Playlist 1/31/2006

Playlist Title: back to s(COOL!)
Show Title: Dr. Funke's 100% Natural Good Time Family Band Solution by J Henson

Broken Social Scene - Ibi Dreams of Pavement (A Better Day)
Antony & the Johnsons with Lou Reed - Fistful of Love
The Flaming Lips - The W.A.N.D.
Louque - Art
Spoon - Lines in the Suit
Ella Fitzgerald - The Lady is a Tramp
Blur - End of a Century
Elliott Smith - In the Lost & Found (Honky Bach)
LCD Soundsystem - Tribulations
Silver Jews - Punks in the Beerlight
The National - You've Done it Again Virginia
Animal Collective - Turn into Something
Built to Spill - Twin Falls
Emiliana Torrini - Heartstopper
The New Pornographers - Three or Four
Seu Jorge - Starman
The Dandy Warhols - We Used to be Friends
The Brian Jonestown Massacre - Not if you were the Last Dandy on Earth
Casiotone for the Painfully Alone - Hey Eleanor
The Elected - Fireflies in a Steel Mill
Stephen Malkmus & the Jicks - Jennifer & the Ess-Dog
Cat Power - Lived in Bars
The Streets - Lets Push Things Forward
The White Stripes - Your Southern Can is Mine
Franz Ferdinand - Eleanor Put Your Boots On
Architecture in Helsinki - Wishbone
The Dismemberment Plan - The City
Feist - Leisure Suite
Art Brut - Bad Weekend

SAG...

Threw this together a few days ago. Might as well p(izz)ost it.

Screen Actors Guild Award Predictions

Outstanding Performance by an Ensemble in a Comedy Series
Will Win: Desparate Housewives
Should Win: Arrested Development
Should Have Been Nominated: The Office

So I guess Desparate Housewives is essentially unstoppable, although I could see SAG giving the award to Everybody Loves Raymond simply because it's the final season. What happened to the love for Arrested Development? The show is still a critical success, but it seems that everyone is jumping ship on it. As far as an ensemble cast in a comedy goes, the cast of the Office is much more deserving than My Name is Earl (although My Name is Earl is comical, the majority of the shows success lies in Jason Lee). I stick with Desparate Housewives on winning this one.

Outstanding Performance by an Ensemble in a Drama Series
Will Win: Lost
Should Win: Lost
Should Have Been Nominated: Veronica Mars

Like Desparate Housewives, Lost is the TV Drama to beat. Grey's Anatomy could sneak up on them but I really think Lost will take it. I didn't even know The West Wing was still on the air. Nobody watches the Closer. Six Feet Under is too offbeat (see Arrested Development). Veronica Mars is a critical success, surprised it didn't make the cut.

Outstanding Performance by a Female Actor in a Comedy Series
Will Win: Felicity Huffman, Desparate Housewives
Should Win: Mary Louise Parker, Weeds
Should Have Been Nominated: Cheryl Hines, Curb Your Enthusiasm

I really find it hard to grasp how Felicity Huffman always stands out at these awards shows. If SAG is nominating females in comedy series Longoria and Teri Hatcher make more sense than Huffman. But history is on her side. After her surprise Emmy win, she's been unstoppable. Cheryl Hines is nominated too infrequently considering how great she is in Curb Your Enthusiasm. Playing opposite Larry David is a challenge in itself and she does it with charm and wit.

Outstanding Performance by a Male Actor in a Comedy Series
Will Win: Jason Lee, My Name is Earl
Should Win: Larry David, Curb Your Enthusiasm
Should Have Been Nominated: Rainn Wilson, The Office

SAG will most likely give the newcomer his due. His role on My Name is Earl is clever and deserving. Larry David has been so consistent on Curb Your Enthusiasm, yet it generally seems to be overlooked. I think Rainn Wilson should get some credit for playing the off-the-wall Dwight on The Office. Since the series is picking up critically and ratings-wise, I could see it garnering more nominations in the future.

Outstanding Performance by a Female Actor in a Drama Series
Will Win: Geena Davis, Commander in Chief
Should Win: Sandra Oh, Grey's Anatomy
Should Have Been Nominated: Emilie de Ravin, Lost; Maggie Grace, Lost; Kristen Bell, Veronica Mars

Geena Davis made a comeback and SAG will give her the award. Sandra Oh could be the surprise of the night though. She was charming and surprising at the Golden Globes, making her the likely competition. Emilie de Ravin is so great on Lost, and sort of an unknown. I think it would be cool to see her get a nomination at some point, though it is highly unlikely. Likewise, Maggie Grace blew me out of the water in her final episode. Who woulda thought the star of The Fog could pull off such an intense farewell?

