell

February 24, 2008

Re-Review - X-O Manowar: Retribution

Source (purchased/given/borrowed/the wife's): purchased
Date Purchased: sometime 1993
Original Review: N/A
X-O tpb.jpg Thoughts/Memories/ Remembrances:Ah, the Valiant universe. From 1991 through to 1993 (perhaps even into 1994), thanks to the speculator boom fuelled by Wizard, Valiant books became hot, hot, hot. Valiant's thing was story above art, which seemed in glaring contradiction to what Marvel (and later Image) were practicing at the time, and without any "hot writers" or "hot artists" on board, the line of titles at Valiant proved good reading. The biggest boost to Valiant's business, early on, was their obscurity. Their first few titles came out with little fanfare or hoopla to low, low numbers, meaning once people did catch on, the resale value of the first 20 or 30 issues Valiant published went through the roof. Literally, in the time of the speculator boom, some books were over $100 within a year of being printed. Valiant, seeing a market to exploit, pushed the "collector-friendly" angle and began all number of schemes to make their books collectible, including cupon redemptions for "zero-issues" and later specialty covers and 3-D "Valiant Vision".

X-O was part of their first wave of titles, introduced in the first year. All those early book were guided by the hand of Jim Shooter, who seemed bound and determined to have a superhero universe to call his own (later he was turfed from Valiant and started up the short-lived Defiant universe) and had his sights on taking mighty Marvel down a peg or two. Appropriating old Gold Key heroes like Solar, Magnus and Turok as his baseline, he then introduced original characters like the Eternal Warrior and Rai, as well as Marvel deviations likeHarbinger , which was an interesting spin on the X-Men, and here, X-O Manowar, which was a melding of Conan and Iron Man.

I remember the Valiant universe as being good reading, at least better than most of what Marvel and DC were doing in the early to mid 90's, but I can't recall what specifically I liked about it. My collections of Valiant titles are all scattered with only one exception, Archer and Armstrong which I have a complete set of, and next to that, X-O Manowar has only a few gaps. I tried a few issues of nearly every title, but most were ignored after three, with some random character crossover issues filling it out.

I haven't actually read any of my Valiant books since I stopped reading their title's altogether after the company's acquisition by Acclaim in 1995, and the general flavour of the line turned sour (seemingly more keyed on collectible covers and "hot books" more than story). With a Hardcover X-O collection solicited in this month's Previews, I thought I'd take another look and see how it stands up.

Continue reading "Re-Review - X-O Manowar: Retribution" »

February 26, 2008

Re-Review - Starman: Sins of the Father

Source (purchased/given/borrowed/the wife's): the wife's (but I bought the original series run back in the day)
Date Purchased: N/A
Original Review: N/A
starmanv1trade.jpg Thoughts/Memories/ Remembrances:What do I remember about Starman? Well, I was sold on Starman even before it arrived on the stands. Spinning off (sort-of) from Zero Hour back in 1994, Starman was one of a handful of titles DC was launching with #0 issues. I don't remember if each of the new series were given 4-page previews in, erm, the Previews catalogue, but Starman for certain did, and within the first four pages of the zero issue, the new Starman, David Knight, was shot dead out of the sky! It was such a huge and dramatic moment, that I was invested immediately in knowing why, and how a book would carry on when it's lead character is killed. Beyond that Starman delivered something altogether different, seemingly a collaborative project between writer James Robinson and artist Tony Harris, both invested themselves immensely into the book and it's lead, Jack Knight, and in doing so becoming two of my favourite creators, following them obsessively for some time. Over the next 40 or so issues, Starman proved itself not a book about superheroes, but a book about Legacies and families, about feuds, reconciliation and redemption. It turned the concept of heroes and villains from stark black and white to abstract colours and shades that spoke to the humanity with which Robinson and Harris imbued their characters. I got frustrated with Starman about the time he took to the stars on an inter-galactic adventure in search of his titular namesake, the thought-deceased Starman Will Payton and although I haven't read the title since the series ended, my affinity for it hasn't wavered. Like Robinson's The Golden Age, and unlike most other '90's books, I had no doubt that Starman would hold up.

