Project 86 first made its name known in 1998, with its self-titled debut record.  Now, eleven years later, the band has released its seventh full-length studio record.  By those numbers, it should be no wonder that ‘Picket Fence Cartel’ is such an impressive LP, after the band’s previous less than outstanding sixth album, ‘Rival Factions.‘  That album was far too experimental for many audiences.  It delved into realms that the band had never gone before, and probably never should have gone.  Perhaps one song stood out on that album, as it soudned vaguely similar to something off of Nine Inch Nails’ 1994 release, ‘The Fragile.‘

Having made that mostly unneccesary journey into territories unknown, Project 86’s has put together a record in ‘Picket Fence Cartel’ that is a welcome return to form.  The songs on this album are reminiscent of ‘Songs to Burn Your Bridges By’(2004), and ‘And The Rest Will Follow’(2005).  It has that same intensity exhibited by those records musically.  Lyrically, the band has made a marketing decision that is both good and bad.  It is both good and bad in that the only way to physically see the album’s lyrics is to go to the band’s website.  This generates traffic to the band’s website.  On the other hand, it would have been just as easy for the band to print the song lyrics in the album’s booklet.  So those who don’t have immediate access to the internet are forced to listen closely to the songs in an attempt to understand what frontman Andrew Schwab is saying.

Despite that one downside to this album, Project 86 has made a record that will go down as one of the best in its catalogue, both musically and lyrically.

When Kevin Moore (ex-Dream Theater) and Jim Matheos (Fates Warning) first came up with the idea for O.S.I., it seemed like nothing more than a one-off prog-rock supergroup side project.  But three albums in, Moore and Matheos have created a band that could easily become its own beast, as ‘Blood’ has proven to be just as solid a listen an opus as the band’s previous two records. 

This time around, Steven Wilson (Porcupine Tree) and Mike Portnoy (Dream Theater, Transatlantic, etc.) are nowhere to be heard.  Rather, they have been replaced by Wilson’s bandmate in Porcupine Tree, Gavin Harrison, and Opeth’s Mikael Akerfeldt.  The lineup change has been anything but detrimental to this outing.  Rather, it may be one reason that the album is as strong as the previous two.  Akerfeldt and Harrison are just as talented as Portnoy and Wilson.  It shows from one track to the next.

One listen to the likes of “Radiologue”, “Stockholm”, “False Start”, and “The Escape Artist” shows just how talented Matheos’s and Moore’s new companions are.  These tracks are an excellent mix of rock and electronic sounds that would make even Nine Inch Nails frontman Trent Reznor happy.  Those who are more fans of the band’s purely electric sound are served a special treat in the form of “Terminal"and “We Come Undone.“

The songs themselves are not the only positive to this album.  The order in which they have been aligned makes for a record that is easy on the ears, as well, for prog-rock fans.  It takes listeners from high to low and back again from beginning to end, without disappointing at any point.  Fans won’t be able to help but listen to every track, attempting to dissect each composition.

The ease of listening, and the songs themselves make for a record that will make many prog-rock fans hope for at least one more record from Moore and Matheos.  Only time will tell if the pair will attempt to assemble anymore fans for another record.  Fans have to remember that this band is still technically a supergroup side project.  But with the form that the band is taking, it goes without saying that O.S.I.‘s fans would not complain if the band become a more permanant entity after this record.  After all, the third time is said to be the charm.  We’ll just ahve to wait and see.  But in the meantime, prog-rock fans now have one more outstanding record that is an outstanding listen from beginning to end.

Dream Theater has finally made an attempt to return to its classic sound after the release of two less than spectacular albums in the form of ‘Octavarium’ and ‘Systematic Chaos.‘  It is no wonder that the band’s tenth album has given the band its best debut ever on the Billboard charts.  This album shows the band making an effort to return to the days of ‘Images & Words’, ‘Awake’, and even a light touch of ‘Falling into Infinity.‘  The entire band sounds much more focused this time around, in comparison to ‘Systematic Chaos.‘

That focus is evident in large part through the guitar work of John Petrucci, and the drumming of Mike Portnoy.  The riffs are as heavy as they have been in years.  And Portnoy’s timing throughout the record is spot on.  James LaBrie’s vocals are equally strong, too.  Those who know Dream Theater’s body of work will also hear homage to the band’s past work on “The Shattered Fortress”, and at the beginning of “The Best of Times.“

Some people may find themselves comparing this album to ‘Scenes from a Memory’ simply because it is another concept album.  But that album was a completely different opus, both musically and lyrically.  Ergo, it is impossible to say which of the two is a better concept piece.  Regardless, after the band’s most recent releases, ‘Black Clouds & Silver Linings’ is an excellent return to form for what is among the leading bands not just in progressive rock, but in the rock world, period.  It is an album that will make Dream Theater fans proud to be fans again.

