review

Coldplay has room for improvement

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Published Nov 2, in Entertainment, Reviews

Coldplay’s fifth studio release, titled Mylo Xyloto, will take any listener on a psychedelic trip to happiness. Expected to shoot to the top of the charts and garner several Grammy nominations, Rihanna collaborated on “Princess of China” lending unnecessary star power to an anticipated album.
To the brand new Coldplay fan attracted by the summer teaser “Every Teardrop is a Waterfall,” the album is sure to impress; to those who have followed the band since the debut of Parachutes in 2000, the album is confusing to label but extremely catchy and upbeat.
There is no doubt that each Coldplay release has its own unique sound or theme. One notices specific growth and change with every subsequent album.
Parachutes (2000) won Coldplay an esteemed place in the music world with its blend of meaningful lyrics and ballads with memorable guitar riffs. A Rush of Blood to the Head (2002) brought an emphasis on piano and electric guitar. X&Y (2005) was received with mixed reviews, but was undoubtedly the most abstract and synthesized member of Coldplay’s repertoire. Viva la Vida or Death and All His Friends (2008) was later released with a deluxe collection of additional songs called Prospekt’s March, and concerns emotions spanning from love and loss of power to death and uncertainty. Orchestral arrangements and experimentation with strictly instrumental songs took this album closer to the art rock genre.
Where does Mylo Xyloto fit into this schema? Coldplay rarely sounds like a stereotypical British band, and this album is no exception. More dreamlike in its delivery and content, it is a celebration of artistic expression. However, the depth of emotionality in its lyrics is masked at times by the multitude of sound effects used in each song.
“Hurts Like Heaven” and “Charlie Brown” have beautiful themes of release from society and struggle for identity but are covered by hook-laden sequences (This doesn’t make them any less enjoyable, in fact, it somewhat adds to their depth through irony).
“Princess of China” documents the breakdown of a relationship and what could have been, and delivers in instrumentals and star power what it lacks in lyrics. Rihanna sings along with lead singer Martin after an intro that borrows from Passion Pit. There is very little along the line of plot in this song, having only a catchy theme that will definitely linger after you turn off your iPod.
“Up with the Birds” may be the last song on the album, but it is first in terms of art and storybook, symphonic expression. Beginning with Martin alone with his piano, building with resolute lyrics and ambient noise lending to birdlike sound, it is an anthem worthy of replay.
“Us Against the World” is one of the best of Coldplay’s ballads ever. Beginning with narrative lyrics accompanied by a single acoustic guitar, it builds intensity with riffs reminiscent of Explosions in the Sky. Every one of their albums has at least one; from A Rush of Blood to the Head it was “Green Eyes” and “Yellow” might be the most memorable from Parachutes.
Four instrumental tracks supply effective transitions from one theme to the next, more than the average Coldplay album.
“Up in Flames” is a little disappointing after such a heartfelt ballad, but its reliance on piano and Martin’s melodic crooning is reminiscent of earlier Coldplay songs.
If this reviewer was to suggest any songs to purchase from iTunes from this album, they would without a doubt be “Paradise,” “Up with the Birds,” “Every Teardrop is a Waterfall” and “Us Against the World.” Put them on repeat to accompany your life, and never forget where you heard the advice.

Kill Your Idols: Revisiting the Sex Pistols

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Published Nov 2, in Columns, Entertainment, Kill Your Idols

