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The Good Bits: September 2017

Finally I got this edition of the Good Bits written. I’m sure you were all waiting with baited breath, clammy hands, and thoughts that I’d maybe given up writing this monthly post. And though it took me a while to get around to, I have a good reason for it, namely what I’d call the “Best Bit” of September 2017: I got married.


Two nights prior to the big day she demanded we go to a last minute showing of It, so you know she’s a keeper. I’m a happy man.



Paradise Lost, Medusa (Nuclear Blast)


I haven’t been a fan of Paradise Lost long enough to celebrate their return to the gothic death/doom metal sound heard on their earlier releases, but I can certainly appreciate how good it is. 2015’s The Plague Within was a great album that I didn’t give my full attention to because of the sheer numbers of good releases from that time, so I’ve been giving Medusa more spins to make up for it. For me, the opener “Fearless Sky” is the best track on the album, which is a good and bad thing. On the one hand, it gets me real pumped for the rest of the album. On the other, the best part of the album is already over at the start. That’s not meant to imply that the rest of the songs are subpar or anything: “The Longest Winter” is appropriately slow and hollow like a dead winter day and “Blood and Chaos” is a fairly upbeat doom song that mixes things up just a little bit. All songs feature chunky slabs of guitar riffs and, as always, fantastic cleans and growls from frontman Nick Holmes. But man, “Fearless Sky” is certainly going to be one of my favorite songs from this year overall.





I tried to finish the book It before the movie. That didn’t happen, but that’s okay. I’d gotten far enough into the book and the movie was different enough that it didn’t really spoil much. Besides, how was I going to pass up seeing the biggest horror movie of the year? The verdict: a great horror movie, but with a few flaws I can’t help but mention.

First off, I think keeping the film focused on the the kids instead of trying to splice in the adult timeline was a good idea. There’s certain things that just don’t transition from book to screen and balancing two timelines for seven characters is one of them. The kids in question are all great with Eddie, Richie, and Bev being the standouts. Bill Skarsgård is fantastic as Pennywise and should probably get used to doing roles with a whole load of makeup because he nails it. There’s blood and gore aplenty and many good jump scares, and even when you know a scare is coming clear as day the reveal will still prompt something akin to “Holy shit!” Above all else, the film nails the feeling of unity amongst the Losers and the toxic environment that is Derry. The latter is strengthened by the film’s the depiction of adults, who are appropriately absent, unkind, or otherwise creepy.

Much as I try to separate the book from the film, there were two things I couldn’t ignore. One is the treatment of the character Mike Hanlon (he’s the black kid). In the book, he’s very into Derry’s history and, as a result, the murders commits by It, which plays a huge part in the character’s adult years. In the film, they give the role of historian to Ben Hascom (he’s the fat kid). As a result, Mike is less interesting and Ben is not shown pursuing his career as an architect. It’s an odd change that, unfortunately, brings to mind the age old issue of short-changing the black character. The second issue is simply the matter of scare factor: the film just isn’t as scary as the book. This is all a matter of preference of course: I happen to like the more atmospheric horror that is done better in books while I’m sure plenty of people will declare It to be scary as hell. But I would say the film is less of the twisted psychological horror found in the book and more a monster flick.

It might sound like I’m just being a stuck up Stephen King fanboy, and maybe I am. But despite my criticism, I assure you that this is a good horror flick and one of the better Stephen King adaptations. You’ve probably already heard people raving about it, so there’s no reason not to watch it and get your horror fix.


Currently Reading:

It by Stephen King


As for the book reading department, I have maybe 400 something pages left I think? It still feels like I have so much left even though the visual thickness to the right of my bookmark says otherwise.


Currently Watching:

Sons of Anarchy Season 5

Outlander Season 2


Currently Playing:

Darkest Dungeon (Mac)

Dishonored 2 (Xbox One)


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The Good Bits: August 2017

Farewell, summer. You had some neat offerings to cap off your final month.