Outstanding Performance by a Male Actor in a Drama Series
Will Win: Hugh Laurie, House
Should Win: Patrick Dempsey, Grey's Anatomy
Should Have Been Nominated: Adewale Akinnuoye-Agbaje, Lost

I guess I'm sort of confused why Grey's Anatomy gets put up in the drama category but Desparate Housewives doesn't. Laurie will take the award, although I could see Ian McShane walking away with it. Alda is a favorite, but I doubt he will be able to stop House. Mr. Eko is a great character played to perfection by Akinnuoye-Agbaje. Perhaps he will get a nod next year.

Outstanding Performance by a Female Actor in a Supporting Role
Will Win: Michelle Williams, Brokeback Mountain
Should Win: Catherine Keener, Capote
Should Have Been Nominated: Maria Bello, A History of Violence

Although Rachel Weisz walked away with the Globe for her role in The Constant Gardener, I think the success of Brokeback Mountain will bring votes to Williams. Probably just me wanting Keener to win because I have always loved her but she's a longshot. Bello's role in A History of Violence deserves more attention than half of the nominees.

Outstanding Performance by a Male Actor in a Supporting Role
Will Win: Matt Dillon, Crash
Should Win: George Clooney, Syriana
Should Have Been Nominated: Jeffrey Wright, Broken Flowers (or Syriana)

Tough call on this category, everyone nominated seems to have some force behind them. Two nominees from Crash could hurt Dillon's chances but I think (like Geena Davis) it's a comeback of sorts and SAG will recognize it. Everyone loves Crash anyway. Clooney deserves the award. Gyllenhaal's performance in Brokeback Mountain is overshadowed by Ledger's. Don't count out Giamatti either, He's held consistent with nominations and Hollywood loves him. Jeffrey Wright had an incredible year. His performance in Broken Flowers no doubt deserves some sort of recognition.

Outstanding Performance by a Female Actor in a Leading Role
Will Win: Reese Witherspoon, Walk the Line
Should Win: Reese Witherspoon, Walk the Line
Should Have Been Nominated: Laura Linney, The Squid and the Whale

It's Reese for this one with Felicity Huffman proving the only viable competition. Hollywood loves Witherspoon and her performance is more than deserving. If Huffman wins for Housewives then she likely won't beat out Reese.

Outstanding Performance by a Male Actor in a Leading Role
Will Win: Philip Seymour Hoffman, Capote
Should Win: Philip Seymour Hoffman, Capote
Should Have Been Nominated: Christian Bale, Batman Begins

Hoffman definitely deserves the award but isn't a lock. Don't be surprised if Ledger sneaks in.

Outstanding Performance by a Cast in a Motion Picture
Will Win: Brokeback Mountain
Should Win: Good Night, and Good Luck.
Should Have Been Nominated: Broken Flowers; The Squid and the Whale

Brokeback is pretty much a given. I would love to see Good Night and Good Luck take it or Capote for that matter. Crash has more a chance than I'd like. Broken Flowers and The Squid and the Whale were two great ensemble pieces where every member of the cast was in top form.

Brian, Exuberantly.

This is my friend. His name is Brian.
This is the story all about how
his life got flip turned upside down....
Brian, Exuberantly.

Match Point ... Allen Scores

Woody Allen’s new film “Match Point” marks his incredible return to the pantheon of modern filmmakers.

After a string of comedic misses in the last decade, Allen has relocated to London and set his sights on reinventing conventional drama.

For some Woody Allen loyalists, “Match Point” appears to be an atypical picture. However, the style and approach is authentic Allen.

The film opens with a terrific monologue delivered by a former tennis pro and the central character, Chris Wilton, performed with subdued intensity by Jonathan Rhys Meyers.

Meyers’ character highlights the central theme of the work; in tennis, like life, luck determines which side of the net the ball falls.

Wilton is a man who would evidently rather “live lucky” than well. After taking a job at a ritzy tennis club, Chris meets a wealthy businessman named Tom Hewett with similar interests and an affluent family. Seeing this friendship as a chance for opulence, Wilton seizes the opportunity and begins a relationship with Hewett’s dainty sister Chloe. Conflict arises when Chris meets Tom’s seductive fiance, Nola, played by gorgeous Scarlett Johansson.