Most of the time when people talk about the Sex Pistols, they’re not talking about the band’s music. They’re talking about the heroin, the onstage antics, the interruption of the Queen’s Jubilee celebration. And there’s good reason for that. The band’s music was, in a lot of ways, secondary to their public image. They became famous not so much for pioneering a new form of raw, stripped-down rock and roll, but for swearing on the Bill Grundy show and trashing the A&M Records offices.
The band only found the time to record one record, Nevermind The Bollocks, Here’s the Sex Pistols, in the two and a half years they were together, and really, the Sex Pistols’ music was almost an afterthought to their nihilistic, destructive antics. It was part of the gimmick: aggressive, fast, snotty and offensive. Even the title was considered extremely offensive in the UK. But despite producing the record as just another part of their anarchistic image, they managed to create one of the most memorable records of all time. In a way, the Sex Pistols succeeded at making a great record in spite of themselves.
It’s difficult to understand just how revolutionary Nevermind the Bollocks was in the early years of punk. Of course, it wasn’t the first punk record. The Ramones, The Clash, The Damned, and The Vibrators had all put out some worthwile full length records of their own by October 1977, but backed by early singles such as “Anarchy in the UK” and “God Save the Queen,” Nevermind the Bollocks was one of the most anticpated — and dreaded — releases of the era.Despite numerous protests from interest groups that saw the band as little more than degenerates, the album reached number one on the UK charts. Think about that. It’s unheard of for a punk band to reach those levels on the Billboard charts.
But there’s a reason it charted higher than any other punk record of the time (or possibly ever). It’s an astounding album. It’s full of anger, hatred, and rage in all the best ways. “God Save the Queen” still sounds like a Molotoc cocktail thrown through the windows of the music industry. Even thirty four years later, the record retains the filth, fury, and viceral immediacy that cemented it in the canon of rock and roll history.
I’m consistently impressed with the musicianship on the record, as well. “Holiday in the Sun,” “Bodies,” and “Anarchy in the UK” all contain some of the most immediately memorable guitar lines I’ve ever heard. “Bodies” in particular, is a perfect example of what makes the band great. It’s harsh, offensive, and full of fury, but it’s immediately recorgnizable. It manages to be catchy and furious at the same time. Even when Johnny Rotten is stringing along an intensely vulgar series of curses, you can still sing along with every word. At it’s heart, Nevermind the Bollocks is the fastest, most vulgar pop record of all time. And it’s a damned good one.
Honestly though, when I started to prepare this column, it had been a while since I listened to the record, and I was ready to write the Sex Pistols off. I’ve never been as into them as I have The Ramones and The Clash, partly because while I think all the insanity surrounding the band is interesting, it  all feels like a gimmick to me. I had thought to myself that if they’d never drunkenly cursed out a BBC radio host, they never would have been as popular as they became. But now, after relistening to the record, I’m not so sure about that.
Like I said earlier, the record is destructive, anarchic, and insane, but it’s more than that.  It’s confrontational, challenging, honest, catchy, and, most of all, it’s well written. It’s exactly what punk music should aspire to be. So, gimmick or not, it’s an amazing album.
Classic or catastrophe: a classic in spite of itself.

The reinvention of Mutemath

After losing a member, band stays strong

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Published Nov 2, in Entertainment, Reviews

From the second the powerful chords of “Odd Soul” begin, MuteMath makes a clear statement that this third album will be their most confident and self-assured endeavor to date.
Aptly titled Odd Soul, the album is the closest to the core of MuteMath when compared to their self-titled debut Mutemath and Armistice. The New Orleans troop has come into their own, and the product is a fast-paced, soulful journey. This band has just arrived with a third installation that should cement a place of respect in the alternative music world.
While their music has always had spunk and spirit, the vivacity of “Prytania” and “Tell Your Heart Heads Up” takes it up a notch from previous hits “Spotlight” and “Electrify.” Both display a funky guitar groove and dance-worthy beats. Try not to sing along with head crooner Paul Meany.
Roy Mitchell-Cardenas has a time of it with his bass lines, and drummer Darren King deserves a decided nod for his hard-hitting  and talented percussion. It is hard to believe that such intricacy and artistic phrasing can be produced from three members.
“All or Nothing” has a surprising shift after a mellow beginning of electronic guitar phrases. Halfway through the song, a piece that would have been just fine as an open-shut song with verses following a chorus in a predictable manner gets better. A synthesized, psychedelic segue comes out of nowhere to transition to electronic mania. It really is worth a listen.
“Quarantine” is a seven-minute masterpiece. The percussion at the four minute mark will blow your mind. Accompanied by Meany’s smooth vocals, the effect is that much more dramatic. Slow buildup intensifies the eventual release of energy and truly gives the music critic and MuteMath lover something new to respect.
“In No Time” satisfies the Mutemath requirement of a pulsing ballad-esque number. Documenting where a relationship was in the past to its degradation, the lyrics promise that “we’ll get it back in no time at all.” You will be left feeling uplifted without knowing a definite reason.
The music video for “Blood Pressure” was released before the album hit iTunes as a teaser, and with constantly changing tempos and an inherent attitude it adequately displays the band’s musical ability and aptitude.
“Sun Ray” will remind listeners of the complex instrumental songs that have become signature staples for MuteMath albums. This low-key jazz lounge piece provides a break to a consistently
This reviewer could go on to describe every single song on Odd Soul (and basically already did), but I wholeheartedly suggest that readers purchase the deluxe edition on iTunes as soon as humanly possible. The bonus tracks “Sun Ray Part II,” “Cold Sparks” and “Amendment” are worth it.
Hardcore MuteMath fans may be surprised at the tone of this album, expecting the band’s stereotypical unique sound.
This album channels old school blues rock (a la The Black Keys) and lays on electro-rock-alternative-MuteMath charm. This concoction makes the album irresistible, and perfect music for a drive, or an impromptu jam session.
It is sure to win the group a score of new fans, and if more seasoned listeners will give Odd Soul a few fair run-throughs, they are sure to recognize its worth. This band is one to keep your ears tuned and eyes peeled. MuteMath has only just realized its niche and has a lot of potential to keep pumping out worthwhile music.