Steven Wilson, To The Bone (Caroline)

steven wilson

If you know me, you know I’m a fanboy for Steven Wilson. Ever since I picked up Porcupine Tree’s Fear of a Blank Planet ten some odd years ago, I’ve spend a lot of time delving into Wilson’s vast discography that spa s many groups and genres. In recent years, Wilson has been focused on his solo work, and as a result has delivered some of my very favorite albums, including 2015’s Hand. Cannot. Erase. This time around on To The Bone, the approach is more on the poppy side, inspired by the likes of 80’s artists such as Tears for Fears and Peter Gabriel. It’s a much more electronically driven album that adds a different flavor to Wilson’s unique style and, as a result, is one of my favorite albums so far this year.

Shocking, I know.

Some songs like “The Same Asylum as Before” are classic Steven Wilson fare while others like “Permanating” tread new territory. The latter song is very piano driven, and not in the slow melancholic way like you might expect but rather with backing electronic drums and bright melodies that almost made me think more of a McCartney Beatles song. There are a few duets on the album including the standout “Pariah”, which again features the fantastic Ninet Tayeb from Wilson’s previous album. Of course, it wouldn’t be Steven Wilson without at least one incredibly depressing track, and in this case that honor could go to either “Refuge” or “Detonation”. Figures that those are the top two longest tracks on the album, eh?

Time will be the true test for this album and how it stacks up to the rest of Wilson’s masterpieces, but for right now To The Bone is another surefire winner that will please long-time fans and rake in new ones.


Iron & Wine, Beast Epic (Sub Pop)

iron and wine

When I started really getting into Iron & Wine about two years ago, it was interesting listening to Sam Beam’s discography back-to-back and hearing his evolution from lo-fi bearded guy with a guitar on The Creek Drank the Cradle to the jazzier upbeat material on Ghost on Ghost. While some may claim Beast Epic is a return to the quiet understated nature of Beam’s earlier material, I’d only half agree; it’s certainly not as poppy as Ghost on Ghost and has a stronger acoustic focus, but I think Beast Epic is less of a return and more of a cumulation of the different sounds Beam has picked up on in his 15 year career.

Beam’s soft but soulful singing has always been one of the leading appeals of his music, but on Beast Epic it stands out even more somehow. It is both bright and hopeful on tracks like “Call It Dreaming” and quiet and soft on tracks like “Summer Clouds.” It’s like a warm blanket that wraps around you as you listen. It doesn’t hurt that some songs like the aforementioned “Call It Dreaming” and “Thomas County Law” feature catchy verses that linger in your head long after listening. Though you may return to the album to hear one or both of those songs, you’ll find yourself cycling through the whole album again, basking in the comfort that only a musician like Sam Beam can bring to the table.


Leprous, Malina (Inside Out)


Leprous’ fourth album The Congregation fell into my path and was one of my dark horse hits for 2015. These guys have some serious skill with clean, impeccable musicianship and songs that are simultaneously complex yet catchy and compelling. On their fifth album Malina, that same musicianship and songwriting is back in full force. Lead vocalist/keyboardist Einar Solberg is still the band’s cornerstone as the album includes some of his best vocal performances yet, especially on the last track “The Last Milestone”, which mainly consists of his singing and strings performed by Raphael Weinroth-Browne. For me, real strings are always welcome on metal records, though they aren’t always utilized to their full potential. Thankfully they’re featured just the right amount on Malina, adding a grandiose layer in the latter half of “Stuck” and taking center stage in the aforementioned “The Last Milestone.” There are of course some tracks that are straight-up Leprous goodness such as the lead single “From The Flame” which serves as a slightly better hook for the album than opener “Bonneville.” That’s not to say that “Bonneville” is bad, only that it’s more mellow than fans and newcomers might expect. If you’re looking for a tight but accessible prog album, Malina is my pick.



