OPINION

Arrested Development Is Back And As Good As Ever

Arrested Development: Now on Netflix

It’s back. Arrested Development received its’ full-blown Netflix release Sunday morning. Being the first Netflix style whole-season dump release I’ve had to review I took the moment to ask myself: How am I going to handle this? Ultimately I decided that rather than use an excessively narrow reference frame of one episode, or binge watching the full season, I’d watch three or four episodes and take it from there. Additionally, because it isn’t a new series, I’d hone my opinions onto mostly what’s new and different. If you need some background before watching the series, I’d recommend checking out my Many Happy Returns column on the show before reading this review.

So….in a broad context, where are we? Seven years after the arrest of Lucille Bluth, we find out that she somehow gets off of the SEC charges but is instead being charged under maritime law. Michael is in dire straits after Sudden Valley turns into a huge disaster when there are no roads placed in relation to the house. Lindsay and Tobias are well…Lindsay and Tobias, and George Michael is away at college.

Otherwise? You know…it’s the story about the family who lost it all and the son who has to keep them all together.

That being said, the fourth season has a lot of key differences from the series that ran on FOX:

First and foremost, the show moves at a much slower pace. Whereas the original series often juggled three story lines in a given show, season four follows one character arc from beginning to completion. This isn’t a bad thing, as jokes that would normally get a split second have a little bit of time to develop. Additionally, whereas the older show would often have the three story lines come together at the end, the plots in this season, while considerably simpler often tend to snowball.

Alongside that slower pace is a renewed interest in character development, even if it eventually leads to some characters being off model. Michael, for example, has his negative traits more embellished, particularly his clinginess to George Michael (what seems like a father not wanting to lose a teenage son turns into something completely different when he’s hanging around a college). Similarly, we see more of the domineering George Sr. that was alluded to during the series (as opposed to the constantly groveling George Sr. we actually see during the series).

Additionally, there is a never ending door of celebrity cameos in the new season, including recurring spots for Seth Rogen and Kristen Wiig (playing the 80’s version of George and Lucille), as well as one off spots for Adam Devine (and half of the cast of Workaholics), Ed Helms, John Slattery, Maria Bamford, and John Krasinski. A lot of these cameos are half disguised making spot the celebrity even funnier.

Unfortunately the one flaw of the single character focus and stuffed to the gills nature of the universe (the new season really uses its’ supporting cast in a number of interesting ways) is that you don’t hear from a large number of characters for long stretches of time. In the five episodes that I saw going into writing this review, neither Gob nor Buster have much in the way of screen time.

The show also has a longer run time. 22 minute broadcast requirements have turned into 30 minute episodes that generally follow the formats used in the original series’ pilot and finale of Freeze in a moment of time, cut to open, fill in the back story, then follow through the original frozen moment. This format works great for playing catchup as the show fills in the 7 missing years of the characters’ lives. Additionally, it allows for viewers who are new to the show to catch up, as the series uses footage from the original series wherever it refers to something outside of immediate continuity.

One thing that is not different, however, is that the show still remains incredibly sharp and funny. New pacing aside, Hurwitz and company managed to still pack the show with as many visual gags as humanly possible. Additionally, with everything snowballing and cascading in slow motion it should be interesting to see how it all meshes together.

The Final Verdict: This new season is well worth the wait. Additionally, due to the slower pace and the direct referencing of prior seasons, newer fans should actually anticipate a low learning curve since much of the exposition is laid out there for all to see. I recommend processing the series slowly, as each episode has an extra eight minutes of material (or approx 1/3 of a show), so this 15 episode season will actually be longer in run-time than any other season except one. The choose your own adventure aspect, while downplayed will also make repeat viewing interesting, giving the new episodes some lasting power. Highest recommendation on this season and likely the most addicting thing you’ll encounter this summer.