Girl Talk is partying, changing music forever

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Published Oct 19, in Entertainment, Reviews

Photo by Mark C. Austin

Looking back on this beautiful weekend spent in Pensacola at DeLuna Fest 2011, I have a lot of bedazzling memories. Framed by the emerald gulf,  DeLuna Fest’s crown jewel was Girl Talk. Pittsburg native Greg Gillis, also known as Girl Talk, left an engineering job to pursue a career in music.
It is rare that I say that the world is better off with one less biomedical engineer, but trust me, we are.
The second stage was a monolith on the shore. During the still air of sound check, the hazy stage was bare with the exception of an enigmatic DJ booth. To call this a mashup act is unfair. To call this laptop based act anything less than a musical Cirque du Soleil is unfair. After quite a crowd had gathered, roadies distributed 52 playing cards to 52 lucky audience members (read: the hottest girls there). A barely distinguishable mantra of glitchy sounds evolved into a chant. Girl Talk. Girl Talk. Girl Talk.
There was a vaguely religious feel to it, but trust me, it was pretty vague.
People sprinted to the stage, I couldn’t see the end of the people. This was a huge venue.  I’m sure there were thousands of people on the beach. You couldn’t scratch your nose without bumping three other people.

Gillis sprinted on stage. He looked like a hippie playing in the NBA finals. After box jumping on to the 48 inch DJ Booth, he let out a primal yell. The bass dropped. “Bass” is a term usually left to describe deep musical tones. This vibrated my nostrils. It was hard to breathe. I’m sure the show was close to 100db and the bass was near the limit of human hearing. The sound was never muddy.

Gillis weaved thousands of samples both from his previous records and showcased several never-before-heard mixes. I constantly thought, “this could not become more ridiculous”, and I was wrong every time. A combination of Gillis’s non-stop full-throttle music combined with the rest of the show kept my jaw open. There was a spring-powered  teenage Asian girl wearing a dress  (read: XXXL NBA Jersey) spraying toilet paper out of a leaf blower then later firing a giant hose onto the audience through a series of squirrel fans. There was some volume of confetti. They didn’t make it rain confetti. It was more like Norse gods of winter brought a blizzard to the beach.

It was amazing. If you can only see one show in your life, you must see Girl Talk. There are no excuses not to see Girl Talk. If not for his totally explosive, totally illegal music, then go just for the spectacle. Greg Gillis’s performance is endearing. He strikes me as the kind of person that played pots and pans as a child. Plenty of people do that, but most of them don’t grow up to have a job  that includes them sailing an inflatable raft over their audience.
After the set, my fellow Cluster writers, Eric Brown and Liz Bibb assembled in the aftermath.

The three of us glared into space with mouths agape for no less than 10 minutes, occasionally uttering “Wow, just, wow”.

