The Walking Dead - Pretty Much Dead Already

Out of fatigue, I'm only finally getting around to the first-half finale of AMC's The Walking Dead. There have been a lot of disappointments this half of the season, but luckily, and well, frankly surprisingly, "Pretty Much Dead Already" pulls out everything it needs to make the show compelling for its extended holiday break. Parts of the episode speak to a sort of utopia, not entirely unlike Plato's Republic, wherein the living, breathing, thinking humans, now the best of their species by proxy, could attempt to at least respectfully store and protect their zombie counterparts, their walkers, their former friends now turned to fools with blood-rage by whatever mystery caused all of this in the first place. But the climax, another twist, but this time a good one, comes in the form of a boiling-over of negative energy, a great outpouring of fear, that means those with the minds to think and choose take out those who have long since lost their true humanity. While it provides a titillating bit of zombie gun-violence, it also feels strangely evil; an act of execution undertaken by those who fear what they still don't really understand.

There are threads that continue, Dale confronts Shane, even needling him about killing Otis. Lori is still pregnant. Rick tries to convince Hershel to let them stay, both to have normal lives, but also to preserve his unborn child's chance at survival. And while Rick and Hershel go off to round up some of the walkers who were trapped in bog mud, Shane falls entirely off his proverbial rocker. And sadly, Carol and Daryl go off to search for Sophia (who has long been a bit of a joke, but whose story takes a tragic and incredibly effective turn here).

But the big storm comes right at the end. Shane, freshly angry at Dale for even considering ditching their weapons to preserve some kind of truce with Hershel and his family, catches a glimpse of Rick and Hershel bringing in two walkers humanely. They intend, of course, to put them in the barn. But Shane can't take that. The world is dangerous. He is out of patience and out of belief. He is all fear. And he charges, shooting one of the walkers and then cracking open the barn. I have to commend the writers and the director for making the final battle, a sort of no-holds-barred gun-violence-orgy, so emotionally effective and poignant. As the walkers leave the barn one-by-one. Shane shoots one. Then Andrea jumps in and shoots. Then Daryl. Then T-Dog, and finally, reluctantly, Glenn. Rick does not shoot. And Hershel falls to his knees, heartbroken that the people he believed he could save were now destroyed. It's only once they've taken down 15 - 20 adult walkers that we get the slow reveal.

SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS SPOILERS!!!!

Sophia, the long lost somewhat joke of a side-story little girl emerges. She's a walker. She's gone. And she still looks mostly like herself. It's a horribly emotional reveal. And possibly the greatest thing The Walking Dead has done since its premiere. She walks out slowly. Crossing the pile of corpses, heading for the group. And as Carl hides. And no one else can move, everyone so fucking shocked. Rick steps up, set to do the truly noble thing. If the walkers are beyond cure, then he is one who is willing to euthanize. It's almost a perfect mirror of the scene in Season One when he shoots a little girl near the gas station. Or when he shoots the half-a-body-walker from the premiere. He takes no pleasure in it. That's Shane's thing. He kills for the sport, out of fear, to feel alive. Rick, though, shoots Sophia with a careful aim. She falls. The End.

For a show that has been such a mixed bag, "Pretty Much Dead Already" gave us some good pay-offs. Sophia's becoming a zombie felt reasonable, if only because Hershel wanted to save her too and couldn't bear to break what had happened to her. He almost certainly would have when he and Rick brought in the zombies they "caught." But this episode calls into question the nature of humanity more than most of these episodes have. Despite appearing only briefly, and to be shot down, the walkers seem to represent a lesser class, or at least, simply the result of our grasp on order suddenly removed. Are we that far away from them, really? Is Shane? Those are the questions that I hope the series will answer after the hiatus. And I hope to feel like reviewing the show then too. As long as it doesn't drag like it can.