Racism in the Bear Community- More Prevalent than Ever

by Ryan Shea

Off the bat, there is going to be a variety of opinions regarding this matter yet I feel like this is a very taboo subject to talk about. It is an issue that just like some of the more mainstream issues that we face in America will never really have one agreement on it. The fact of the matter is for many people that I know of and a general consensus that I have seen, racism is a huge part of the bear community. For me, this racism comes in many different forms, some of which I have experienced and some others have as well. This can be broken down into several different ways people can view racism in this community, so feel free to share your opinion on what you think. [Read more…] about Racism in the Bear Community- More Prevalent than Ever

Many Happy Returns: Arrested Development

by Michael Tyminski

Arrested Development Season 4: On Netflix starting Sunday, May 26 @ 12:01am Pacific Time

When we last left off: It was seven long years ago when Arrested Development was canceled by Fox and burned off as counter-programming to the opening of the 2006 Winter Olympics. In that time, the show picked up a rabid following on DVD (Arrested Development is probably the first show that truly benefited from the binge-watching model, as it allowed for call backs to be salient in the viewers mind instead of going dormant each week). Additionally, rumors for a potential movie ran rampant for a number of years, while many of the cast members moved on to pursue greater fame and a large number of projects, the most notable being Jason Bateman and Michael Cera’s ascensions to movie star leading man status. Finally, a little company called Netflix went from being a DVD by-mail company and grew into a streaming Goliath that decided to get into the process of making its’ own TV (such as the earlier Kevin Spacey vehicle House of Cards).

In terms of the show’s internal storyline, the third season finale “Development Arrested” closed off many of the show’s major plot arcs. All of the charges against George Sr. were ultimately dropped when it was discovered that the U.S. Government’s two CIA branches didn’t know what the other was doing. Michael once again got passed over for the CEO position, leading him to leave for Mexico with George Michael. Meanwhile, Maeby was busy trying to get the family to sign away their likenesses for the rights to her story while Lucille was trying to ensure that no one sold their company stocks.

The show however, left one new avenue open: While the charges were dropped against George, our finale had the SEC coming after Lucille, whom we had discovered had masterminded much of George’s fraud and embezzlement schemes in the first place. A second, and potentially interesting angle arose from the reveal of Lindsay being an adopted daughter, adopted by George and Lucille with the sole purpose of spiting Stan Sitwell.

What I’m looking forward to this season: First and foremost, it’s new Arrested Development! While I occasionally watched the show when it was on FOX, I became hooked when a friend lent me the full series on DVD when I was living at school. Since that time I usually binge watch the series about once a year, so the idea of new episodes excites me!

To me, the most interesting part about this season is that whereas the original series was very strongly serialized and in chronological order, the events of this season will occur simultaneously, almost making the season feel like one jumbo sized episode when viewed holistically. While creator Mitchell Hurwitz feels the first run-through of the new season should be in run order, he envisions later viewings being akin to a choose-your-own-adventure style TV series, where people jump from one episode to another in order to see all the intersecting lines.

What I’m concerned about: One word: expectations. The expectations for this show’s return are at a fever pitch considering the fan outcry for new material for a number of years, and I wonder if expectations are going to be so high that no matter how amazing season 4 ends up (and trailers are indicating I won’t be moving from my couch this weekend) that it won’t stack up to all of the expectations.

I should be back with a review of the first two or three episodes of the new season either Monday or Tuesday. Enjoy your Memorial Day Weekend everyone!

Save Me is Stuffed Past Its’ Metaphysical Limit

by Michael Tyminski

Save Me: Thursdays at 8pm Eastern on NBC

It’s been a rough 2013 for NBC. After a fall where things were finally turning around courtesy of The Voice, NBC plummeted hard in the ratings, ultimately falling behind even spanish-language Univision in terms of ratings share. Additionally, many of it’s mid-season offerings (Do Not Harm, Deception, 1600 Penn, Next Caller, and Ready For Love) were somewhere between bland, mediocre, and in the case of Do Not Harm, Next Caller (which didn’t even make it to air) and Ready For Love, unmitigated disaster. Now it’s May, and NBC finally gets to the end of its’ bench, with the executives at 30 Rock praying for some divine intervention in their newest Anne Heche vehicle Save Me.