Explore Switchfoots’s ‘Vices’

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Published Oct 19, in Entertainment, Reviews

San Diego-based rock band Switchfoot, most notably known for their hits “Meant to Live” and “Dare You to Move,” have outdone their previous albums again. Their newest issue is called Vice Verses, and it has been referred to as their most personal and explorative album yet. I love the album, and I agree it might be better than Hello Hurricane, their last album.
Released on September 27, Vice Verses was preceded by the lead single “Dark Horses” in July and August. ESPN also used the band’s songs for the Florida State-Oklahoma college football game earlier this season. It’s basically the song of the underdog and never being counted out.
Switchfoot’s lead singer Jon Foreman has come out and said that the album was based off a line in the song “Vice Verses” that “every blessing comes with a set of curses.” This led to a very picky and specific setlist that was formed in the years following 2007’s Oh! Gravity.
The previous album Hello Hurricane had over 80 tracks recorded and mastered for potential inclusion in the album. In the weeks and months leading up to its 2009 release, many of the songs rejected for Hello Hurricane were being designated as better for Vice Verses, so named after the April 2009 premiere of the title track at a concert. Many believed that the new album would come out less than a year after its predecessor, but as the months went by, the release date was pushed further and further back. More songs were played at concerts, and the group slowly decided to become more creative and focused.
Vice Verses is a return to the album that tells a theme and story, focusing on a particular idea. While the album itself can vary in tempo and pace, the drums definitely do drive the album. It wasn’t as widely reviewed as previous Switchfoot albums, the reviews were all positive.
Once again, the lyrics were all penned by Jon Foreman, with his brother Tim accompanying in composing. The band worked with Neal Avron, a producer who worked with Yellowcard and New Found Glory.
The songs definitely seem to look at much deeper material. “Vice Verses” has the line “Where is the God in the genocide?” It just demonstrates the material that Switchfoot continues to address in their music. In “Selling the News,” Switchfoot tries a new style of music similar to beat poetry. I hated this song.
In essence, I love “Dark Horses”, “Blinding Light”, and “Restless.” I really only don’t like “Selling the News.” The album moves well and transitions well between songs. I’m really excited for their new music, and I’m very happy I bought the deluxe edition, for it comes with a live version of Hello Hurricane. When listened to, it was the recording of the Atlanta date for the “Hello Hurricane” tour. I went to that show!

EA’s ‘FIFA 2012′ brings soccer to life

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Published Oct 19, in Entertainment, Reviews

After what was thought to be the pinnacle of soccer games in FIFA 11 (minus the infamously buggy career mode), no one thought that the sequel could outshine it to a high extent. FIFA 12 proved to everyone that EA Sports would continue to put out stellar versions of the game. After several years of merely upgrading the game functionality and performance, the latest addition to the FIFA series of soccer simulation games was a radical overhaul. Gone were some of the basics, some good and some bad, but the game itself proved to be about the best possible. One of the few mistakes anyone found within the game is something that wasn’t even EA Sports’ faults, but outsiders!
The biggest change to the game is the defensive control system. Now, players defend much better, letting less runs into the box that are wide open and unrealistic. When one watches a soccer game, plays on the breakaway are not as frequent, which is something that FIFA had not been able to truly replicate. Due to this, games all too often had ridiculous scorelines like 8-6 or even 4-4, results that are not that common in the competitive leagues – minus the amazing play of Manchester United and Barcelona this year. Now, the defense can play as a whole, forming a fluid wall of containment, which makes tactics and creativity all the more important. While I have been able to get to nine and ten goals per game, it’s more due to be knowing how to play the game and being a longtime veteran. This adds so much realism to the game that I get very excited just getting to watch games.
It feels like it could be a real game at times, with the teams playing like teams, like their real counterparts. The new player engine has actually added in some interesting characteristics to players, such as Barcelona’s Dani Alves making runs up the pitch more often than other left backs normally would. This has allowed for players to more receptive to button commands, and it actually seems believable now with certain players. Combined a rather large amount of numerical possibilities for different traits and attributes, players and teams are able to fit a gamer’s choice of play styles.
The career mode was overhauled in the transfer period. It is one of the most dramatic and fun periods for soccer fans to see how their teams will change, and the final day is a drama-filled mess. Now, the career mode will slow down and not just pass by days but by minutes and hours as the final days of the transfer period happen. Deals can and will happen, making the game much more entertaining and replay-worthy.
Nevertheless, the number of teams playable did shrink this year, but that isn’t as much a coding problem or lack of effort on EA Sports part. Representatives from the company must negotiate the rights to the teams and leagues for use in the game, and if the costs are too much, EA Sports will not be able to get them into the game. The Turkish league is no longer in the game, leading many to complain that teams in Champions League play are not available, but this has been nothing new. For years, great teams from small countries have not been able to be in the game, such as Dinamo Zagreb (Croatia), Partizan Belgrade (Serbia), and Shakhtar Donetsk (Ukraine).
EA Sports got around this with a fully functional program online that allows individuals to make their own teams and rosters and import them into the game. This is a paid addition for all of the features, but the basic program allows for many teams to be added in. I am a fan of the Peruvian League, and it allows me to play with Alianza Lima against their arch-rival Universitario, a rivalry match that saw the most recent iteration have an Alianza fan die at the hands of Universitario fanatics. At any rate, this is a great thing to add in, and I have loved it even more because you can use other players’ creations.
In essence, FIFA 12 is a great addition to anyone’s game library. It needs to be played by lots of people, because it also increases soccer’s visibility in the United States. More of my fans now know about basic and advanced soccer tactics, the history of the game, and players around the world. You should pick it up, and if you have a PS3, add me on there: mercergarret. I’ll happily take you on in any game mode.

