8
thursday, april 10,2008
Black Keys romp and roll
BY JAMIE WILLIAMS
ASSISTANT DIVERSIONS EDITOR
Like a walk through the
Louisiana backwoods on the most
stiflingly humid summer day imag
inable, Attack G? Releaxes's opener,
“All You Ever Wanted," starts slow
and heavy until perspiration drips
and the air gets so thick that breath
starts to come at a premium.
But when it breaks —and damn if
it doesn't break in a big way it sets
the stage for the blues romps that
make up the next few- tracks, before
the album's highlight, “Psychotic
Girl," takes it back to the swamp.
And that's the formula of the
record for even hyperkinetic
blues riff, there is a country -tinged
slow burner with reverb and ghost
ly backing vocals rising like steam
from an algae green swamp.
And it’s those elements, the dis
tinct work of production superstar
Danger Mouse, that give Attack 0!
Release its unique Southern-gothic
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11
MUSIC REVIEW
THE BLACK KEYS
ATTACKS, RELEASE
rou
qualities.
Sure, the duo of Dan Auerbach
and Patrick Carney hail from
Akron, Ohio, but they succeed in
taking listeners on a sonic journey
through the backwoods and dirt
Diversions
roads of the South.
The music, while expertly pro
duced, is dirtied up a bit, like rub
bing new white shoes in dusty red
clay to give them a broken-in look.
And that isn’t necessarily a criti
cism. The implication is not that the
sounds are forced; the implication
is that the sounds are real and the
images raw, but they are manipulat
ed in a way that makes the textures
more evident, the road just a little
bumpier and the air a bit thicker.
If Faulkner had put down the
pen and started a blues/rock duo
with Flannery O’Connor, this is
what it would have sounded like.
The Black Keys’ diversions from
the minimalist garage sound of their
previous output make for the most
interesting tracks on the record, but
if not for the almost equally glori
ous guitar and drums rockers, they
wouldn’t be nearly as effective.
Fast, then slow. Quiet, then loud.
Clean, then dirty. Kinetic, then
contemplative.
Attack and then Release.
Contact the Diversions Editor
at dive@uno.edu.
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‘Paranoid Park’ lacks real punch
BY RACHAEL OEHRING
STAff WRITER
“Paranoid Park," Gus Van Sant's
latest, details the consequences
a teenager must face after he is
accidentally involved in a tragic
accident.
Unfortunately, the movie is too
light on dialogue or narrative to
detail much of anything besides
lingering shots of skateboarders
and the apathetic faces of teen
agers.
Based on the novel of the same
name, the film exemplifies why the
book-to-movie transition hardly
works.
Thoughts, feelings and inner
monologues rarely are captured
well visually on film, especial
ly when being adapted from a
medium where it’s all tell and no
show.
Van Sant bypasses this little
hitch completely by not even try
ing to convey thoughts or emo
tions, instead using overly long
shots of kids skateboarding to
convey nothing but his stylistic
preferences.
Van Sant goes for a dreamy 10-fi
effect with the blurry slow motion
MOVIE REVIEW
PARANOID PARK
shots of teenagers skating over
lingering, fuzzy French music, but
when standing in for narrative, it
just becomes boring.
Van Sant seems to be throwing
every hackneyed film-school trick
at this movie, from the disjointed
jumps in timeline to the obnox
iously slow pace.
If that weren’t enough, the film
is annoyingly light on plot and
lacks a narrative thread, which
might be forgivable if Van Sant
were trying to convey something
through more than visuals, but he
doesn't.
Instead, you’re just left with a
quiet, boring study of why no one
really cares how 1 feel
in the first place.
Because apparently they don't
really have any thoughts or feel
ings.
Van Sant's insistence on using
non-actors to convey a sense
of reality might also be more
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understandable, had he actually
auditioned the teens first to make
sure they could finish a complete
sentence without tripping over
their lines or using “like" a mil
lion times.
Of course, that’s how teenag
ers really talk, and, of course, it’s
supposed to lend a sense that
this is really happening to these
kids, but let’s be real here: there’s
a reason why real, trained actors
arc used in most movies and not
just people off the street to lend
an added sense of reality to your
stupid movie.
If you want to lend a sense of
the raw realness of adolescence to
a film, don't pepper it with five
minute shots of someone getting
their hair wet in the shower while
birds are chirping in the back
ground.
“Paranoid Park" is a boring,
nonsensical waste of time that
makes no effort —and complete
ly fails to convey the fragility
of emotion that teenagers in the
throes of growing up really feel.
Contact the Diversions Editor
at dive (a unc.edu.