Re-Review: The "Sins of the Father" trade paperback consists of issues zero through five of the ongoing series, and by the end of the first chapter it's evident exactly how special this series would become. David Knight is shot dead, Ted Knight, the original Starman (and star of TV's "Too Close For Comfort"), suffers a concussion when his home and lab are destroyed, and Jack Knight, collectibles shop owner, finds himself staring down the barrell of a gun as his livelihood goes up in flames. The Knights have been targeted and the gloriously art-deco Opal City (introduced in this series) they protect is meant to suffer. It all happens at the hands of Starman's golden-age nemesis, the Mist, and his chip-off-the-old-psychopathic-block children.

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February 29, 2008

Re-Review - The Sandbaggers Vol.1

Source (purchased/given/ borrowed/the wife's): purchased
Date Acquired/Borrowed: June 27, 2002
Original Review: All I can say is goddamn this series is good.
Sandbaggers1.jpg Thoughts/Memories/ Remembrances: I always describe this series to people as the West Wing meets James Bond, but that's just the easy way to pique peoples' interests, because there's really nothing like this show. I first heard of The Sandbaggers via an essay in the back of the first issue of Greg Rucka's comic book series Queen & Country, wherein he noted that he took direct inspiration for Q&C from this series. After embracing that comic book wholeheartedly, I knew I needed to see that series, and for over a year it remained on my "must-have" DVD list.

One day, unemployed and trolling slowly through HMV killing time, I came across the first volume set of this series. Three discs, seven episodes, and about $50 (which I likely couldn't afford), it was like striking gold. I don't know if I continued shopping, but I clutched onto that BFS Video collection like an old lady clutches her purse when punks cross her path at the mall... nobody would take it from me. According to my blog, I watched all seven episodes in one sitting, and had my mind absolutely blown. Ever since, I've held this series aloft at the top of my "best TV show ever" list, and I've yet to see the show that can dethrone it.

Re-Review: Best. Series. Ever. I'm not being hyperbolic, I mean that. This is in my opinion the best TV show ever made. By the time I came to it, The Sandbaggers was already 14 years old, and usually after time has passed the potency of a TV show begins to leak. The fact that this series is still so immeasurably strong, intelligent, and captivating is a testament to it's brilliance. It's an ITV series with usual British production standards, which means it doesn't look like a million dollars, but at the same time, that works it its favour. The bare-bones office settings, the dingy remote shoots, the unglamourous wardrobes and hairstyles... it's all exemplary of how non-James-Bondian real-world espionage is.

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April 5, 2008

Re-Review - The Tick: Karma Tornado Bonanza Edition vol 1 and 2

Source (purchased/given/borrowed/the wife's): purchased
Date Purchased: July 2007
Original Review: N/A
Thoughts/Memories/ Remembrances: I remember seeing advertisements for The Tick in the comics I bought when I started visiting a local comics shoppe in 1991. "Ninjas," the Tick said, "I hate ninjas", as he trudged across the panel with a dozen men in black suits about half his size futilely attacking him, Tick obviously feeling none of their attack thanks to his nigh-invulnerability. That panel from the ad for NEC's mail-order service has stuck with me to this day, I didn't actually read an issue of The Tick until 2 years later when Chroma Tick #1 came out (reprinting the first issue but in color). I recall enjoying it, and yet, for some reason, that's the only comic starring the Tick I'd purchased for some time.