Save Me is about housewife Beth Harper (Anne Heche), whom receives a direct line to God after nearly choking to death on a hero sandwich. Taking advantage of that second chance in life, Harper looks to do right by her friends and neighbors with some divine help.

The show opens with Beth having said near-death experience before waking up the next morning and immediately starts making all of the healthy changes one usually makes mid-life: she gives up drinking, starts running, and reveals her talking from God in the form of being able to know all of our daughter’s happenings. Her husband Tom (Michael Landis) then enters the room and asks for a divorce so he would be freed up to marry his mistress, Carly McKenna (Alexis Breckinridge). Tom pushes for Beth to get a CAT scan, as he’s skeptical of her now prophetic state.

We return to the Doctor’s Office, where a CAT scan reveals that the near-death experience activated a part of her brain “only used by Tibetan monks”. Carly then tries to push Tom further down the divorce road before being concerned that Beth has the potential to profit off of her new life. Beth then tries to make nice with her friends before inadvertently stumbling upon the core of her friends’ problems. Beth’s new attitude and divine intervention fixes almost everyone’s problems in a clean fashion. This leads to Carly throwing a drink in Tom’s face after finding out he rekindled things with Beth. Carly then leaves for Beth’s house only to find her driving into a pole and getting struck by lightning.

So…What to make of this show? Well, like many domestic comedies, it doesn’t seem to rock the comedic boat, often settling for the safe harbor of jokes coming from familial relations and Anne Heche’s trademark spaciness. While Heche does a great job playing the crazy person who believes God is talking to her (and the crazy drunk she was before that), she struggles when the show has to hit a real emotional moment, particularly when playing the mother figure to her daughter.

There also seems to be a tendency for all actions to have the absolute minimum of consequences, no matter how insane or potentially serious. This is particularly notable in the cornball ending of our pilot where Carly is struck by lightning, which is shrugged off pretty easily by Beth (outside of a small mention of it in a prayer– and even then she’s back to invoking the God floor show by the end of the episode).

Save Me also seems to move a little too fast, often being forced to juggle four story lines with three of them revolving around Beth (often with her husband, then her daughter, and her friends), with the fourth often dealing with Tom’s affair. While shows like 30 Rock and Arrested Development can often bring the chaos into one happy and wild ending, Save Me often ties these story lines together with a whimper and not a bang (considering the show’s heavy use of pyrotechnics and special effects, that’s saying a lot.)

The Final Verdict: Save Me is emblematic of the Greenblatt-ian approach to saving the Peacock: It’s safe, a little goofy, and it involves divine intervention. It’s pretty middle of the road, however on a network that whiffed on every last risk it took this year, it’s nice to see something that isn’t a flaming disaster on NBC (even if a flaming disaster would have made writing a punny headline easier). That being said, even in context, it’s hard for me to really endorse mediocrity. Check it out if you’re looking for a light, goofy, and bubbly dom-com, but if you’re expecting some appointment viewing, you’re better off looking elsewhere.

Looking for something to check out this Summer? Try Goodwin Games

by Michael Tyminski

JT Miller, Becky Nelson, and Scott Foley (Source: Wikipedia) — JT Miller, Becky Newton, and Scott Foley (Source: FOX)

The Goodwin Games: Mondays at 8:30 Eastern on FOX

With this week’s final string of season finales on ABC (notably Dancing with the Stars and Modern Family), it is safe to say that we are headed into that vast television wasteland known as the summer season. Acting under the assumption that people are less likely to stay home and watch TV when it’s nice out (and can you blame them?) our benevolent overlords at the big four use this time to bury their cheapest shows and test out what they feel are unproven entities (though admittedly two little comedies you may not have heard of called The Office and Parks and Recreation both had short late spring-early summer seasons). FOX in particular seems to be fond of stretching the TV year (it doesn’t hurt that it has fewer prime-time slots than its’ major network competition) and continues that experiment tonight with it’s newest show, The Goodwin Games.

