Brad Pitt Is A Basterd

The new film from director Quentin Tarantino might not be his very best movie, but it’s certainly his most ridiculous. A stylized World War II propaganda film, the plot mostly revolves around the senseless slaughter of hundreds of Nazi scumbags at the hands of Brad Pitt (Aldo Raine) and his band of Inglourious [sic] Basterds [sic]. In Tarantino’s usual style, the film is packed with as many cinematic references as it is immoderate violence. The title comes from a 1978 film of the same name by Italian director Enzo Castellari (the films otherwise have little in common), while the movie itself is a quixotic genre-bender, blurring the lines between Spaghetti Western and French New Wave, turning the war film genre upside-down. Wildly entertaining and hilariously improbable, Inglourious Basterds is no Saving Private Ryan. In the tradition of the best World War II novels (Catch-22, The Naked and the Dead), there are no impossible heroics or heroes here, just a bunch of ridiculous, idiotic nonsense that reminds us there is nothing glourious [sic] about our wars. Aldo Raine says at the end, “This might just be my masterpiece.” For now that remains to be seen, but Inglourious Basterds is certainly Tarantino’s best since Pulp Fiction, and one of the very best films of 2009.
--Matt Miner

http://www.inglouriousbasterds-movie.com/

Dinosaur Jr. - Farm review

Long-time fans were elated when Dinosaur Jr. announced former bassist Lou Barlow was returning to the band in 2007, having unceremoniously departed the group after 1988’s Bug. The resulting album, Beyond, met or exceeded most expectations for the reunited trio (Barlow, J. Mascis and Murph) and Farm became one of the most eagerly anticipated albums of 2009. The record delivers, equaling or bettering its predecessor. The sound is vintage Dinosaur Jr., from the heavy opener “Pieces” to the more slow-rolling “Ocean in the Way.” Barlow’s two tracks, “Your Weather” and “Imagination Blind” mesh well with the mostly Mascis-written material. “Over It” has an unshakable hook that doesn't let up. “Plans” and “I Don’t Wanna Go There” are the two standouts, each blending rich melody with heavily-distorted guitar in signature Dinosaur style, showcasing Mascis’ epic guitar work at its very finest. Farm proves without a doubt that Beyond was no fluke. Dinosaur Jr. is making its best music since the You’re Living All Over Me and Bug glory days 20 years ago.
--Matt Miner

http://www.dinosaurjr.com/

Sonic Youth - The Eternal review

The Eternal is Sonic Youth’s first effort for legendary indie imprint Matador Records and the result is the band’s hardest-rocking album since Sister. The first Youth record featuring ex-Pavement bassist (and Matador alum) Mark Ibold, The Eternal kick-starts with Kim Gordon’s characteristic shrieking on the opening track, “Sacred Trickster.” Thurston Moore is in typical solid form on “Thunderclap for Bobby Pyn” and gives us his very best Lou Reed on “Poison Arrow,” but it’s Lee Ranaldo who delivers the album’s standout cut, “What We Know” (“Heaven’s not about your reputation/yeah, that I know/forever means the night turns gold”). Other solid songs include the hard-edged “Anti-Orgasm” and “Calming the Snake,” as well as the more melodic “Malibu Gas Station.” John Agnello’s production is top quality, showcasing the band’s unorthodox arrangements and structures, and capturing both the loudest and most quiet moments in their fullest. With The Eternal, Sonic Youth confirm yet again (as they did with Rather Ripped, Sonic Nurse, and Murray Street) that they’re still very much on top of their game 25 years after they first started out, even if they’re no longer making music quite as mind-blowing as Daydream Nation.
--Matt Miner

http://www.sonicyouth.com/