Logan Lucky

logan lucky

If I told you that the director or the Ocean’s trilogy made a heist comedy film set in south about blue collar workers robbing a huge NASCAR event at Charlotte Motor Speedway, you’d probably think I’m getting you set up for some ridiculous Talladega Nights-esqe film. But that’s not what Logan Lucky is at all. Sure, it’s kind of funny to hear Channing Tatum, Adam Drive, and Daniel Craig nail the southern drawl, but the film isn’t actually all that jokey when it comes to its setting. Moreover, the film’s central heist plays out in a fairly straightforward manner: things go well, shit happens, things get betters, shit happens, etc. It’s actually a very sincere film that isn’t content to lean on the “big dumb rednecks” trope, and that’s what keeps it from becoming some run of the mill comedy. It’s written smart and it’s delivered smart with no small thanks to the cast’s ability to depict very human characters without any highly exaggerated eccentricities. Even Craig’s Joe Bang isn’t as super over the top as you’d expect him to be. Sure, he’s quirky, but contrary to promotion the film doesn’t rely solely on him to drive the film. Actually, Tatum’s performance is really the one that stands out for me as a divorced father recently let go from his construction job. It’s a rather understated performance where a lot goes without saying and you pick up on the story cues without the need of shoddy character exposition. It might not stand out much amongst the action and superhero movies of the summer, but it’s certainly a gem.


Currently Reading:

It by Stephen King


Well, I didn’t achieve my lofty goal of finishing this before the movie came out; I’m barely at 400 pages out of like 1100. But I’m certainly having a great time reading it.


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The Good Bits: July 2017

This month was stuffed.


King Gizzard & the Lizard Wizard, Murder of the Universe (ATO)

king gizzard

I have seen King Gizzard & the Lizard Wizard pop up so many times this year that it was inevitable I was going to finally dig into one of their records. Two of a planned five have been released so far this year, and Murder of the Universe is the second of the two. I listened to the first release, Flying Microtonal Banana, and found it good, but didn’t really spend a lot of time with it to merit a write up. Murder of the Universe, on the either hand, splits the album into three different stories that had me enthralled from the opening tracks. The band’s sound is the equivalent to a kaleidoscope, covering your ears like a psychedelic blanket and cradling you through a tunnel of many shapes and colors. The narration from Leah Senior ties the whole album together and helps evoke that storyteller atmosphere.





Christopher Nolan boasts one of the best directorial track records in film history, but he’s not without detractors. One critique that pops up often is that he’s too clinical and clean in his approach and it consequentially results in a cold, emotionless film. It stands to reason then that people might scoff at the idea of a PG-13 Nolan-directed World War II film, a genre that’s usually stuffed with intense bloody violence in order depict the horrors war. Now, I’m not trying to knock the violence films like Saving Private Ryan or Hacksaw Ridge (haven’t seen it, heard it’s gory as hell) because, yeah, that shit was probably bloody as hell. But don’t we already know by now war is pretty horrific? Isn’t it possible for a war film to grip you without intestines being spilled everywhere? Yes, yes it is, because Nolan has done just that.

Dunkirk depicts three different stories: the British Army stranded on the beach in Dunkirk, France; the British civilians sailing across the channel, and the pilots in the air. These stories are shown in a non-linear fashion, meaning that the scenes don’t all sync up until near the end of the movie. It’s actually not as confusing as it sounds as long as you pay attention and consider the three stories separate from each other until you start to see the connecting threads. And you will be paying attention because this film is goddamn tense almost the whole time, even when there isn’t any real action happening. The relatively quick and clean runtime of 106 minutes offers up a film without any filler or overly flashy action sequences (though the dogfight scenes are pretty kickass). The boys are trying to get home. That is the single driving force of the film and it stays that way.

Nolan apparently once expressed a desire to make the film without a screenplay, and it shows in the films subtle lack of dialogue. This helps to strip away the Hollywoodness, if you will, of other war films, instead choosing to focus on the situation at hand. It also means the film doesn’t rely on its star power too much; Tom Hardy’s RAF pilot doesn’t feel any more or less important than Fionn Whitehead’s private on the beach. They’re all soldiers made of flesh and blood, and everything they do be it as simple as running or difficult as dogfighting feels like it matters. Every second feels like it matters. Honestly, this is a top contender for my film of the year, and I know that’s going to merit a few eyerolls from people who think I’m a Nolan fanboy or that the film is overrated. You’re fine to dislike it however much you want, but Dunkirk is a real winner for me.