The Goodwin Games is built around the story of three siblings whom reconvene after the death of their father, only to discover that he had a secret $20 million dollar fortune in his estate. However, their father (played in the pilot by Beau Bridges) has a twist: feeling like he’s made some errors in parenting over the span of his kids’ lives, he has created a number of hoops for his three children to jump through in order to get a piece of the estate.

We open with the passing of Ben (played by Beau Bridges) who died literally moments after finishing his elaborate video will and the reactions of his three children: Smug surgeon Henry (Scott Foley), vain actress Chloe (Becky Newton), and kleptomaniac Jimmy (J.T. Miller). They reunite at the funeral where they run into Henry’s-ex Lucinda. They then are summoned to April (Gabriella Tsang), his executor’s office, where they are introduced to “the game”.

Each key character then splits off, dealing with unsavory remnants of their past, including April and Chloe’s falling out, Henry and Lucinda running into each other at the bar, and Jimmy’s daughter, whom knows everything about Jimmy’s troubles. The next morning they return to the office, only to find out that they are forced to play a game of Trivial Pursuit, where the topics all revolve around their lives, and are introduced to a wild-card named Elijah. After the game ends in an argument, they return to April to find out that Elijah gets a cool million, the kids get 50 bucks, and the rest was being given somewhere else. The kids ultimately go their separate ways, until Chloe makes them play a game of Trivial Pursuit in the bar, only to find that the next step of the game requires them all to move home.

As with most sitcoms, you often have to view shows not only through the lens of a pilot, but what the show could be. Sitcom pilots are often faced to bear the burden of establishing most of the conceit, and the game concept is clearly a very heavy one (the pilots leans very hard on this). However, I could see it’s later episodes not leaning on the game conceit nearly as hard, especially now that the heavy lifting of bringing the three disparate characters together has been done.

When you get to those moments in between the conceit, you get a pretty solid mixture of funny (especially in the flashback cutaways that were commonplace through the pilot) and heartwarming (Jimmy’s relationship with his daughter). Miller in particular steals his scenes as Jimmy, whether through his lack of understanding of subtext and sarcasm, or his apparently chronic kleptomania (he steals April’s pen twice but only gets caught once). Unfortunately, those moments seem cramped tonight (I wonder if they had to shave minutes from the original pilot to get it to fit into 22 minutes for tonight’s premiere), but could increase over time, since most sitcoms tend to lean less on their conceptual structure as time wears on.

Visually and tonally, the show is very much how one would envision a single-camera How I Met Your Mother, which makes complete sense given both shows being created by Carter Bays and Craig Thomas.

The Final Verdict: The Goodwin Games is a fairly refreshing new show to have during a time of the year where television offerings tend to be lacking. While it tends to lean very heavily on its’ conceit in the pilot (as many pilots do), you can see the potential of the show in the very human moments where its’ characters interact. My one fear is that with the very short season order (six episodes) on a network that traditionally has been very quick pulling the plug on struggling shows (FOX) that it may be doomed before it ever gets off the ground (especially since it takes about a half a season before many sitcoms hit their groove. I do recommend checking this one out though if you like How I Met Your Mother as they share the same broad and occasionally bawdy humor.

Album Review: Vampire Weekend – Modern Vampires Of The City

by Rio Toro

Vampire Weekend: Modern Vampires of the City

Genre: Indie

Similar Artists: Paul Simon, Dirty Projectors

Label: XL

We don’t have much control in guiding these ephemeral lives that we hold. While it may seem that we are moving about with free limbs and actively making decisions in real time, in reality we are merely watching through a lens as our bodies rely on previously learned antecedents and consequences. The only choice we do have is whether we want to continue the ride or cut it short. Everything else can be lumped into pre-existing factors of genetics and environment. Although not stated quite so matter of factly, these are themes that revolve around Vampire Weekend’s 3rd and finest LP to date, Modern Vampires Of The City. The subject matter sounds a bit oblique for what is essentially a pop record, but when paired with the minimal arrangements and unhurried song structure, the album comes off as mature rather than morose.