Kill Your Idols: Learning to forgive Weezer

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Published Oct 19, in Columns, Entertainment, Kill Your Idols

 

I’ve been a Weezer fan for years. Probably for about a decade, to be honest. Their self-titled debut record and Pinkerton are some of the most important records in my life. But a few years ago, Weezer released Raditude, the latest in a series of records representing a severe decline in quality for the once great band. At the time, I was so frustrated by this series of records that in the pages of the Cluster, I formally broke up with the band, promising never to listen to any future releases by the band.
But since then, a few things have changed. I was curious about their latest record, Hurley. I saw them live at DeLuna Fest and they completely blew me away. I’ve started to miss the band that I once loved. I’m not hankering to hear The Red Album again, but I think it’s time that I rediscover my favorite record of their records, Pinkerton. I want to find out what made it so special in the first place. In short, I’m getting back with my ex.
And my after listening to it all the way through for the first time in a long time, all I can think is “My god, this is a good record.” Pinkerton was a commercial failure when it was first released, and plenty of fans scorned it for skewing away from the hook-laden power pop of their debut.
And it certainly did abandon most of the cute whimsy of their first record, but I think that’s the record’s strongest point. It’s a dark, somewhat alienating album about self-loathing and the pressures of success, all from a band of dudes best known for singing about sweaters and Mary Tyler Moore. And I love it more than anything.
It starts off with a bang in  “Tired of Sex.” The guitars squeal with feedback before the band launches into the increasingly raucous synth-led song. “Buddy Holly” this ain’t. By the end of the first chorus, Rivers Cuomo is screaming straight into the microphone, taking out all his frustrations on the listener. It’s as visceral and immediate as anything Black Flag ever recorded.
The album never lets up the frantic pace as it continues onto “Getchoo.” Blue Album-era Weezer would have played this song straighter, quieter, and with a greater emphasis on poppy hooks. And make no mistake, those hooks are there, but the band spends most of the song covering them up in dirt, grime, and shame. But all the beauty is in that grime, grime that carries over into the album’s other tracks like “Why Bother,”  “The Good Life,” and “El Scorcho.”
I’m could talk about “El Scorcho” for the rest of my life, because I sincerely believe it’s one of the best rock songs ever recorded. It’s written so differently from the standard pop song, but is still instantly recognizable and incredibly catchy, the lyrics are immediately relatable to everyone that’s ever had a crush on someone out of their league, and the guitar solo is one of the most expressive that anyone has ever written. In a better world, “El Scorcho” would have been the number one hit of 1996. But we don’t live in that better world. We live in the one where Weezer wrote “Can’t Stop Partying.”
But honestly, it doesn’t matter what Weezer has done lately. None of that affects this record. Pinkerton is never going away, and no one can stop that. As bland and uninspired as their new songs are, we still have this one, completely perfect album.
So they can do whatever they want now. Team up with Kenny G, butcher every Radiohead track in the world, I don’t care. I have Pinkerton, and nothing can change that.
Classic or catastrophe: An absolute classic

check, please!