‘The E.N.D.‘ is an album that hip-hop and rap fans will either love or hate.  This album leaves fans no middle ground on whether or not they like it.  As will.i.am said in the interview included on the bonus disc’s video content, most people probably expected the group to put out another rap album this time around.  But after hearing someone make the comment that rap and hip-hop were dead, the group decided to go a different way this time around.  Thus ‘The E.N.D.‘ was created.

The direction that the group decided on was a decidedly different one alright.  This time around, the group has gone from hip-hop to club songs.  This is ironic in that on the group’s previous album, ‘Monkey Business’ there was a song called “They Don’t Want Music.“  That song was basically the group speaking on the state of rap and hip-hop today.  They were saying that so much of that music is more focused on bass than on actual content.  However, exactly what they spoke against on that song is what they’ve done with this album.  Being that the album is basically a club album, it is very bass heavy from start to finish.  Yes, will.i.am and company do rap on this album.  But for the most part, the rapping takes a backseat to the bass.

The bonus disc included in the limited edition is not that much of a bonus.  Out of the ten extra songs on the bonus disc, only about four are worthwhile.  The best of those four is “Pump It Harder”  It’s no surprise, either, that the bonus tracks are techno-based, too, in keeping with the feel of the rest of the album.  The interview video material is not all that insightful, either.  The only worthwhile portion of the video segment comes in the discussion of how and why the group decided on the format for this album.  The problem is that that part of the video footage comes at the very end of the interview segment.  In other words, those who want to have some insight on the album will have to fast forward through everything else to get to it.

‘The E.N.D.‘ is not the best album from The Black Eyed Peas.  But because it is a completely different direction for the group, it would be unfair to say that this is the group’s worst work, too.  It is merely an experiment at something different.  With this in mind, ‘The E.N.D.‘ is an album worth at least one listen, if no more.  Some will like it.  Others won’t.  Regardless, it will be an album that fans of the Black Eyed Peas, and of hip-hop and rap alike will never forget.

Pixar set the bar for animated movies many years ago with the release of its debut movie, ‘Toy Story.‘ Over the years, what is one of the top movie companies ouin the business has easily topped itself with the release of every movie it has released. Now, however, with the release of its tenth movie, Pixar may have finally made a movie that is as high as it can go. ‘Up’ is the most mature, heartwarming, and funny movie that Pixar has made to date. It is another example of a movie that was poorly marketed to moviegoers. It was marketed as a movie that was largely comedy. But the reality is that it is far deeper, and thought provoking.

‘Up’ is far deeper than the comic aspects of the trailers. It centers around the relationship between Carl and his wife, who met when they were just kids. They grew up together, got married, and grew old together, even through some very difficult emotional and financial times. This is set up early on in the movie, in very impressive fashoin. The movie tells the backstory for the movie, while saving time, too. The introduction of Russell helps to move the story forward as a result of his own backstory. The story’s writers make it seem as if Russell doesn’t really even have family. He has a father and a stepmother. But Russell tells Carl that his father is rarely around. And his stepmother doesn’t seem very supportive either. As a result, Carl and Russell become a sort of surrogate “father” and “son” during their journey through Paradise Falls. They bring Doug and the bird, Kevin (named by Russell) in tow. Doug and Kevin become pets almost, making for what could be considered a non-traditional nuclear family. So in an odd way, one could argue that the family make-up is a reflection of society today, put against a colorful, original backdrop. Again, the family aspect comes directly into play.

It’s been years since Pixar first made its debut movie, ‘Toy Story.‘ In that time, Pixar has continued to churn out some of the most original and enjoyable stories that moviegoers have seen. ‘Up’ is no different. But looking ahead to Pixar’s near future slate of releases (a pair of sequels in the form of ‘Cars 2’, and ‘Toy Story 3’) one can only wonder if ‘Up’ is Pixar’s peak. Time will tell. But in the meantime, things for Pixar are definitely looking “up.“

Question:  What do you get when you combine four of the most talented and respected musicians in the music community?  Answer:  You get a band with a weird name, and possibly one of the best general rock albums of 2009 in ‘Chickenfoot.‘  This supergroup’s self-titled release is a top notch rock record from start to finish.  And being that the record has been released right at the start of the summer, it is a perfect record to pop into a CD player or add to an iPod or Zune for a long road trip. 