Vampire Weekend’s albums have all been released at such opportune times to where they come off as a breath of fresh air in the cluttered land of indie music – the previous three albums i have reviewed have been heavy on the noise, so needless to say, this album was a welcome gift. After all, there are few bands which combine such intellect with an innate ability to write catchy, immediately accessible songs. Although this album is representative of a more subtler Vampire Weekend than we have heard before, you won’t be mistaking this music for anyone other than the remarkable Columbia graduates.

While they haven’t gone through a total reinvention of sound, they have marked on an incredibly natural progression that feels more human and soulful than what came before it. At first, the only song here which sounds like a hit is “Diane Young” – which is a modern take on Buddy Holly blues rock that incorporates vocal manipulation and other stylized production tricks. The majority of the other songs forgo heavy guitars and percussion for spacey piano figures layered amidst Koenig’s most delicate vocals. Even the band’s trademark harpsichord and string arrangements are seldom heard. Still, even without the influence of afro-beat, it’s reminiscent of Paul Simon over anything else. It’s an enlightening experience for sure, but these are a far cry from what you’d be likely to hear at a Williamsburg dive bar.

It turns out that Modern Vampires does have hits – they are just better appreciated within the scope of the album than on their own. The album pacing is stupendous, and even after several listens in, the highlights are surprising. “Ya Hey” in particular is a song that always sneaks up on me and leaves me delirious. While that song’s lyrical slyness and catchy-as-hell chorus often leave me thinking it’s the best Vampire Weekend song yet, something tells me “Hanna Hunt” is even better. It’s clearly their most emotional, as you’d have to be heartless to not feel something when Koenig wails /If I can’t trust you then damn it Hanna, there’s no future, there’s no answer/ among the album’s most sprawling piano chords. However, the award for best lyric of the album might have to go to the line directly after that /though we live on the U.S. dollar, you and me we’ve got our own sense of time/ which has got to be the most brilliant way anyone could think of to say time = money.

It all comes out as an extremely well thought out and polished record that took a lot of dedication and heart. I said at the beginning of this review that the album was about a lack of free will, but it is really about much more than that. Depending on your perspective it can be read as a critique on the state of America, an analysis of the principles of Religion, or any number of personal things. What can be said is that it is far from traditional – or is at least explored in nontraditional ways. While Ezra Koenig has always been a sly lyricist, here he is working at a higher level. From the opening lyrics /spare yourself a razor, cause no one’s gonna spare the time for you/, to the final ones /Take your time, young lion/, everything reads like poetry, moving along to what is easily the most beautiful and haunting music of their career.

Track Listing:

1.) Obvious Bicycle*

2.) Unbelievers

3.) Step*

4.) Diane Young*

5.) Don’t Lie

6.) Hanna Hunt*

7.) Everlasting Arms*

8.) Finger Back

9.) Worship You

10.) Ya Hey*

11.) Hudson

12.) Young Lion

* – Album Highlight

Album Review: Savages – Silence Yourself

by Rio Toro

Savages: Silence Yourself

Similar Artists: Siouxsie Sioux, The Fall, Bauhaus

Genre: Post-Punk

Label: Matador

It seems like every year the term “fully-formed” is appropriated to a new band, and this year it seems the title is being given to London’s “Savages”. It’s a term that’s previously been applied to groups such as Brooklyn’s “Grizzly Bear” and co-Londoners “The xx”, but what exactly does this title mean? With “Grizzly Bear” it was a reference to how each member was an equal and essential component to the band’s overall sound, and with “The xx” the term was a relation to the band’s sleek distinctiveness and style. However, with Savages, the term is more representative of the band’s revolving ethos rather than the music itself. It’s the kind of warning that makes you wary that the hype is just hype…