Senior Gene Mitchell reviews Tokyo Alley, Asian cuisine

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Published Sep 21, in check, please!, Columns, Local

Downtown Macon has opened up its heart and shown the world how hard work and creativity makes a restaurant successful.  This week I explored the back alleys of downtown to find the hidden treasures that await in a little restaurant (located at 574 Mulberry Street) called Tokyo Alley.

Atmosphere
The hidden restaurant uses the back alley location to its advantage by presenting the authenticity of an authentic Asian restaurant located in the background of a metropolitan city ranging from Bangkok to Singapore.  Upon entering the quaint little restaurant, simple lighting techniques and creative decoration transforms the one-room dining hall into an 18th century Geisha house.  The building structure compliments the small space as many patrons sit close together without ever hearing other tables’ conversations, as an echo does not exist in this magical escape from Americana.  Tokyo Alley also offers a hidden room dining area that only fits one table.  The versatility of Tokyo Alley’s atmosphere should allure anyone searching for an exotic getaway as well as the ten-and- up party who looks to fill a room.
Rating:  Creative and Copasetic

Food
As with most traditional Japanese dinners, the night started off with egg drop soup.  The chef decided it was appropriate to thicken the broth to really engrain the taste in your mind.  The mix of chicken broth with green onion always warms my appetite. Following the soup, shumai sausage dumplings definitely ruled the night.  The shumai dumplings are a cornerstone for most Asian cuisines and they did not disappoint.  Crispy on the outside, with the sincere flavoring of pork sausage on the inside, will give anyone’s taste buds an experience that even the most pretentious eaters will appreciate.  It was funny, though, how small the shumai dumpling size was, in comparison to the plate-filling teriyaki steak that followed for the main entre.
I laughed hysterically (to amazement of my fellow guests) as everyone at my table stared at the overbearing size of the steak.  As always, the steak was served medium rare to measure the quality of the beef. The teriyaki marinade was genuine, and the serving was much appreciated, but when someone orders medium rare, that does not mean the steak should come out rare.  I enjoy both, but for preparation purposes a chef must pay attention to what the customer wants.  Otherwise, why ask how someone wants his steak prepared in the first place?  Aside from that, the crunchy vegetable medley and steamed rice blended quite nicely with the steak.  The only suggestion I give is to call for a better presentation.  Appearance matters almost as much as smell.  The little extra attention helps.
Rating:  Plentiful and Affordable

Management
The management at Tokyo Alley run a tight ship.  Do not ask for substitutions from the menu because no exceptions will be made!  Patrons can add to their meals but cannot swap. A good friend of mine learned that during the meal.  This consistency, however, is a good thing for a restaurant to have.  Taking that into account, patrons should know the answer to that question before asking, as the menu at Tokyo Alley is very easy to use and read.  The only caution I give to those who enjoy spirits: the rule is to bring your own beer.  So while Tokyo Alley does not prevent patrons from drinking at their establishment, they do not, however, provide alcohol. The service of the waitress was expeditious, and after some coaxing, quite pleasant and conversational.  The small staff knew every question there was to be had and every desire was met.
Rating:  Top Notch and Slightly Militaristic

Overall

The management has established a very well-run restaurant at Tokyo Alley.  The ambience and treatment of patrons makes other restaurants appear amateur.  The food quality, unfortunately, needs reconsideration.  Not to the degree that ends a chef’s tenure, but enough that those who aspire for greatness on a plate should seek elsewhere.  Overall, the kitchen has it right.  Tokyo Alley provides enough food to leave a person satisfied, but the kitchen needs to search for the same amazement their shumai has in other dishes.  If Tokyo Alley’s management were to allow its kitchen to explore the dreams and possibilities of its very simple menu, Tokyo Alley could easily place itself as a serious restaurant among the heavyweights.
Rating:  An enjoyable one-time experience

check, please!