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Star Anna and the Laughing Dogs - Alone In This Together

With beautifully heartfelt, sometimes growling vocal intonation and brisk, guitar and piano work, Star Anna and the Laughing Dogs, with their newest release Alone In This Together, provide a collection of songs that speak to every person's failed relationships, every person's unfulfilled dreams and every person's fears of the future. Their folk, alt-country, rock mix that features splashing percussion and pristine melodious harmonies, has a very radio friendly quality without sacrificing the purity of emotion attached to each individual line of lyrical poetry. While they do have a somewhat late-'90s/early-'00s Lilith Fair quality at times, Star Anna and the Laughing Dogs also infuses a strong and evident love of the blues. It's a sturdy album about situations we all know well, and one that never drifts too far into the sad-sack or pathetic. Star Anna, lead singer, rhythm guitarist and leader of the group, a vocalist from Ellensburg, WA., has such a powerful, enjoyable voice that she carries (and could carry) just about any song, even if it were trite. Luckily, the growls and lush arrangements around her on Alone In This Together never require such carrying. Instead, they simply benefit. And that, ultimately, benefits the listener.

The title track "Alone In This Together" is a powerful, sad, and wistful track that gives an exemplary taste of the rest of the album. Check out the video below for the FULL EFFECT. But even beyond that song, which will sure see some radio time over the next months, the album has some great highlights. "Time" and "Wolves In Disguise" serve as testaments to different sides of the romantic/life coin, touching both on sadness and on a sort of strong, vengeful desire to battle back deceptions. "Just Leave Me There" has all the sad-mixed-with-a-middle-finger anyone could ask for. Despite a slower pace, it's decisive and aggressive lyrically. And some of the best tracks finish the album, so as you wander the wilds of the internet to sample before you buy, make sure to check out "Don't Go Yet." You'll be pleased when you do, especially as Star Anna's voice and style reveal themselves more and more to have hints of Fiona Apple and Cat Power. Check out a few of the tracks below the video, and then hit up the band's website to pick up a copy. It's talented artists like these, who fly somehow under the radar, who deserve our love the most.




Star Anna And The Laughing Dogs 05 Time by Local 638 Records
 
Star Anna And The Laughing Dogs 07 Wolves In Disguise by Local 638 Records

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She & Him - A Very She & Him Christmas

You already know all the songs. You already have positive, negative, or otherwise associations with the songs. The real wildcard when it comes to She & Him's A Very She & Him Christmas is weather or not you like Zooey Deschanel. And not just Zooey Deschanel as an actress or person, but her voice, the syrupy dulcet tones that are both precious and breathy, and if you like the "idea" of Zooey Deschanel making a Christmas album. I don't bring M. Ward into this because he's just not divisive. Also, he brings another round of strong, but subtle guitar garnishment and occasional backing vocals to this newest She & Him entry. It's not that he's a non-factor, but he's the unsung hero of the band. He keeps them moving and he provides the sonic decoration in the form of their pseudo-'50s echo-y guitar, but he's just not the face. But, anti-Zooey-ites, assuming you exist, there is nothing here to complain about. Her vocals are calm, and perfectly suited to these standard classics. And if anything, she avoids any vocal histrionics of any kind. This may be an indie-rock album, but it's charmingly traditional (excepting some echo, and vocal overlay effects) to the extent that you could sit by the fire, burn a Yule log, drink some Wassail, and hope that the Chim-in-ney Sweep isn't in Santa's way. In short, it's beautiful.

Deschanel excels particularly on "Christmas Wish" where her occasional, charming, geographically-confusing drawl is perfect. But songs like "Have Yourself A Merry Little Christmas" is another treat too. M. Ward does some interesting stuff on "Sleigh Ride," frolicking up and the neck of the guitar and providing additional vocals. And then "Rocking Around the Christmas Tree" has some style too, but She & Him don't do anything crazy with it, save for some more solid guitar riffs from M. Ward. "Blue Christmas" is one they knock out of the park, but that's just as easily because of the quality of the song too. And their rendition of "Little Saint Nick" by the Beach Boys is wonderful, though not too far from the original. The bottom line when it comes to A Very She & Him Christmas is whether you like She & Him AND you like Christmas songs. Those are the components in question. If you like both, then you will be pleased by this heartwarming, not-too-challenging set of songs. If not, then you're just well off with classical versions of the songs. For me, it's a great, peaceful, sometimes semi-jaunty mix of great holiday tunes. "The Christmas Song" as the album's closer, nearly got me choked up, but it's a beautiful song that cannot be denied.