The much talked about manifesto that accompanies Silence Yourself is the band’s way of advocating for a better, purer world – which calls to mind The Knife’s concept heavy “Shaking the Habitual”. This isn’t quite a concept album, but the Buddhist leaning principles of the band’s declaration pop up constantly throughout the album. Many of the lyrical themes are based around freeing yourself from distractions and deepening your focus on more personal matters. No better is this described than on “No Face”, where Jenny Beth condemns those who lack intrapersonal skills.

While Savages do have a face, it certainly isn’t one they could call their own. For a band that isn’t doing anything new in terms of music, they are making some incredibly bold statements – statements that could have easily backfired if they didn’t prove to have the proper credentials. When it comes down to it, Savages are mere Post-Punk revivalists, but what makes them thrive within the flooded genre is their unshakeable authenticity.

So yes, Savages are the people they say they are – this is not a hoax. While it is tempting to relate this female four piece to Riot Grrrl greats like “Sleater-Kinney”, or more recent female lead groups like “Screaming Females”, Savages have much more in common with “Siouxsie and the Banshees” or even “The Fall”. Lead vocalist Jenny Beth has a French tinged delivery that is commanding in its force; often building in intensity every few measures until the song cuts out with her screaming at the top of her lungs. Some of the best moments arise when she is singing/yelling the same words ad-infitum as the guitars pummel out fastidious riffs and splatter us with noisy violence.

The album as a whole is pretty full throttle in the energy department, but the sequencing is flat out excellent so as not to overwhelm. For instance, there are slower, more gothic songs such as “Waiting for a Sign” that show off the artists’ songwriting strengths, and there is even an ambient interlude to break up side A/B. Each song provides a slightly different angle than the last to create an experience that feels well rounded to the talents of the musicians. The reason the band released so little in the way of ep’s/singles is likely because of their dedication to the album format, and their ambition shows off in strides here.

Manifesto or none, this is a great rock record. It may not be revolutionary enough to cause us to change our lifestyles the way the band wants it to, but it’s an affecting experience nonetheless. At its best, such as the rollicking opener “Shut Up”, the guitar, bass, vocals, and drums mesh to create a sound that is at once enraged, distraught, and beautiful – quite a rare feat for a simple punk band.

Track Listing:

1.) Shut up*

2.) I Am Here

3.) City’s Full*

4.) Strife

5.) Waiting For A Sign*

6.) Dead Nature

7.) She Will

8.) No Face*

9.) Hit Me

10.) Husbands*

11.) Marshal Dear

* – Album Highlight

Glam on the Go NY; My Interview

by Ryan Shea

This week I had the pleasure of talking to an amazing business owner and glamour specialist, Miriam. Miriam is an owner of a beauty on the go service, Glam on the Go NY. Glam on the Go NY is a mobile beauty provider who will make a house call for your hair, make up, on even a little Botox. Miriam is a registered nurse and started the company a year ago. Over the past year the company has expanded and now provides almost any beauty service you can dream up. You can check the website out at http://www.glamonthegony.com/.

Glam on the Go provides services to men and women of all ages and backgrounds. This service is especially helpful for those single working moms who barely have a minute to get to a salon.

When did you start glam on the go?

Glam on the Go NY was started a year ago.

What services do you provide?

GOGNY provides any and all beauty services and treatments including, but not limited to: Botox and fillers, makeup application, hair extensions, eyelash extensions, permanent makeup, all facials, massage, velashape, personal training, spray tan, manicures, pedicures, fat burning aides, laser hair removal, beauty products, etc.

What is the best part of having a business like this, a mobile beauty company?