An American actress struggling to find work in London, Nola becomes a wanton fantasy for Chris.

Each character is layered and meticulous in their actions and motivations. Allen weaves them intricately throughout the story, allowing them to crash and collide until they must pick up the pieces.

Each person involved has an innate character flaw that would, in a world without luck, lead to his or her demise.

Nola’s dependency upon men only becomes clear as her affairs unravel. Wilton’s desire to live richly becomes a dilemma when he gets involved in extramarital relations.

Allen sees luck as a driving force in life, and proves it with “Match Point.”

Without a doubt, this film is a flawless example of Allen’s talent as a writer and a director. The film recently acquired four Golden Globe nominations, including Best Picture Drama, Best Screenplay, Best Director and Best Supporting Actress for Scarlett Johansson.

Although the film walked away without a prize, it certainly deserved its place among the best films of last year.

Woody Allen films are often overlooked simply because he churns them out so quickly -- often releasing two films a year. People seem to forget that despite the mass quantity, Allen’s films are generally of high quality. By placing his unique style and skill in a drama such as “Match Point,” Woody Allen has revitalized an entire genre.

Idol War-Ship

Last Tuesday night, Bradley students huddled around their TV sets geared up for the next crop of talented and not-so-talented vocalists competing for the coveted title of “American Idol.”

The fifth season premiere of the perennial favorite drew in more than 35 million viewers. This number places “American Idol” among powerhouse dramas like “CSI” and esteemed comedies like “Friends.”

Sophomore psychology and communication major Todd Moore said he is disappointed with the beginning of season five.

“The talent has dramatically decreased,” Moore said, “but I still plan on watching religiously.”

Other students said they disagree. Freshman English major Phnom Penh said he thinks the talent is top notch.

“I believe that this is definitely one of the best seasons as far as talent,” Penh said. “The auditions are more original and the fans are not constantly bombarded with the same song.”

Since its inception, “Idol” has been stained with controversy, but still garners incredible viewership and tremendous vocal flair from contestants. As the first season came to a close, rumors abounded regarding back stage fights and romances. Some speculated the vote-by-phone system was flawed and led to the unfair eviction of several contestants.

During subsequent seasons, contenders were removed for past discrepancies. Last season, buzz circulated about possible judge/contestant relations. And season five has proven to be no different.

Two of the judges’ favorites, twins Terrell and Derrell Brittenum, have found themselves in a heap of trouble. Wanted in Tennessee for theft and forgery, the twins recently turned themselves in to authorities and won’t be able to compete when the contest moves to Hollywood in the next couple of weeks.

More trouble arose for past winner Kelly Clarkson last week. Her refusal to allow season five contestants to use her songs in competition sent judge Simon Cowell into a tirade against Clarkson.

“I think by ignoring the show, you’re ignoring the audience who put you there,” Cowell said in a statement to the Hollywood Reporter.

Clarkson has since relented and argued she never put up a fight, but the conflict has forced many loyal viewers to choose sides.

With more than 100 members pledging their love for “American Idol” on Bradley’s www.facebook.com, it is no surprise many students have chosen their own sides as well.

Freshman elementary education major Mallory Kunde said she generally agrees with Cowell despite his brutal delivery, but sides with Clarkson in this case.

“[Clarkson] has been the most successful, so I am backing her on everything she does,” Kunde said. “That is the only way she will have a successful career.”

Other students, like junior music education major Chris Delbridge, said they see the issue as a double-edged sword.

“She’s paid her dues and fulfilled her obligation to them,” Delbridge said. “It could be argued that “American Idol” made her who she is, but it could also be argued that she is a large reason why American Idol is what it is.” Likewise, it could be argued that the controversy surrounding the program brings in the ratings.

Whatever draws the crowds, “American Idol” is a Bradley favorite and here to stay.

Film Favorites of 2005

Too Much Sarcasm...and Ashlee Simpson

Ashlee Simpson's "I am Me"
--Album Review--

At about this time last year, critics agreed Ashlee Simpson’s lip-syncing debacle on “Saturday Night Live” marked the end of her career.

However, her latest album, “I Am Me,” proves them wrong.

Simpson has demonstrated strong resilience despite her name being dragged through the mud more than Paris Hilton and Lindsay Lohan combined. Just last week, the angry citizens of Toronto held a protest against Simpson’s performance in the city. On top of that, a video has recently surfaced of an intoxicated Simpson stumbling through a McDonald’s restaurant.