I managed to let the cartoon bypass me, having only ever watched a handful of episodes from it's original Fox airings, and it really wasn't until the Patrick Warburton-fueled live-action series that I developed a deep appreciation for the character... something the Tick comic lovers and/or cartoon lovers tell me is blasphemy. Within the past year and a half, I've managed to read the first of three trade paperbacks of the Tick, a result of the merging of collections with the wife, and watched the DVDs of The Tick (seasons 1 and 2). My appreciation for the big blue bug is at an all-time high. Looking at the order form in the back of the 20th Anniversary Special Edition (June 2007) and I realize I've barely tapped the Tick's comic book repertoire, a solution that was fixed by acquiring these first two Karma Tornado collections at the 2007 San Diego Comic Con. One geekdom obsession translated to another since I knew these were written by Venture Brothers co-creator Chris McCulloch (under the pseudonym Jackson Publick).

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March 13, 2008

Re-Review - Earth X #0, 1 - 12, X

alex-ross-earth-x.jpg Source (purchased/given/borrowed/the wife's): the wife's
Date Acquired: N/A
Original Review: N/A
Thoughts/Memories/ Remembrances: It was the mini-series Marvels that launched both writer Kurt Busiek and painter Alex Ross into comic book superstardom. Though Busiek has gone on to write and create some of the best superhero comics of the past 20 year, it's Ross' star that has shone infinitely brighter, inescapably so (if you're a comics fan at least). It's undeniable the man has talent, but his overwhelming prevalence in the comic book community has earned him quite an unhealthy backlash. Over the years he's worked with a few different writers -- Mark Waid, Paul Dini, Geoff Johns -- to also grip onto the story creation side, being more of a collaborator than just an artist. His most enduring pairing, though, has been with writer Jim Krueger who seems tasked with taking Ross' ideas and turning them into something readable. Currently the duo are playing with Golden Age public domain characters in Project Superpower, and before that the 12-part Justice series. Preceding even that, however, was the grandiose re-envisioning of the Marvel universe in Earth X (which continued on in Universe X and Paradise X).

Earth X followed up Ross' triumph on DC's Kingdom Come (with Mark Waid) and he was riding high, and smack in the thick of the Wizard-era of comics this 14-part mini-series became the hot ticket item, even more so with limited edition collectors sets when it was printed in hardcover collections. I had always meant to get to it, to acquire the trades and see what all the buzz was about, but never did, and to be honest it kind of left my consciousness a few years ago. It wasn't until reading Wikipedia's entry on the series and it's sequels that I realized the series no longer held the esteem it once did and that its continued expansion and spin-offs only diluted the initial work in many fan's eyes. The fact of the matter is, of Ross' early portfolio, Marvels retains a quiet dignity and Kingdom Come is the bombastic, egotistical celebrity that refuses to go away, Earth X has slunk away into the shadows, maybe not in shame, but perhaps a little embarrassed. While inventorying the family comic collection, I discovered the wife had a complete set of the series. When I (eventually) pulled them from the shelf to give them the read over, she informed me that she couldn't remember any details about it, or ever actually finishing reading the series, even though she quite obviously bought them all. I was curious as to why she wouldn't have completed it (and has no interest, years later, in doing so).

Re-Review - How do I put this gently? Earth X is not a very well constructed story. The ideas are interesting, Krueger does his best to support the concepts in their execution, and John Paul Leon's art is pretty spectacular, but it's all really for naught as this series is not much more than 14 issues of non-stop exposition.

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February 28, 2008

Re-Review - Legion of Green Men: Floating in Shallow Water

Source (purchased/given/borrowed/the wife's): purchased
Date Acquired: 1999
Original Review: N/A
floatinginshalloww.jpg Thoughts/Memories/ Remembrances: I first encountered the Legion of Green Men ("LoGM") back in my Brave New Waves-fixated days (circa 1994) when I would record those radio broadcasts and compile mixed tapes for repeated listening pleaser. The LoGM song "Synaptic Response" was easily one of highlights and still remains one of my all-time favourite songs in any genre. It's a brilliant techno composition, and I loved it immediately (loving it even more after catching its video on Bravo a year later). I made it a mission to seek out the LoGM album hosting that song, Spatial Specific, only to be quite disappointed with how... un-engaging it was, with "Synaptic Response" being one of few highlights. But based on my continued love of that song alone, I sallied forth and bought this follow-up album from LoGM, and again, was completely disinterested in it. Sometimes, I realized some time ago, I need to distance myself from something that I have an initial response to, and then return to it to see it more objectively. Sometimes opinions change....