‘Chickenfoot’ doesn’t have one bad song on it.  It’s got plenty of up-tempo pieces from beginning to end, and some more bluesy rock style songs in the likes of “Soap On A Rope”, “Down The Drain”, and “Future In The Past.“  The only real low point to this album lies in “Learning to Fall.“  And even that song is not that much of a low point.  It simply doesn’t feel entirely like it fits in with the rest of the songs on the album.

Lyrically, the album runs the gamut.  The album opener is an obvious political piece.  Then there are songs like “Sexy Little Thing”, “My Kinda Girl”, and “Oh Yeah” that are nothing but fun rock-out style songs.  For those that want the harder, more up-tempo, fist-pumping songs, ‘Chickenfoot’ provides that, too, in the likes of “Runnin’ Out”, “Get It Up”, and “Turning’ Left.“

Whether it’s for the music, the lyrics, or the mere fact that this album combines four of the most talented and respected musicians in the entire industry, ‘Chickenfoot’ is an album that will easily find itself a permanent staple in any rock fan’s library.  And with any luck, fans will eventually see more releases from this standout supergroup here and there throughout the years.

Sequels are rarely as good as their predecessors, in the movie industry. This is regardless of genre. It’s a curse that spans from one genre to another. And sadly, it is the case with the sequel to Ben Stiller’s outrageous hit, ‘Night at The Museum.‘ The first time around, the movie was a laugh out loud family movie from start to finish. It felt entirely fluid, with plenty of story. This time, however, the same couldn’t be entirely said.

Don’t misunderstand this for bashing the movie. ‘Night at The Museum: Battle of The Smithsonian’ (anyone notice in recent years how sequels aren’t Part 2, 3, etc. anymore? They have specific titles) was yet another enjoyable family movie among a summer of ultra violent, high energy movies that are less than family friendly. There is only one piece of foul language throughout the entire movie. And the comic timing from Hank Azaria as Kamun-Ra made for plenty of laughs throughout the movie. There was also the message about true happiness in life not being about financial and material gain. In such an era, this is an excellent message for kids. And it was wonderful that director Shawn Levy brought back the entire original cast from the first ‘Night at The Museum’ movie. This is where the movie’s real problem sets in, though.

The trailers for the movie make audiences believe that since the entire original cast is brought back, they would be incorporated throughout the movie. The exact opposite is the case. This time around, the original cast spends three quarters of the movie sitting out. Audiences don’t even see them that much, except for early on, and at the very end of the movie. The rest of the movie is taken up by new cast members, including the less than spectacular acting of one Bill Hader as General Custer.

The seemingly false advertising of the cast was not the only down side to this movie. While the first ‘Night at The Museum’ took place over the course of about three nights, this one took place over the course of a single night. It felt even more rushed than Larry probably felt in trying to solve the mystery of the tablet. And the weird sort of romance between Larry and Amelia Earhart was uncomfortable to say the least. Those who remember their 80’s movies will automatically see this as a reference to the old 80’s movie, ‘Mannequin.‘

There was one last major plothole that was not tied up at all, even during the movie’s ending credits, which did answer at least one question that could have been a plothole. The unanswered plothole revolves around the guard played by up and coming actor Jonah Hill Despite that one blaring plothole, the seemingly false advertising of the trailers, and rushed feel of the story, ‘Night at The Museum 2’ is still a fun family movie in a summer full of movies that are anything but family films.

Ben Harper has made a name for himself over the years largely among college music fans, despite releasing every one of his albums through a major label—Virgin Records.  Harper has made such a name for himself because not one of his records has sounded or felt exactly like its predecessor.  With the exception of his somewhat disappointing recent release, ‘Both Sides of The Gun’, Haper has made a conscious effort to release albums that sound different every time.  That album in question harkened directly back to his debut record, ‘Welcome to the Cruel World’ due to its very melancholy feel.  Thankfully though, he made up for that disappointment with ‘Lifeline.‘ 

‘Lifeline’ was only the beginning of Harper’s return to form after ‘Both Sides of The Gun.‘  Now, he has released what could possibly be his best work yet with Relentless 7 on ‘White Lies for Dark Times.‘  This album has a nice mixture of bluesy-rock style songs such as ‘Number With No Name’, ‘Lay There and Hate Me’, and ‘Why Must You Always Dress in Black’ among others.  There is even a more straight forward college rock sound from Harper included on ‘Up To You Now’, and ‘Shimmer and Shine.‘  The only real disappointing moments of this album come from ‘Skin Thin’, and ‘The Word Suicide.‘  Other than those two tracks ‘White Lies…‘ could easily be considered the best from Ben Harper yet.