Give the album a listen below. Let it soundtrack a snowy night (like this one, here in Denver) and then decide whether you need it or not. It could be an integral part of your holiday collection. If you have a holiday collection. No matter what, if it doesn't warm your heart, well, go get your Grinch card now, because it's probably two sizes too small.

And on an unrelated note: R.I.P. Napster. You were a cute way to get viruses and lawsuits filed against you in college, but you did open up the internet, and potentially strike the knock-out blow that started the death of the Old Music Industry.

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Amerigo Gazaway - "Who We Are"

Gummy Soul artist and the great creator of the mash-up masterpiece Fela Soul, Amerigo Gazaway, recently released a politically charged Occupy: Wall Street-themed song called "Who We Are." Brilliantly, the song is a strong, poignant rallying cry. It also functions as a note of negativity that, while hopeful for the future, acknowledges that it's already too late. This type of sincerity and depth sets Gazaway instantly apart from the crowds. His anger in "Who We Are" isn't merely directionless, it is a frustration that solutions could be found, but we are so constantly bogged down that they remain elusive. It's also one of the most educated, well-formed pleas I have heard in recent history. This isn't just a "ra ra" piece about how everything is broken, it's a philosophical thesis about ending the corporate greed in this country and around the world. And keeping the one planet we have clean and alive. It's truly moving stuff. Download the single here.

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Tom Waits - Bad As Me

It's not often that you can say an artist, especially one fondly remembered for past epic successes, actually gets better with age and time. The surviving Beatles tend to disappoint compared to their past works. The Rolling Stones just don't write good music anymore. And well, poor Lou Reed lost some poker game and ended up working with Metallica on the most tragically masturbatory event since Dr. Cecil Jacobson. So, it's a fucking treat, goddammit, when Tom Waits keeps making quality music 38 years after Closing Time set the stage for his greatness. Bad As Me is actually, surprisingly, better than 1999's Grammy-winning Mule Variations. That's saying something, for me at least, because it was Mule Variations that really turned me on to Tom Waits in the first place. It's probably sacrilege to say so, but I didn't hear much of him until then. And once I did, I realized the error of that choice of ways. So, with Bad As Me, Waits creates 14 tracks that are excellent. And the fusion of jazz, funk, rock, and folk that happens here is one that makes a perfect potion. Even the tracks on which Waits sings "falsetto" are incredible.

Waits makes a strong, playful callback on "Satisfied" where he invokes Jagger and Richards. And shows exceptional tenderness on "Kiss Me," a slow-burning, retro, jazz club track. Those are not necessarily the best songs on the album, but they are fine representations of the color and flavor and the undyingly powerful songwriting that this man is capable of. Bad As Me is an album that sets its own tone. It creates its own atmosphere. And it defies distractions. In fact, while writing this review, my friend Jared, of It's A Thing! fame, has called me multiple time for consultations on a plant purchase, as well as to inform me of, first, the existence of a band called Chokebore, and then that they are similar to Weezer. The moral here... Tom Waits will not be denied. If you don't care for Waits, generally, I really recommend giving this album a shot. It has a timeless mix of genres, each of which is executed perfectly when separate and innovatively when blended. Bad As Me is a likely candidate for more awards. But more than anything it is a thank you note, intentional or not, to fans that says "I've not even begun to write my best music." Listen to it below via Grooveshark, and then go get it or download it or something. And listen to his interview with Terry Gross from NPR's Fresh Air in which he discusses his process.