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Published Sep 7, in check, please!, Columns, Local

In the Northwest side of Macon, at 1693 Bass Road, a charming Italian restaurant named Mirko’s Pasta serves up self-proclaimed authentic Italian dishes to those who wish to experience Italy through their taste buds.   I must profess, having visited Mirko’s previously gave me high hopes for my first review, but I remained skeptical to hopefully point out a few improvements that even Mirko may have missed.

Atmosphere:  Romantic and Inviting
Immediately upon entering Mirko’s, the smell from the open kitchen fuels the hunger of even a casual diner.  The low Italian serenading music coupled with dim lights gives the perception of romance and authenticity.  Mirko’s daringly allows their chefs, professionally dressed, to display their talents that only the most confident chef would allow.  This sets the customer up subconsciously to believe their food is real, genuine, and professional.  All of these things create a positive expectation which, in turn, could determine the difference between a good meal and a great one.

Food Quality:  Daring and Dynamic
All three dishes had visually stimulating appearance.  The salad was not emphasized by quantity but its attempt at quality.  One should be cautioned, however, as the chef overcompensated for the amount of lettuce with a massive amount of balsamic dressing.  If you can’t taste the crisp and crunchiness of lettuce, then the dish should not have the title “salad” but coleslaw.
The fried squid and zucchini with a spicy marina sauce redeemed the experience dramatically.  Aside from the slight overcooking of the calamari (you can tell calamari is overcooked when it tastes rubbery), the delightful spice of the marinara sauce on the golden flakes of batter took over the mounting saltiness of the salad.   Even the batter amazed my fingers, as I never feared separating the squid from the batter.  This afforded me time to focus more on my friends, and less on my insecurities of eating fried food.
The main entre told me all I needed to know about Mirko’s strongest suit:  pasta.  Choosing my least favorite Italian dish, lasagna verde, to measure the versatility of the chef, I left proud.  For the first time in America, I can congratulate a chef for securing a special place in my heart for setting the standard of what pasta should taste like.  The freshness of the pasta (probably made that morning) allowed for the rigorous cooking rituals that lasagna requires (boiling, baking, etc).  Take into account how much care beef needs, and the drama queen of food: cheese, this dish can easily turn into any chef’s nightmare. Despite the pasty taste the beef had, the pasta, variety of cheesiness, and overall mesh of the dish gave my mouth nostalgia the next day when I sat eating my own dinner.

Management:  Experts needed
Unfortunately, the aforementioned categories of Mirko’s have the strongest holds in this critique.   First, Mirko needs to decide whether or not the restaurant is fast food or a sit down because the jury appears to be out.  Don’t take the time to set up beautiful scenery of wheat and pasta displays, low light, great smells and authentic music only to have it clouded by a cheap fountain drink station in the front that cannot be missed.  I have a problem as well with forcing patrons to decide on what they want to eat before seating; it again sends mixed signals of identity.  This mentality spills over to the kitchen and waitressing.  I sit, having already ordered an appetizer, salad, entrée and dessert, and have both my salad and appetizer delivered simultaneously.  This does not make sense to a patron who has come to enjoy a long, traditional Italian meal (which Mirko promises).
My final quam with Mirko is that as an Italian food addict, I know that every meal should be accompanied by a suggestion for a glass of wine.  The simple truth at Mirko’s is that the staff does not.  Do not ask someone if they prefer a glass of wine knowing nothing of wine.  When an owner requires its patrons to have extensive knowledge of what they should order, the owner should expect first-time visitors to not return often.   Luckily, this little mistake can have huge turnaround after one or two training sessions with the small, friendly staff.

Overall:  A Must Visit
Instinctively, I understand that I am always harder on Italian restaurants than others because of my passion for the food.  Likewise, that maintains my reasoning for the stiff criticism of Mirko’s management:  because it has the essentials of a great restaurant.  For too long dining out has taken the role of the warm-up to other events.  Dining out should be the main event, not the appetizer.  Italians are famous for their long dinners and their wholesome dining-out experiences filled with wine, multiple meals, and storytelling.  If these are things you are looking for, then join me the next time I head to Mirko’s, as I will be returning many times in the future.