Regardless, “I Am Me” rose to the top of the Billboard 200 chart this week. This isn’t a first for Simpson. Her debut album “Autobiography” maintained a similar status for three weeks in the summer of 2004.

American pop music consumers seem to have a love/hate relationship with Simpson and her music.

The record appeals to the same group of people who place “Laguna Beach” among the top 10 most watched cable programs.

Teens and young adults are embarrassed to admit they consume the over-produced and under-developed drivel infiltrating airwaves today. They probably gave a quick glance around to make sure no one could see them purchase “I Am Me” off iTunes -- the same way they close the blinds when they turn on MTV to catch the gossip between a group of wealthy, beautiful teens in southern California.

What is it that drives her sales? How can someone labeled “talent-less” by most American critics sell 220,000 albums in her first week of sales? Despite what her critics would have you think, the answer is her music. Simpson has once again co-written every track with John Shanks and Kara DioGuardi, as on her debut last year.

This time, the tracks are a little more jagged and a lot more “real.” She has also gone out of her way to shed the fun “Ashlee” image created for “Autobiography.”

The first sign of this drastic change is the new album’s cover art. A stark black and white image of a sullen Simpson lets the listener know that she is not a kid anymore.

Her hard lyrics and the driving guitar additionally alert the audience that they aren’t dealing with Jessica’s “little” sister anymore.

Ashlee has “really” grown up. Her first single, “Boyfriend,” has lit up the airwaves lately.

Gaining steam with Top-40 radio stations and earning the No. 1 spot on MTV’s most requested videos, it seems no scandal will bring her down. In fact, just the opposite has happened. The track is rumored to deal with her well-publicized feud with Lindsay Lohan over “That ‘70s Show” star Wilmer Valderama.

Also stemming from controversy is the dismal “Catch Me When I Fall.” Apparently, she penned it soon after the lip-synching fiasco that nearly exhausted her career.

Pilfering a big money-making scheme used by Gwen Stefani earlier this year, her letter crazy “L.O.V.E.” is sure to have pre-teens everywhere throwing on their pink wrist bands and trucker caps to get crazy with their girls. After all, who needs boys when you’ve got your girls by your side?

It’s almost as if Simpson has taken cues from some of the best female rock stars of the past half century and created a derivative jumble of sounds. The result is a sort of ornate musical cocktail that tastes all right going down but leaves you with that “what did I drink last night” feeling. It’s true the album is heavy enough on pop rock sensibility to earn its sales and radio play, as demonstrated by her usurping the No. 1 spot on the charts.

The “Me” she speaks of in the album title is nothing more than a style-stealing teenager running on the fumes of tabloid-generated fuel. Ashlee Simpson’s “I Am Me” is nothing you haven’t heard before and likely nothing you’ll care to hear again.

Compelling Capote

Capote
--film review--

At the center of director Bennett Miller’s bleak masterpiece “Capote” is the superb Philip Seymour Hoffman as notorious author Truman Capote.

While Hoffman is generally recognized as a highbrow character actor, he makes the role of Capote nothing less than a star-making performance. The film centers on Capote embarking on a journey to rural Kansas in order to document the brutal murders of the Clutter Family.

What begins as an article dealing with the town’s response to the murders becomes one of the greatest American novels ever written.

“In Cold Blood” is said to have sparked the style of non-fiction novels. However, the stories and relationships behind the novel prove to be more compelling than the novel itself.

Miller and cinematographer Adam Kimmel create a nicotine- and liquor-stained post-prohibition world of which Capote stumbles in and out. Hoffman plays the lead character with his nose in the air. He struts through the austere town of Hokum, Kan. making sure everyone knows his scarf is genuine Bergdorf Goodman.

With his effete voice and petite manner, townspeople are put off. The locals seem to confuse his delicate way with an unprofessional demeanor. Catherine Keener, the beautiful star of the surprise hit “The 40-Year-Old Virgin,” looks drab and dreary as the well-respected Harper Lee. Following Capote, she provides an anchor of realism serving to offset his flamboyancy.

Capote and Lee work their way in and out of the local’s lives, stopping at nothing to get the leads they need.

As the film progresses, the story begins to highlight the eccentric relationship between Capote and accused killer Perry Smith.