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The Walking Dead - Secrets

That whole Thanksgiving thing, and the days leading up to it delayed this post. The good news is that "Secrets" isn't a new low-point for The Walking Dead this year. And the bad news is just more of the same stuff that is the bad news each week. "Secrets" plays up Shane's character-dichotomy, gives Glenn a chance to look like less of goon after last week, forces us to tolerate more Lori-centric melodrama, and offers heaping spoonfuls of Dale. It's big failing comes from Daryl's near-complete absence, he is healing, but no one checks back with him after the initial 5 minutes. Oh and the opener, before the titles, was great, as one of the farmhouse survivors breaks chicken's legs by hand, stuffs those little squawkers in a sack, and then dumps that sack into the zombie barn. It's a pity that nothing cool came of the barn... Of course, it will, I'm sure... due to some disastrous asshole move perpetrated by an uneven Shane, but for now we just have to be content knowing that the barn is holding the "sick" in Hershel's opinion. He and Maggie don't consider them monsters, they call them "wife" and "mom" and "brother." Still, the opener was shot so well, with such a focus on the horror elements of film and great pacing, and NOT TALKING ALL THE TIME, that it was too bad we didn't get to explore that line further... or, hell, that show. Now to the characters:

Shane: First, he's helping everyone learn to shoot, looking like a bit of a leader and getting the gratitude he'll need to hang around despite all of the moral compromises he's made. He and Andrea even go out to look for "Sophia" (I'm putting quotes around her name because at this point she's more like a myth.) and after Shane uses a bit of the tough-guy tough-love to get her shooting zombies with accuracy, and they don't, of course, find "Sophia," Andrea cups Shane's manhood in the car... and they presumably have frustrated, slightly amoral, pseudo-adolescent, post-gun-firing, action movie romance sex. But, earlier, Shane shows an interest in Carl again, and he seems to be back on the reservation... until Dale confronts him and things get very threaten-y. Shane is still the wild card. And since his pride leads him to snap quickly to anger at Dale, it seems entirely possible that he'll start killing barn zombies or let them out just to be a dick. As long as he can take Andrea with him.

Glenn: He finally knows that Maggie actually digs him. He gets the most brutal zombie kill of the episode. And he also tells Dale about both the barn (which Maggie is angry about for about 10 minutes) and Lori's pregnancy. Glenn turns out to be someone we used to call "Switzerland" back in high school. "Switzerland" is the person who listens to a lot of people, offers non-biased advice, and stays out of the situations for the most part. This is Glenn now. He doesn't want no trouble. So, after Glenn gets Lori's abortion pills, he also grabs some prenatal vitamins to give her a VERY CLEAR to the audience CHOICE. Not bad for Glenn though, he's kinda dumb, but more considerate and more like the glue for the group that he was in Season One.

Lori: She's still pregnant. And how can someone raise a baby in this here world of undead creatures? So she decides to abort the child with a handful of morning after pills. Then she immediately vomits up the pills. And since her decision takes up about 7 minutes of the show, she and Rick talk it out. And she's upset. And he's upset she lied. And then they seem to decide to keep the baby. And Rick seems, almost too well, to understand that she was with Shane. But there's a lot of crying. And a lot of brooding. And well, it's Lori. She's over the top. And this is the tip-top for over the top.

Dale: Is the catalyst. He talks to Hershel and gets us an unfulfilling narrative scoop. He gets Lori to admit she's pregnant, after already knowing via Glenn, by telling a story about his wife's meat aversion following her pregnancy. And he confronts Shane for being a complex, likely dangerous dickhead. He even brings Otis back up. Dale has guts, that's for sure. It's an exciting thing. Because without Daryl, this episode was almost without a leading man.

Other people do stuff too, but who cares... "Secrets" was just what it says it was, an episode with lots of secrets. New ones and old ones. Reveals and new burials. But, at least it didn't have a twist ending this time.

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Feist - "How Come You Never Go There"

An austere, quirky, and Feistive track from this year's excellent Metals, "How Come You Never Go There" is imagery rich, and ties itself back to Feist's previous video work (for "1234" and "My Moon, My Man") with more of her trademark bob-and-pop dancing. Check out the video because you like Feist, or you don't. But also because this is one of the poppier tracks on the album and joy just shoots out of it like a Slip-N-Slide hose in summertime.

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