Re-Review:...and sometimes they don't. The opening track "For Maria, Wherever I May Find Her" is a peppy, lounge/Caribbean-inspired song, hard to dislike but utterly incongruous with the rest of the album which explores sonic ambiance and spatial sound. Most works having a lot of room to breath and explore their trance-like assemblage of electronic tones, pulses and clicks. Some rhythms or deep bass will occasionally find their way in helping add movement and progression, but on the two-part "Patience" or the broaching 10-minute "Constellation" the sounds linger on far too long, the long-lead to an eventual destination of nowhere. I'm not unreceptive to soundscapes or transient music (hell, I've made some of my own) but there's still got to be a hook. The third and fourth tracks, "Owls In The Apple Tree" and "Gammaland" seem to understand how to engage and work with warmer, progressive textures, and track nine "Logarhythm Two Point Three" is like floating in dark space, nothing but electronic signals to keep you company, which isn't particularly enjoyable listening but it is interesting. This album also features experimental CD tracks requiring use of an old fashioned disc player. It has a track zero (Which requires you to rewind from the start of track one) and a sub-audible track 11 which requires the volume to be cranked near full to be heard.

Sometimes a diverse album really works, but this album lacks consistency or a recognizable theme. I can't fault Floating in Shallow Water for being experimental, and it does yield a few tracks of some interest, but the bulk of it results in detached listening, which I don't think is ever the objective of any musician.

Rating (sell/keep/undecided): sell

Bonus: Synaptic Response video

March 5, 2008

Re-Review: Peanut Butter Wolf/ Prince Paul/ Orbital

(I have about 600 - 700 cds [maybe?]) and if I'm really going to review them all [or, at the very least, one album from each artist in the collection] then I'm really going to have to step up these re-reviews. I mean at 700 CDs I'd have to do two reviews a day, which I really doubt possible, especially considering how much I dislike writing about music)

Albums: Peanut Butter Wolf -My Vinyl Weighs A Ton/ Prince Paul - Psychoanalysis [What Is It?]/ Orbital - In Sides
Source (purchased/given/borrowed/the wife's): purchased
Dates Acquired: 2000(?)/2001(?)/1996
Original Reviews: N/A
Thoughts/Memories/ Remembrances:: My Vinyl Weighs A Ton - I don't remember when I first encountered producer/dj/label mogul Peanut Butter Wolf, and I don't even recall if I sought out Vinyl or if I found it at random. Anyway, I was a little disappointed with it, finding only a couple tracks ("Rock Unorthodox", "Theme From Peanut Butter Wolf") to be very engaging. I never did listen to the album much.

Psychoanalysis [What Is It?] - now this album I did seek out. Being a big De La Soul fan, and an admirer of the innovative (at that time) production on Three Feet High and Rising and De La Soul Is Dead, Prince Paul was a legend to me. This album came out first in 1996 with a small production run on an indie label and was more rumour than reality until I found a copy of the re-release shortly after moving to Toronto (I think, my time-frame may be off). The album wasn't as catchy as De La's stuff, but it was kind of warped and very unique. I liked it.

In Sides - I first came to love Orbital when I heard the track "Halcyon+on+on" on the Mortal Combat, and I'm still a confirmed fan 15 years later. In Sides was the first Orbital album I anticipated, purchasing it not long after it came out (all others I kind of found by chance well after their release), and to be honest I was disappointed at first. Eventually, however it did grow on me, but I've never been sure if it's the apologist in me or if it's actually any good.

