De-flawed
Emo-hard rockers are on the way up
By Sarah Hankel
It's hard to believe that, just a couple months ago, Flaw was opening for Cold and Dope at Toad Holler, but they've rightly gotten what they deserved â?? a much bigger venue with more exposure as the Louisville, Ky., group will open for Sevendust at Toad Holler Feb. 12.
And honestly, they headlining band will likely be eating dust instead of counting it. Flaw's debut CD on the Republic/Universal label, "Through the Eyes," is musically more complex and edgier than the group they are fronting for (think Queensryche plus KISS with a touch of Creed). Produced by David Botrill (TOOL, Peter Gabriel), they had some great coaching in creating the 13 tracks on their eponymous CD.
Opening with "Only the Strong" and moving directly into "Payback" (already in the top 10 on CMJ's Loud Rock chart) then on to "My Letter" is an amazing first 12 minutes of sound that relay more raw emotion than most people experience in a day.
Clearly, "Whole" is the most intense cut on the CD and will likely give mosh pitters goosebumps. Written by lead singer Chris Volz, the tune speaks honestly of what his life has been since his adoptive opera-singing mother took her own life when he was just 12.
Bassist Ryan Jurhs complementary back up vocals intensifies and deepens giving each song a sense of purpose.
There's some pretty heavy groovin' going on behind the words too though. Guitarist Jason Daunt was big into the industrial movement when he and Volz hooked up. Adding Lance Arny as a second guitarist two years ago, increased Flaw's power two fold. Both guitarists favor seven-string axes which pushes melody and enhances Chris Ballinger's sweaty drum throttles.
While radio stations might try to categorize Flaw as the latest in nu metal, it should be noted that Euro-chic titles are inadequate. Flaw downright mixes a whole lotta soul into their heavy metal and hopefully they'll defy the urge to kowtow to money handlers and the powers that be.
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Local bands emerge from studio sessions
By Sarah Hankel
Despite the soft economic market, this winter must have been a good time to be a recording studio owner. In the last month, at least four local bands released new CDs keeping area fans happy by giving them an opportunity take a piece of the club action home with them.
After an extended hiatus, The Chezwicks returned in full force with an October, 2001, gig which introduced their new drummer Craig Jensen. Then they disappeared for another four months to record their self-titled EP. One of Des Moines' best musical balancing acts, the band got back in the swing of things when they introduced their eponymous effort and new bass player, Dave Zuck, to an appreciative Hairy Mary's crowd on March 2.
Tenously toeing the line between punk and hard rock, The Chezwicks aren't satisfied by simple searing riffs and plucky bass lines. They add sensibility to their songs instead of just blathering incongruent words that sound cool when put together. Their lyrics make sense, even if they are just "In It 4 the Chicks," a bluesy, California-inspired celebration of touring with a rock band. "Bad Girls Go to Hell" flirts with the memory of Joey Ramone. And American Indian spirituality finds its place alongside a bad ass guitar metal solo in "Hoka Hey."
After four years of knocking around Des Moines' clubs, Punching Picasso has finally released their first CD. A swarm of former Rathbones' and McKenzies' fans showed up at The House of Bricks March 2 to pick up their copy of "My First Camel." The 14-track CD took nearly a year to complete says bassist Brian Hulten, and they actually cut two songs from the final recording.
Born from the era of college rock, Hulten along with guitarist Mark Timm, singer Greg St. Clair and drummer Jason Smith busy up their sound with experimental dives into hard rock riffs, open band jams, alt rock whines mixed with emo soul and a bit of disco funk. "We just wanted to write and record good songs," Hulten says. "We don't necessarily want to go in any one direction. I mean the only reason we're in a band is to have a good time. We're all rooted here and we like to play."
If you missed their CD release party, you have another chance to catch the band this Friday, March 15, when they perform at The House of Bricks as one of four bands in Petapalooza, a benefit for the Animal Rescue League.
On the same night, half way across town at Carl's Place, 1600 Woodland Ave., The Miltons will be introducing crowds to their latest recording, "Weisenheimer." The pop-punk band's second CD in less than two years includes 10 tracks of ebbing lead guitars and in-your-face vocals.
Band members include guitarist and vocalist Jeff Morgan (former bassist of Squidboy), bassist Dan Ketelsen, drummer Pat Curtis and guitarist Sean Wilson (both formerly of The Victorious Holland).