The best part of having this business is being able to bring these services at clients’ convenience and location. I love meeting new and interesting people and I love that any beauty service or treatment can be serviced by one company.

What is your background in this industry?

I am a registered nurse, certified in Botox and fillers. I have worked with several plastic surgeons in the NY area. I have a love and passion for helping women in particular improve their self esteem.

What kind of clients have you done work with?

I have worked with all kinds of clients, all ages, both men and women, all professions, from housewives to lawyers to car salesmen to Ford models.

What is your favorite service that the company provides?

My favorite service is the Botox and fillers.

What are your goals for Glam on the Go?

My goals for GOGNY is to franchise and have GOG in different states. I would also like to have a mobile bus to provide all services literally on the go.

What are some of the beauty trends for this Summer season?

Beauty trends for the summer season include rejuvenation, fresh glowing skin, sexy effortless chic!

Album Review: Colin Stetson – New History Warfare Volume III

by Rio Toro

Colin Stetson: New History Warfare Volume III – To See More Light

Genre: System Error

Similar Artists: Does Not Compute

Label: Constellation Records

If the goal of an artist is to be distinctive and inimitable, then few artists have succeeded to the degree that Colin Stetson has. Within the last decade, he has become renowned for taking the saxophone to previously unknown timbres – and with little use of effects at that! With his instrument, he has founded a style that draws equally from classical minimalism, black metal, noise and jazz; each style combining to make a mood that is completely of its own. Still, with all the squealing, moaning and clicking, he meets the music with a sense of adventurousness that makes for a much more accessible listening experience than it should be.

Before Colin’s 2011 breakthrough, his sax work had been featured on albums by high profile artists such as Tom Waits, Arcade Fire, and TV on the Radio – but his Constellation Records debut, Judges, turned out to be the best yet statement of his talents. All the music on the album was recorded live in one take sessions with no overdubs…which seems entirely impossible until you realize that everything from the inside of the sax to his throat are mic’d. The success of that record led him on a tour alongside post rock titans Godspeed You! Black Emperor where he was allowed to display his individual talents in tremendous live settings. These shows established Colin as a musical force to be reckoned with. Even if you weren’t a fan of avant-garde – this was a sound that could not be ignored.

Ever since 2011, Colin Stetson has been popping up everywhere in music. Most notably, he has been a touring member with Bon Iver, who in return is featured prominently on this release. Justin Vernon’s vocals take the place of Laurie Anderson’s so-so voice overs on Judges. This turns out to be the main difference on this third volume of the New History Warfare series. Overall, the decision turns out to be a great pairing, as Justin Vernon’s voice is an instrument as powerful and distinctive as Colin’s sax. While the two occasionally come off as disconnected, all doubts are cast aside on “Who the Waves Are Roaring For”, which sees both expressing their talents in unison without blocking each other out.

While the bulk of To See More Light stays true to Colin’s previous aesthetics, there are a handful of tracks that stand out as bold new directions. For instance, “Brute”, contains grunting male vocals alongside Colin’s most bursting at the seams sax. It should be seen as an ode to death metal bands such as Liturgy (a band which Colin has previously stated his admiration for). On the other hand, “Among the Sef” is one of the most ingeniously melodic pieces he has yet constructed, even bordering on techno with its inconspicuous backdrop 2/3rds in. While “In Mirrors” is a quick glimpse into a horror film he will likely be sound tracking in the near future, the final Bon Iver Track, “What Are You Doing In Heaven Today” is so soulful it could probably get away with being played in a church. Still, everything seems to pale in comparison to the stirring title track, “To See More Light”, which combines the artist’s definitive traits over its impressive 15 minute runtime. On an album with some not so representative material, this is the track you will want to play when showing this artist to an interested companion.