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March 12, 2008

Re-Review: DJ Spooky/ Sloan/ Shadowy Men

Albums: DJ Spooky [That Subliminal Kid] - Riddim Warfare/ Sloan - Action Pact/ Shadowy Men on a Shadowy Planet - Sport Fishin' [The Lure of the Bait, The Luck of the Hook]
Source (purchased/given/borrowed/the wife's): purchased
Dates Acquired: 1998/ 2003/ 1994(?)
Original Reviews: Action Pact: "Action Pact is an album with forward momentum, each carried along with the strength of the strings, alternating between Jay Freguson and Patrick Pentland's guitar in the driver's seat. It's twelve songs over almost as quickly as they start, and put together more tightly and consistently than any of the six previous efforts. Though this would be considered a plus with most artists, with this band it's almost a detriment, considering how typically varied and diversified the song each member crafts usually are."
Thoughts/Memories/ Remembrances:
Riddim Warfare - I'm not sure where or when my love affair with DJ Spooky [That Subliminal Kid] began, but I know it ended not long after I purchased this album, relatively fresh off the press (judging by its release date I can assuredly say I bought it at St. James' Stereo, which was the only decent place to buy indie/alt music in Thunder Bay during the '90's (sadly, no longer) and either I came across Spooky on a compilation or on CBC's Brave New Waves (where most things I bought in the '90's I became aware of). Anyway, this album I liked, I think, but after a few listens and an extracted track for compilation listening, I put it on the shelf where stayed, until it was occasionally dusted off to be moved to a new household. I still bought DJ Spooky albums in the years that followed, with depreciating returns, liking each subsequent less and less. To be honest, I just don't think I understood them.

Action Pact - Oh, Sloan, after two albums I didn't like much at all (I didn't even buy that sixth album) here was one full of relatively short, catchy 80's inspired pop melodies. I did come to respect Sloan again, but for my immediate pleasure with this album, it's lasting power in my CD player was not long at all. Though I don't have any sentimental attachments to this album, I do have quite the soft spot for the band.

Sport Fishin' - It was at some point during my grade 12 year in 1993/94, during art class sitting next to this dude (who would later become one of my longest and bestest friends) that I learned that the opening and incidental music that was played on Kids In The Hall (still the second best sketch comedy show ever) wasn't just ambiance, but actual music, played by an actual band. That's when I learned about Shadowy Men on a Shadowy Planet, and life really hasn't been the same since. As soon as I found out about them I had. to. own. music. And I did, finding their latest release (this very CD) at the record shoppe and going all agog over it. GAK and I both, with a long love of art, comedy, music and irreverence formed a long bonding (not bondage) friendship that somewhere at the heart of it is always playing a vocals-free sweet bass/guitar/drums (and sometimes keyboards) riff. (Though defunct for over a decade [RIP Reid Diamond], GAK still manages to unearth new Shadowy Men tracks we've both never heard from time to time, the latest can be heard on this week's Radio Free GAK).

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March 25, 2008

Re-Review: Ravenous/ Massive Attack/ This Heat

Albums Damon Albarn and Michael Nyman - Ravenous Soundtrack
Massive Attack - Protection
This Heat - This Heat
Source (purchased/given/borrowed/the wife's): purchased
Date Purchased: 1999/ 1994/ May 3, 2006
Original Review: N/A
Thoughts/Memories/ Remembrances:
ravenousst.gifRavenous Soundtrack - In my last year working at the student newspaper, we received a press portfolio for the film, which itself was a pretty creative piece of work, with it's paper looking pulpy and withered (oh it was high gloss but printed to look like it was old) and blood splatters and bits of flesh adorning some pages. The high-gloss photos of Guy Pierce, Robert Carlyle, Jeremy Davies and crew made this mid-19th century tale of cannibalism look bizarrely appealing. After seeing the movie, it became instantly one of my favourites. Darkly humourous and rife with flawed characters, curious supernaturalism and some brilliant twists. In lesser hands it would have been a cheesy splatterfest, but director Antonia Bird crafted a reserved, but highly suggestive work of ingeniousness. Upon hearing "Boyd's Journey", the track playing during the opening credit sequence, I knew I had to have the soundtrack, assembled by Blur's Damon Albarn and master composer Michael Nyman. It's as irreverent as the film, melding askew instrumentation with traditional score fare, and the score remains as beloved as the movie. (Aside: I can't believe the film's website is still on-line, but it's awesome)