Clifton Collins, Jr. plays Smith with a muted brilliance. Capote works a story out of the murderer through lies and betrayals. In the end, it’s hard to tell whether they were ever friends or merely a plot device.

At times, the similarities between Capote and Smith are astounding. “It’s as if Perry and I grew up in the same house. And one day he went out the back door and I went out the front,” Capote said in the movie.

Ultimately, the intent and quiet grandeur of the film would be lost without Hoffman’s performance. Not only has he captured Capote’s essence from an exterior point of view, but he speaks and breathes Capote as well. This role is destined to earn Hoffman an Academy Award nomination, and a shot at a win.

For those that haven’t read Truman Capote’s “In Cold Blood,” the film serves as a great introduction to the material. If you have read the novel, the film weaves an intriguing back-story.

Regardless, “Capote” should not be missed.

A Grizzly Story

Grizzly Man
--film review--

Timothy Treadwell eerily repeats his willingness to sacrifice his life to a camera months before grizzly bears maul and kill him and his girlfriend in Alaska.

“I will die for these animals. I will die for these animals,” Treadwell said.

“Grizzly Man,” the latest film from award-winning director Werner Herzog, was featured at the Sundance Film Festival earlier this year where it won the Alfred P. Sloan Feature Film Prize.

The docudrama combines interviews with family and friends of Treadwell, as well as footage from Treadwell’s many forays through the “Grizzly Maze.” Herzog’s narration opens up the life of Treadwell and raises numerous questions about human beings and their relationship with the natural world. There is much more to the film than what is on the surface. By delving into Treadwell’s past, the audience is able to uncover just what it is that led him to such a fascinating life and untimely death.

Treadwell grew up as a normal boy on the east coast. He had a proclivity to animals and wildlife at a young age.

Attending Bradley on a swimming scholarship in the ‘70s, he soon became involved with drugs and alcohol. Treadwell dropped out of college and moved to California.

A failed acting career and lack of opportunities with surfboarding led him down a road of alcohol abuse.

After cleaning up, he discovered that with such a lack of interest in humanity, the only option he saw was to leave modern society and habituate with the wildlife. Herzog comments that there was a desire in him to leave his humanness entirely.

Treadwell acts as if he is a bear several times throughout the film. Many friends comment that he would act like a bear on a daily basis, often barking and walking like a bear.

The stunning cinematography and aerial views of the Alaskan landscape are beautiful. It is here that Treadwell camped every summer amongst the wildlife.

He brought his girlfriend Amie Huguenard on his last journey into the wild. She is only seen three times in the 100 hours of Treadwell’s footage. According to friends, she was afraid of bears and yet died by his side when an elderly bear killed and ate them both.

Furthermore, Treadwell did almost nothing for profit.

He was simply campaigning for awareness. He took his job so seriously that he never asked for payment. In fact, his friends said he was one of the poorest people they knew.

Yet, his work brought about criticism from many groups of people.

Alaskan natives, for example, were disgusted by Treadwell’s behavior. By living with the bears, they thought he breached an invisible boundary no human should cross.

Letters accuse him of being an eco-religious stereotypical environmentalist. One in particular that a friend shares with Herzog says a bear diet should consist of liberals and Democrats who only care about preserving the wildlife.

But beyond the motive speculation and controversy is a beautiful story and an even more beautiful film, however tragic.

The film does more than document the heartbreaking end of two young people’s lives. It brings Treadwell’s dark inner turmoil and personal demons to light.

However fanatical or senseless he may seem, one cannot deny Treadwell died doing what he loved.

The last few months of Treadwell’s life in “Grizzly Man” are more compelling than any big-budget drama Hollywood churned out this year.

Burton Better Off Dead

Corpse Bride
--film review--

While a good number of Tim Burton films obtain a comfortable balance between style and substance, “Corpse Bride” relies entirely too much on the former.

Burton, the famed director of such films as “Ed Wood” and “Batman,” returns to ground he has previously covered.

He penned and produced the 1993 stop-motion cult classic “The Nightmare Before Christmas.” It was hailed as a visual masterpiece and conceptually clever.

More than 10 years after the success of “Nightmare,” Burton returns to stop-animation with “Corpse Bride.”

Though there has been little advancement in the world of stop-animation, “Corpse Bride” does contain quite a few stunning visuals.

But, like most of the characters in the world of the dead, there is nothing to the film but skin and bones. What the film lacks is a soul.