Spider-Man: Homecoming 


Sam Raimi’s 2002 iteration of Spider-Man is to me what what Tim Burton’s Batman was to many a comic book fan in 1989. The web head’s triumphant big screen debut is one of my very favorite superhero films, and all three of Raimi’s films (yes, three) have stuck with me in every discussion of what makes a good (and in some cases, not so good) superhero movie. Now, here comes the part where you expect me to talk about how much I hated the Garfield films when, as a matter of fact, I haven’t seen either of them; I just never got around to it and over time I wondered what the point would be. Neither of them looked particularly interesting to me, at least not compared to other superhero movies coming out at the time. Then the franchise got rebooted again when Spidey appeared in last year’s Captain America: Civil War, and there was much rejoicing over the character joining the MCU. However, now that his new solo film is out, I’ve also heard many people complain about how, in the span of fifteen years, there have been six Spider-Man films (seven if you want to count Civil War) with three different actors. Why so much Spider-Man dammit? Why can’t they come up with new ideas? Well, welcome to modern Hollywood, first of all. Second, don’t just write this one off: Spider-Man: Homecoming is a fun movie that dials down the high stakes of previous Marvel films in favor of focusing on New York City and it’s friendly neighborhood…well, you know.

In case you’re having a hard time figuring out where we’re at this time around, Peter Parker is a sophomore in high school fresh off being recruited by Tony Stark to fight Captain America and several other heroes. After getting that taste of action, Peter finds himself bored taking care of small time crime in NYC and longs to tackle something bigger and badder which comes in the form of Adrian Toomes a.k.a. the Vulture. What follows is a film with a few familiar but effective story beats (Peter has to balance the lives of both identities, great power and great responsibility), some nods to the rest of the MCU, (most notably Robert Downey Jr. reprising his role as Tony Stark/Iron Man), and a small twist that makes for an exciting third act.

Tom Holland is great. His Peter Parker is sufficiently nerdy but endearing while his Spider-Man is cool and funny, but also spends plenty of time learning to grow as a hero. And while the film’s marketing suggests that it’s also Iron Man 3.5, Tony Stark keeps his appearances short but effective. But, for me, it’s Michael Keaton who steals the show as the Vulture. Many MCU villains that aren’t Loki tend to be menacing, but also fairly one-note and disposable. Keaton, on the other hand, isn’t really straight-up evil: he’s mostly just a pissed off regular dude who happens to be really good at building shit, not unlike Tony Stark. He presence even becomes genuinely nerve-wracking during one particular scene. The rest of the cast, particularly Peter’s school friends, is great too and give the film a lot of humor and personality. Sadly, Marisa Tomei’s Aunt May gets the short end of the stick when it comes to screen time. That’s probably my biggest gripe with the film since Aunt May is such a comforting figure in Peter’s life and I really like Tomei in the role, but she never gets a memorable moment like Rosemary Harris in the Raimi films.

Other reviews have taken issue with Homecoming‘s impact on the MCU in that it doesn’t really have an impact. But that’s fine. Not every movie has to be as game-changing as Avengers or Civil War. If every movie tried to create a tectonic shift in the MCU it would get boring and those tectonic shifts wouldn’t be meaningful anymore. Homecoming, meanwhile, is a welcome return to form for Spider-Man and a refreshing entry in the MCU that looks out for the little guys and saves the big ones for later.


War for the Planet of the Apes 


I’m sure I’m not the only one who was pleasantly surprised by 2011’s Rise of the Planet of the Apes, a reboot of an old franchise with a focus on motion capture that had plenty of reasons to go wrong, but ended up being a well-executed sci-fi film. The sequel, 2014’s Dawn of the Planet of the Apes, had an even bigger focus on motion capture while also bumping up the scale and action. With the release of War for the Planet of the Apes, we find ourselves at the end of a trilogy, though not necessarily the end of Apes films. Still, War for the Planet of the Apes carries on the series’ penchant for defying expectations by delivering a solid conclusion and cementing the reboot films as some of the finest action/sci-fi of the decade.