protection.jpgProtection - I've been trying to choose my re-review CDs at random, however sometimes I pull a disc off the shelf that I just don't want to listen to. But then again, that should be all the more reason to force myself to pull it down and give it a go. That's what happened with Massive Attack's sophomoric release here, an album I played to death over a two year period between 1994 and 1996. My CD collection at that time was just beginning, and Massive Attack's Protection was one of my crown jewels. I was agog over Trip Hop for much of the mid-'90s, taking elements of hip hop, dance, downtempo electronica, dub and jazz and blending them in a truly innovative way. Unfortunately trip-hop burned itself out by around 1998, or at least I was quite done with it by then. I haven't really listened to this (or any other Massive Attack, Tricky, Morcheeba, etc) album for a long time and I don't know how it'll play anymore. I have a pretty strong personal attachment to it, since it was one of my formative albums, really defining my taste in music, but, yeah, I don't really want to look back at it.

This-Heat-coverscan.jpeg.jpgThis Heat - I bought only one album from New York's Other Music store back in 2000 but have been receiving their new release emails every week since. Featuring audio clips, the Other Music Weekly Release email became my main source for a number of years at the beginning of this decade for hearing new music. It's where I heard this, and from the basis of one track I sought out this album (finding it locally at SoundScapes a few weeks later) and was pretty nonplussed with it. The one track I heard, I kind of enjoyed, but the rest of the album is early-80's (it's a reissue) sparse avant-garde-ism, a mix of noise and silence. I didn't really give it much of a chance, having pretty immediately regretted its purchase upon first listen. Wonder how it'll do on fresh ears nearly 2 years later?

Continue reading "Re-Review: Ravenous/ Massive Attack/ This Heat" »

April 1, 2008

Re-Review: Subtle/ Novillero/ Swell

Albums Subtle - Wishingbone
Novillero - The Brindleford Follies
Swell - Too Many Days Without Thinking
Source (purchased/given/borrowed/the wife's): purchased/ purchased/ review copy
Date Purchased: May 3, 2006/2002/1997
Original Review: Too Many Days Without Thinking - "Entertaining, amusing, thought-provoking, psychotic - all describe the music that Swell produces... inventive music that's ultimately been lacking in today's mainstream marked [sic] of mundane and thoughtless copycat crap. The best album I've heard this year!" - The Argus, March 18, 1997.

Thoughts/Memories/ Remembrances: wishingbone.jpgWishingbone - Back in the day when I was a hip-hop kid (not that I really ever got into the whole baggy clothes and break-stepping thing) nothing excited me more than a remix album or ep. That same enthusiasm stretched into the realm of electronica, trip hop and other new musics, as, I guess, nothing keeps a song fresh like completely retooling it. The other great thing about remix albums/eps was there tended to be some new b-side material that didn't quite make it to album either seen as out of step with the album's theme or just somewhat incomplete. Wishingbone is in the spirit of a remix album, but more of a half-release, a companion piece to Subtle's first major release A New White. The CD/DVD set (with the DVD containing the 15-minute video spanning three tracks) was acquired and shelved roughly within the same period of time as I recall it not being as engaging as I'd hoped and I'd always meant to spend some time with it and A New White to really hear if and how it does actually compliment it (alas, my consumptive habits have prevented this). Oh, and now it would seem the DVD's gone missing.