Honestly, if there’s one complaint, it’s that the rest of these songs should be a lot longer. Of course, seeing how this music is recorded, it would be impossible to have the lung capacity to carry these songs on for too much longer. However, The Those Who Didn’t Run EP contained two 10 minute long tracks that worked perfectly alongside each other, so I’m not sure why so many of these tracks had to be cut off at the 2-3 minute mark; especially when the thematic elements here are stronger than they ever have been. B+

Track Listing

1.) And in Truth

2.) Hunted

3.) High Above a Grey Green Sea

4.) In Mirrors

5.) Brute*

6.) Among the Sef (Righteous II)*

7.) Who the Waves are Roaring For (Hunted II)*

8.) To See More Light*

9.) What are they doing in Heaven Today?

10.) This Bed of Shattered Bone

11.) Part of me apart from You

* – Album Highlight

Family Tree is a Breath of Fresh Air on Sundays

by Michael Tyminski

Family Tree: Sundays at 10:30 Eastern on HBO

Anyone familiar with the mockumentary subgenre is likely familiar with the work of Christopher Guest, who wrote and directed such critically successful films as This is Spinal Tap, Waiting for Guffman, Best in Show, and A Mighty Wind. His latest project, Family Tree takes this style of wit and applies it to the small screen.

Family Tree follows 30 year old Tom Chadwick (Chris O’Dowd), whom after receiving an inheritance from his family, decides to look into his genealogical background. Ultimately this leads to Chadwick discovering a number of interesting stories from throughout his families past.

Our episode opens with Tom checking in at his father’s house (his father played by Christopher Guest regular Michael McKean) after losing his job and his girlfriend. He describes his job as an insurance adjuster (that he recently lost), before looking for a new position risk assessing bouncy houses. We also meet Tom’s sister Bea (Nina Conti), whom can only communicate her true thoughts through a puppet of a monkey. He then goes through the chest, only to find out about an ancestor whom held a military position and inquire about it with a local curiosities dealer.

We also meet his best friend Pete (Tom Bennett), whom befriended him at a young age. They are sent to a historian and antiques dealer by the name of Neville St. Aubrey, who is described completely nuts and focuses as much on a tangent about a turn of the 20th century photo studio as on Tom’s actual quest. Unfulfilled, Tom is sent home where he is set up on a date with one of Pete’s coworkers whom is obsessed with dinosaurs. Neville then calls him back later with the results of his study, only for Tom to find out that everything was not as it seemed in the photo.

Overall, the show paces itself at a nice relaxed clip and is incredibly light, while maintaining the esoteric nature that one would expect from most of Guest’s other work. The slow clip is a boon, as tonight’s episode “Boxes” needed to cram a large amount of exposition in 27 minutes, introducing us not only to our main characters, but also to our premise and the dubious historical authorities that Tom relies on to find his identity. Additionally, Family Tree benefits from its’ London setting, as the show is fearlessly dry and understated in its’ sense of humor.

In terms of acting, O’ Dowd thrives playing the perpetually mopey Tom, whom is not interested in a relationship because it would “get in the way of his wallowing”. Similarly, Bennett’s Pete has potential to be a scene-stealer, in his introduction he reminded me a lot of Ricky Gervais’ portrayal of David Brent: An awkward man with a heightened sense of self-importance whom can find humor in any situation.

That being said, this show definitively feels British (it is a co-production with BBC2 after all), so do expect a number of references to sail right over your head if you’re not very well versed in British television (I’m admittedly not). In this episode this was particularly apparent, as at least three times during the show we see snippets of fake BBC shows that rely on one knowing the source material to get the joke, and hopefully later episodes will translate better on this side of the pond.

The Final Verdict: Family Tree is absolutely delightful. While most Sunday cable offerings are often their most heavy dramatic offerings (see: Mad Men, Game of Thrones, Homeland etc.), it’s nice to have a show like Tree to unwind you as you prepare for the weak ahead. As a whole the show is superbly written, well acted, incredibly subtle, and most importantly: funny. If you liked any of Guest’s movie work it’s the highest of recommendations, and even for those unfamiliar with his prior work, I recommend checking it out.

OPINION

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