More aggressive than their first CD, "In Stereo," the band's peppy stylings are still evident on "Weisenheimer," but the instrumentation comes out stronger and livelier.
Before The Miltons take the stage Friday night, Tyros label-mates, The Mittens get the crowd going. They too have just emerged from the studio with their first full-length CD, "In Spite of U." The Mittens not only share Carl's Friday night audience with The Miltons; they also share drummers. Curtis and singer/guitarist Kevin Jass have been cutting out straight-forward punk music together sinces the mid-1990s. Complete with bass lines Stacey Peck, The Mittens are uncomplicated, brief and recall the simple ways of The Replacements teased by the torturous nature of Nirvana. Not surprisingly, fans of House of Large Sizes get their fix when they catch The Mittens.
For more information about The Chezwicks, email [email protected]; for Punching Picasso, email [email protected]; for The Miltons link to www.docksile.com; and for The Mitten, email [email protected].
MORE CD REVIEWS TO COME
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MOVIES
Shoo fly
'Ghost' meets 'The Sixth Sense' in 'Dragonfly'
By Sarah Hankel
Without golf balls or baseballs, Kevin Costner breaks his stride with his latest flick "Dragonfly." However, he doesn't completely break with the past. A lengthy underwater scene brings forth images of "Waterworld" and his nasal monotone narration sets the scene but thankfully, doesn't last throughout the entire film as he did in "Dances with Wolves."
As head of emergency room services of Chicago Memorial Hospital, Dr. Joe Darrow (Costner) is makes a hasty trip to Venezuela where his pregnant wife, Emily () also a doctor, is tending to indigents. By the time he arrives, she and a busload of people trying to escape the deluge have been carried to their death via a rockslide to a flooded rushing river.
As the movie continues, it's content to build itself on a series of close-ups of Costner's confused mug which changes little from scene to scene or case to case. He has the same look at his wife's memorial service as he does when he witnesses strange phenomenal occurrences that lead him to believe his Emily is trying to contact him from beyond.
The film has an identity crisis. It wants to be a thriller, using eye-popping, arm-grabbing death jolts and unexplained events to get the audience to gasp. But it also wants to be a love story. Joe and Emily complement each other, as friends point out: She was the heart and you are the brain. Emily is portrayed as a saint and an amorous wife which makes one wonder: Why does heart-broken Joe freak out so much when he believes Emily is visiting him beyond her watery grave? Shouldn't he find some solace in that instead of getting jazzed and running away?
With the help of two pediatric oncology patients â?? one of whom Emily treated â?? Joe becomes convinced that he must carry out Emily's request. "Go to the rainbow," Ben tells him.
The pieces of the puzzle come together and Costner returns to the rain forest for a few good chase scenes that lead him to the answer as to why he's had a bug in his ear since his wife's death.
"Dragonfly," named for Emily's infatuation with the insect, is an okay story that with different actors on a second take could fly, but Costner is too one dimensional making his involvement in a third one out of this world.
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Beauty and obese
Sisterhood, sex and surprises
By Sarah Hankel
Obesity is largely an American epidemic so it's rather curious that "Fat Girl" was created by French writer-director Catherine Breillat. Despite its title, the film has more to do with French kissing than French fries.
Fraught with sibling rivalry between Anais (Anais Reboux), a Rubenesque 12-year-old and her 15-year-old sister, Elena (Roxane Mesquida), the girls' pre-pubescent and adolescent dreams and discussions depict their sexual curiosity.
Elena, a svelte, pretty girl is ready and rearing to go when it comes to losing her virginity. However, she shallowly explains that she is waiting for man who loves her. Anais, on the other hand, would prefer a nonchalant, meaningless tete a tete, which as Elena frequently reminds her, will be a long time coming because Anais is "a fat slob."
While on holiday with their parents, the sisters venture into a small French villa where Elena meets Fernando (Libero De Rienzo) at an outdoor cafe. Within minutes they are lip-locked while Anais tries to ignore them over her banana split.
Elena brings Fernando home to meet her parents and they make arrangements for a private soiree later that evening - just Elena and Fernando, who tolerate Anais simply because the sisters share a room.