TheBrindlefordFollies.jpgThoughts/Memories/ Remembrances:The Brindleford Follies - At the turn of the century/millennium, Canadian "supergroups" started cropping up, the biggest of which being the New Pornographers in Vancouver and Broken Social Scene in Toronto. It may be a stretch to say but in Winnepeg it's Novillero. In 1999/2000 when they came together it was from the ashes of lounge group Transonic and acts like Duotang and Waking Eyes. When I first heard about Novillero (on CBC Radio, no doubt, a few months after this album's release I recall) I knew I had to seek it out. I was a big Duotang fan and to hear Rod Slaughter sing with more than just bass and drums accompanying him excited me. The album, however, let me down, and I never did fully digest it, leaving it to collect dust until their second album, Aim Right For The Holes In Their Lives, came out in 2005, when I decided to revisit it once again. It didn't compare at all to the powerful and energetic second album, where their sound completely shifted gears, but I found it more listenable than I had remembered.

swell_toomanydays.jpgThoughts/Memories/ Remembrances:Too Many Days Without Thinking - Unlike the prior two cds mentioned above, I've driven this Swell album -- my first -- into the ground, and still it holds up. I received it as a review comp from Beggar's Banquet in 1997 whilst working at the university newspaper and it instantly made a fan of me. I've been following Swell, perhaps not devotedly, but enthusiastically ever since, collecting all the major back catalogue releases and pouncing on any new albums. Swell is the one band that I've never met another fan of, and it constantly amazes me that nobody I've ever met has heard of them. Their releases come out quietly without much fanfare, and I've yet to be truly disappointed with one. But this album is my perennial favourite, perhaps just because it was my first, but I also think it's their most accessible album, each song something special.

Continue reading "Re-Review: Subtle/ Novillero/ Swell" »

April 8, 2008

Re-Review: Digital Underground/ Star Wars Breakbeats/ Final Fantasy

Albums Digital Underground - Sons of the P
Supergenius - Star Wars Breakbeats
Final Fantasy - He Poos Clouds
Source (purchased/given/borrowed/the wife's): purchased/ purchased/ purchased
Date Purchased: 1993/1998/May 3, 2006
Original Review: - n/a

Thoughts/Memories/ Remembrances:sonsofthep.jpgSons of the P - Digital Underground were a damn fun group, producing a few stellar albums before fading under the weight of "gangsta" rap's popularity. Most prominently fronted by Humpty Hump, a congested sounding, comedic rhyme-maker who wore glasses and a fake (sometimes gold-plated) nose (not quite "Groucho glasses" but similar idea), Digital Underground were a massive crew that at one time called Tupac and Jay-Z members. This album was a tribute to the classic funk bands of the 70's, using Funkadelic, Parliament and Sly and The Family Stone samples to create some memorable tracks, but moreover a fantastic album. This album is one of my favourite rap albums ever, and contains "Good Thing We're Rappin", which I believe is my favourite song of all time. Sons of the P is a tribute to times past, an exploration of burgeoning fame and a jab at the changing times which would eventually overwhelm the band. I haven't listened to it in years, but it's still a favourite.

SWBB-1.jpgStar Wars Breakbeats - I think it was GAK all those years ago that alerted me to the existence of Star Wars Breakbeats, a limited-run album from New York-based bedroom producer "Supergenius" (aka Morgan Phillips, now the "Sucklord"). Being the fervent Star Wars geek that I was back then, I promptly made my way to The Other Music website and purchased the album before (as the store feared) Lucasfilm would come crashing down with their cease and desist orders. With the spectre of illicitness hovering over it, not to mention its rarity, this album has always felt like a prized acquisition, a real coup for my collection. Unfortunately, I never actually thought it was all that great. It's always seemed like a cheesy curiosity which I pull out from time to time, and as my Star Wars fanaticism has waned, so too has the leniency I've been giving the record.

poocloud.jpgHe Poos Clouds - I bought this when I was in my "buy anything from the blocks label phase, even though I didn't really like the first album. Plus, there was all that internet hype that told me this was the awesome album of aught-six I should be sure to have. Oh, yes, I was one of those people. You know the type... the kind of person who had to be on top of what was new, fresh, hot and innovative... especially in the music scene, even more, the local music scene. I didn't do all the stupid haircuts or the "ironic" whatevers (moustaches, t-shirts), but I did appreciate them until I realized exactly how pathetically