War continues the series’ trend of making you absolutely  hate humans but love a bunch of mo-cap apes. Andy Serkis had proven himself time and time again, but in his third outing as ape leader Caesar he essentially depicts an tired, aging warrior in ape form, weary of the many years he’s spent fighting to keep his people safe. It’s a bleak but remarkable performance. Woody Harrelson portrays the Colonel, who seems like just another straightup jingo jackass on the surface, but when you get some insight into his motivations it makes the world of black and white go gray. The standout performance, however, is Steve Zahn as the “Bad Ape”, offering up some much needed comic relief in sympathetic form. Amiah Miller is Nova, the girl you’ve seen in the trailers, and she’s understated but adorable.

One of the biggest reasons for the film’s success is that it didn’t fall victim to the “go all out for the third film” trope that sometimes hampers trilogies. War is as big as it needs to be and no more, with a range of action and emotion faithful to the series without trying to blow the lid off. The only sticking point some might have with the film is that the marketing is a tad misleading. Without getting too spoilery, the trailer (and title) give the impression that the apes and human are going head to head in one final war, but that’s not actually the focus, nor is it really what happens. Oh, they do fight of course, but don’t expect a full on war movie. You’ll be very happy with what you do get though. Also, in a world where blockbuster soundtracks have grown less remarkable, Michael Giacchino’s score is a big plus here.



Abhorsen by Garth Nix


I finally finished the final book in the Abhorsen trilogy earlier in July, thus concluding my journey through three of my fiancée’s favorite fantasy books. Despite most of the book being falling action, it took me a while to get through it. I’m a slow reader by nature, and with increased writing workload I’ve only gotten slower. Eventually, I found the time to just sit and plunge through this last book and my thoughts are similar to those of the first book Sabriel: beautifully written with a satisfying tying up of plot threads, but I wish I could have stayed a bit longer. As soon as the conflict is over, the story doesn’t linger long before it ends. There’s no “20 years later” epilogue that allows you to confirm all the characters are still doing okay, and while such a thing is certainly not necessary, I kind of wanted it. I don’t hold it against the book all, but I suppose it’s just one of those bittersweet things about finishing a very good book: you’re not always ready to leave and you’re always reluctant to turn that last page and reveal the back cover. That being said, Abhorsen delivers a conclusion with all the spectacle and magic that Nix is known for, and I’m glad to have taken the time to experience it.


The Boy On The Bridge by M.R. Carey

the boy on the bridge

This time last year I’d just finished reading The Girl With All The Gifts, a post-apocalyptic sci-fi novel that was well-written and fresh compared to the rest of the overdone zombie genre. Now I’ve just finished reading The Boy On The Bridge, which is something of a psudo-sequel/prequel/parallel set in the same zombie (called “hungries” in the novel”) infested United Kingdom as its predecessor. The book does not focus on characters from The Girl With All The Gifts, but rather a new cast of characters composed of soldiers and scientists working (sort of) together in a mobile lab to find a cure for the hungry epidemic.

At first, getting into the book took a bit of time; the story assumes you’ve read the previous book, which is fair enough, but it’s not as gradual as The Girl With All The Gifts, which started small and then opened up as the story progressed. So while you theoretically could read The Boy On The Bridge first since it’s so far removed from the events of Girl, I’d say read the previous book before picking this up. But man, once the shit hits the fan this book just rockets forward and you will not want to stop. The characters are a mixed bag of personalities and, as such, feel very believable during the teams various trials and tribulations. For me, Carey’s prose is the star of the show here, chock full of descriptions and metaphors that merited an audible reaction.

It’s hard to imagine where Carey could go with this world after The Boy On The Bridge, but if he does, I’ll be very intrigued to see what comes next. And if this is the last we’ll see of this world, then these two books will stand as some of the best zombie-media you could ever hope to experience.


Currently Reading:

It by Stephen King


I’m continuing my journey through King’ bibliography. I’d love to finish reading this before the film comes out in a month, but with 1,000 plus pages, I’m tempering my expectations.


Currently Watching:

Breaking Bad Season 1

Better late than never, right?


Currently Playing:

Uh, nothing really. I haven’t really playing much in the past month. We’ll see if I get back into it.

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