The story revolves around Victor Van Dort, voiced by the talented Johnny Depp. His parents arrange a marriage with the bankrupt Everglot family. Although his soon-to-be wife, Victoria, and he are apprehensive, it’s not long before they fall in love.

However, fate has other plans.

After ruining the wedding rehearsal, Victor retreats to the woods to practice his vows. It is here where he slips the ring upon the hand of the Corpse Bride, voiced by Helena Bonham Carter.

Brought down from the drab and dreary world of the living to the colorful world of the dead, he and the audience are barraged by the usual cast of Burton characters.

Jazzy skeletons and goofy ghosts drop one-liners sure not to illicit any laughs.

The rest of the story progresses predictably.

Alternating between both worlds, the bumbling Victor must choose between the Corpse Bride and the beautiful Victoria.

The entire foundation for the film is derivative and contrived. Borrowing aspects from nearly every hit Burton film, the plot becomes muddled and unclear.

Characters are horribly forgettable. In a failed ironic jab at animation cliche a la Jiminy Cricket, the screenwriters cast a small maggot acting as the conscience of the Corpse Bride. Not only are most of this character’s jokes dead on arrival, his bright green body throws off the entire color scheme.

In Burton fashion, the characters will break into song every so often. However, the lyrics are uninteresting and tedious.

Musically, it isn’t much different than “The Nightmare Before Christmas.” Although the song and dance numbers offer little to the story and characters, the film boasts an impressive score by Danny Elfman.

Ultimately, Burton should have spent more time breathing life into the story and characters and less time with gothic idiosyncrasies.

"Wave" Makes Another Splash

Rogue Wave's
"Descended Like Vultures"
Album Review










Attention scenesters, hipsters and indie rock fashionistas; you must get your hands on the new Rogue Wave album before the producers of “The O.C.” snatch it first.

Rogue Wave is just one of the latest finds by SubPop Records, the revered label carrying notables like The Shins and The Postal Service. The band fell onto the scene in the summer of 2004, building a reputation on indie melodic charm.

Despite critical praise, Rogue Wave’s debut solo album “Out of the Shadow” somehow managed to slip under the radar.

Because of the album’s poor performance, frontman Zach Rogue was determined to trump himself in the studio this year.

This time, however, Rogue was joined by his touring band, allowing for a more complete sound. The result is “Descended Like Vultures,” a blisteringly beautiful, 11-track indie-pop masterpiece. The album echoes Yo La Tengo’s early work and Built to Spill’s later work but maintains an original sound.

Rogue and his band poured stunning soul into each track.

The opener, “Bird on a Wire,” charges in with hammering drums and jangling tambourines held together by Rogue’s ethereal voice.

“Publish My Love” makes impressive use of Rogue Wave’s trademark texture. It conflicts harsh electric riffs with sweet acoustic harmonies. The track is, without a doubt, an album standout for its striking arrangement and charming melody.

The album mellows out during “Salesman at the Day of the Parade” and “Catform,” reuniting the listener with the acoustic sound Rogue made so popular on his first album.

“Love’s Lost Guarantee” is essentially a crash course in song writing. Rogue proves himself a master of wordplay and metaphors, executing unlikely comparisons between adoration and the “Kennedy Curse,” with an order of love on the side.

“10:1” is a cacophony of noises, guitars, tin drums and bells that blend unexpectedly well. The track is a power-pop ditty worthy of taking on any song by the New Pornographers. It was also released as a single, along with two previously unreleased tracks.

Rogue saved some of the best for last with “Medicine Ball.” This short and simple country tune is likely to get anyone’s toe tapping.

The hauntingly rhythmic “You” is a luminous example of producer Bill Racine’s talent. Racine worked with accomplished artists, such as The Flaming Lips and Sparklehorse. It’s no wonder he is capable of laying down such a kaleidoscopic anthem of idolatry.

The album’s closing track, “Temporary,” is a dual acoustic-driven ballad likely to stick with you long after it’s through playing. Rogue gives his pipes a break on this track and allows the music to do the talking.

Having two remarkable albums under his belt, Rogue and company are capable of mainstream success.

With any luck, such success will serve to better Rogue Wave’s natural talent and further their ability to create powerful pop music.

Clocking in at a mere 40 minutes, “Descended Like Vultures” is a quick listen filled with enough talent and rock sensibility to place it among the best albums of the year.

Unfortunately, the release date has been pushed back a month to Oct. 25.