‘Rango’ is a smart, enjoyable ride

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Published Apr 13, in Entertainment, Reviews

His outfit is a reference to Fear and Loathing. Get it?

3/5 Bear Claws

I know what you’re thinking: “A movie about lizard cowboys? Are you serious?” Yes, actually, I am. And believe me, I was a little dubious too, but I found Rango a fun and clever romp that explodes one Wild West cliché after another in a way that makes the movie unique and memorable.

In the film’s opening scene, you know that all hell is about to break loose when our scaly protagonist utters that “The hero cannot exist in a vacuum.” A conveniently timed accident then catapults the confused little lizard with an identity crisis and a hero complex into a journey to discover — or create — his identity. He finds himself in a little desert town called Dirt whose citizens are desperately in need of both water and a new sheriff. Our lizard claims a new identity — Rango, fiercest chameleon in the West — to be the hero he has always wanted to be and, after bumbling his way through conflict after conflict, eventually proves himself to be worthy of the sheriff badge he wears.

It isn’t a hard plot to unravel; in fact, I figured out the villain and his motive during Rango’s first encounter with him. As I mentioned before, the Wild West clichés abound, including tall tales, a stoic Native American tracker and a spitfire love interest whose main agenda is saving her daddy’s ranch. However, Rango gives comic twists to each cliché it employs to keep things fun and fresh. Rango himself is a delightfully flawed and bumbling hero, caught up in his own charade in a way that both endears him to you and sometimes makes you want to kick him. His tall tales and blustering cowboy boasts are sometimes absurd (making it all the funnier when the people of Dirt believe him), but he delivers them with a fast-talking ingenuity reminiscent of George Clooney’s character in O Brother, Where Art Thou? The slapstick humor and clever dialogue carry the movie along at a good pace, as does the soundtrack, produced by Hans Zimmer and delivered to the audience by a mariachi band of desert owls who also provide foreshadowing and narration a la Greek chorus.

The animation is spectacular; CGI just keeps getting better. Rango’s animators went to a lot of trouble to create a dry and dusty backdrop that never runs the risk of being drab, thanks to its richness in detail. The characters each have texture and movement that synchs with their species and still manages to make them look like hardened Westerners covered in the dust of the desert. The landscape shots are gorgeous and so are the sunsets. I think the best example of the excellence of the movie’s animation, though, is the outlaw Rattlesnake Jake. His movement is smooth, fast, powerful and downright scary. The way the creators animated his rattle into a machine gun is surprisingly seamless and, I thought, somewhat brilliant. When you watch the movie, check out his eyes. If you wanted a villain who gives you goosebumps to look at, Rattlesnake Jake is your reptile.

Speaking of the movement, check out the behind the scenes features on YouTube to see how the animators actually made this movie. Rango was blocked and choreographed in the studio for the actors to physically play it out, and the animators based the characters’ expressions and body language off of the performance of the actors. It isn’t the typical method for producing a CGI movie, but it definitely works, and Johnny Depp’s zany movements bring Rango to life.

One complaint I have is  with the ending. Don’t get me wrong: it’s exciting and fun and you’ll love to see poetic justice served. It also seals up Rango’s personal journey by satisfying his quest for identity, so the metaphysical plot comes to a nice conclusion. However, the solution to the physical conflict is problematic. I’ll try to keep it vague so as not to completely spoil the ending, but the resolution sees the citizens of Dirt faced with either continued drought or flooding. Or they could continue to harness the conveniently helpful walking cacti. That too.

I was skeptical when I saw that one of the producers was Nickelodeon Movies (after the terrible adaptations of Avatar: The Last Airbender and A Series of Unfortunate Events, who wouldn’t be?), but the company surprised me with a truly enjoyable film. Rango has its issues that you can’t overlook, and sometimes pushes you to suspend your belief farther than you may like (seriously, though, you’re watching a movie about lizard cowboys), but those flaws don’t negate the entertainment value or the enjoyment of the movie. If you pick it during your next group movie night, I’m pretty sure you’ll come away laughing and glad you chose it.

And if you still aren’t convinced, let me add that the soundtrack features a version of The Ride of the Valkyries—played on banjos. Do you honestly need any more incentive?

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