During their secret night, Anais overhears the young lovers doing everything but "it" despite Fernando's simpering. However, Elena makes it up to him during an afternoon on the beach while Anais swims and sings weird depressive songs to herself.
Fernando's gift to Elena gets the parents involved. Furious with Elena and ignoring Anais, Mom (Arsinee Khanjian) cuts the vacation short, packs the car and they head for home.
What initially starts out as an introspective look into the lives of two young girls, starved for amor, ends in a shocking twist. Anais' strange made up songs that she sings to herself might give you some idea of what's to come, but Breillat saves the best for last.
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Disabling dada
Ignore the obvious, enjoy the story
By Sarah Hankel
Realists, beware. The Sean Penn-Michelle Pfeiffer indie flick "I Am Sam" that deals with a mentally disabled father trying to retain custody of his daughter has a whole lot of explaining to do. However, if you're able to suspend time and place, and can get lost in grown up version of "Rain Man", then bring the Kleenexes.
From the start, it becomes apparently clear that Sam Dawson (Penn) is a perfectionist when it comes to sorting condiments, but when it comes down to discernment of character his sorting techniques fail miserably.
A kind-hearted, retarded man who resembles Dustin Hoffman in "Rain Man" and Leonardo di Caprio in "What's Eating Gilbert Grape," Sam believes the best about everyone he meets including a homeless woman who takes advantage of his meager living conditions and rewards him with a daughter. The birth of Lucy Diamond Dawson, named after Sam's favorite Beatles song, quickly makes him America's most dysfunctional dad â?? in some ways. In other aspects, Sam becomes the premeir paternal role model.
With absolutely no inkling of an idea of how to care for a baby, Sam turns to his agrophobic neighbor Annie (Dianne Wiest) for help. (It's a good thing his apartment complex accepts Title 8.)
Flashes of her infantile development show Sam and Lucy (Dakota Fanning) laughing and loving, playing in the park and folding lots of origami swans. Sam has a new playmate, much to the dismay of his five closest friends who predict that his new roommate will bring about the end of weekly movie nights and trips to IHOP. But it's all fun. Sure he struggles with his first diaper which is adorable but what about immunizations? what about potty training? what about that first major head wound that causes all first-time parents to rush to the hospital for stitches? (Remember folks, even if this isn't a "major" motion picture, we're still dealing with Hollywood.)
Sure, there's the issue of finding child care for Lucy while Sam continues his 8-year career with Starbucks, but that's easily remedied by his homebound neighbor, Annie, who also teaches Lucy to play piano. And, of course, there's a hint of money problems, but it has more to do with Sam's inability to understand monetary value. It's not until Lucy begins school does it become apparent that Sam's little girl, at six, is quickly surpassing him in intelligence and judgement. (One would think that school faculty would have detected a red flag when he went to register her for classes, but they don't go there. Instead, they leave it up to Data from Star Trek's Next Generation to provide a judgmental pause as Sam and his buddies collectively buy Lucy's shoes.)
After nearly seven years Sam's and Lucy's situation is finally outed when, once again, Sam befriends an unsavory woman. He is arrested, in comes the social worker and down come the tears â?? from Sam, Lucy and the viewing audience.
Undoubtedly Sam has no clue what the judge is telling him when she says he must "secure legal counsel," but somehow he figures it out. Leafing through the Yellow Pages he lands on a high-profile, "four person" named law firm which leads him to cutthroat, bitchy, compulsive Rita Harrison (or lovely Rita, meter maid, as Beatle-obsessed Sam calls her).
Under pressure from her co-workers, Rita finally accepts, kicking and cursing, to take on Sam's pathetic case. And because she is also obsessive-compulsive and a perfectionist, she becomes committed to helping Sam in the fight to try and win back his daughter from bitchy foster mom Randy (Laura Dern).
Although "I Am Sam" is as full of flaws as Sam is as a parent, it's also just as endearing. Tears flow if you let them. (The ticket taker said she was dehydrated from crying so much.) If not the crying kind, at least give the movie industry a thumbs up for including two real-life mentally-disabled actors making a big screen dream. However, the biggest highlight of this movies is the soundtrack â?? a dozen of the Beatles best-known songs, recreated impeccably by artists like Ben Folds, Sarah McLaughlan and Eddie Vedder.
MORE MOVIE REVIEWS TO COME
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