Lyrically, Harper doesn’t come right out with every song. letting listeners know what he is writing about.  One thing that has been a constant on Ben Haprer’s albums has been his profession of faith.  Every album has had at least one song that shows his devout faith.  Nowhere was this more obvious than his work with The Blind Boys of Alabama on ‘There Will Be a Light.‘  This time, however, audiences are left to wonder which track does that. The only possible guess at such a song this time would be in the album’s closing track ‘Faithfully Remain.‘  The entire song somewhat gives that feel of such a style of song.

Lyrical dissection aside, Ben Harper and Relentless 7 (ironic name being that Relentless 7 is made up of 3 members) have crafted an album that is arguably the best work yet in the long career of one of college rock’s most respected vocalists and musicians.  It could be just as easily argued to be among the elite overall albums of 2009.

When Brent Spiner wrote the script for ‘Nemisis’, he and the movie’s director buried the “TNG” franchise all by themselves. After the collosal failure that was ‘Nemises’, many Trek fans wondered if there would ever be any redemption for Star Trek in general. Enter JJ Abrams. Abrams, like many other directors has had his hits and misses. Though his misses have outnumbered his hits so far. That is until now.

‘Star Trek’ took the bar set by ‘Wolverine’ and raised it by at least ten notches. Whether it was the special effects, or the acting, or the general story line, Abrams and company have crafted a movie that has set a whole new bar 2009’s summer blockbusters. It has also set a whole new bar for any potential ‘Star Trek’ sequels that may be to come. That is the case as star Leonard Nimoy (who did more than just a cameo) has stated that he is up for any more ‘Star Trek’ movies that may come after this.

In terms of other ‘Star Trek’ movies, it’s anyone’s guess. That is because the script managed to close the story without so much as a loose end. It would have to take a truly impresive story to make another ‘Star Trek’ movie, and keep the Trek franchise alive for a whole new generation of sci-fi fans. The level set by this movie can only make that generation hope that for once, a franchise will be continued.

‘The Soloist’ is the first great movie of 2009.  Yes, it is another of the countless movies that are based on actual events.  But despite that, this movie has managed to set itself far apart from those other overly dramatic biopic-esque stories that are meant to either tug at the heartstrings or simply entertain.  ‘The Soloist’ is neither of these.  It is a story of its own kind.  It will make most audiences very uncomfortable.  But because of this, and the brilliant acting by Robert Downey, Jr. and Jamie Foxx, it would be no surprise if ‘The Soloist’ becomes the first movie of 2009 to generate Oscar buzz.  This is the case despite the fact that the real Steve Lopez apparently was not too fond of the thought of a movie being made about his story.  Word has it that the real Steve Lopez didn’t let Robert Downey, Jr. interview him, or even follow him around to get an idea about how to portray him.

The story centers around a brilliant, yet homeless and schizophrenic musician named Nathanie Ayers (played by Jamie Foxx) who meets Steve Lopez (played just as expertly by Robert Downey, Jr.).  The relationship that forms between Lopez and Ayers forces audiences to look into a world to which they would much rather be blind.  That world is the world of the homeless and the mentally ill.  Being forced to look at this world is extremely uncomfortable.  But that is the point of this movie.  Some of the people were homeless because of mental illness.  Others were homeless because of drug addictions.  Sometimes, the mental illness may have resulted from drug use That is never fully explained.  But it is inferred.  On a side note, viewers should note that all but 10 of the extras in this movie were actually homeless.  This adds a whole extra level of reality to the story.
 

Linked directly to the observation of the sub-society that is made up by the homeless and mentally ill, is a discussion of the use of drugs on those who suffer from some mental illness.  It raises an ethical debate on the use of drugs on those with mental illness.  This disccusion is lightly covered in a scene between Steve and David (one of the employees of the LAMP Community).  Steve wanted to get David to medicate Nathaniel because he cared about Nathaniel.  He saw and heard Nathaniel’s talent.  So he wanted Nathaniel to be somehow “normal” so that he could perform again, and be famous.  He wanted so badly to help Nathaniel that he was blind to the potential that the drugs might not have worked.  This leads to a climax that is so rousing that any audience still watching will want to stay and find out the end result.

The manifest function of ‘The Soloist’ may not have been to create discussions on mental illness, homelessness, and the use of drugs on mental patients.  But those are discussions that will definitely result from this movie.  Thankfully for itself, the movie doesn’t take one side or another on any of these issues.  But it certainly forces audiences to consider these topic after watching it.