The Best f [CD/DVD]
The News Review:
- The Best f [CD/DVD]
- Get Set Go Selling ut & Going Home
- The Fresh and the Seasoned
The Best f [CD/DVD]
Punknews.org – Jan 23, 2007
Their followup continued their wave of popularity and eventually led to A Death-Grip on Yesterday which debuted ninth on the Billboard 200 Charts. After releasing three successful albums for Victory Records it was no surprise to see them make the switch over to a major label. Victory knowing that Atreyu was one of their best-selling bands saw the opportunity to release a ‘Best f’ collection highlighting the days Atreyu spent on Victory. r they basically saw this as the last opportunity to earn more money off of Atreyu unless they decide to reissue Death-Grip which is highly likely in these present times. So while the collection isn’t the worst idea it’s clearly more of a novelty than a worthy purchase for the seasoned fan… Maybe if the collection boasted a solid amount of extras it would be a slightly different story but tacking on a DVD with seven music videos isn’t cutting it especially as all of the videos are already available online. However there might be a few people living under a rock that haven’t heard of Atreyu and this release does a commendable job in introducing them to the band. The collection opens up with “Lip Gloss and Black” which may easily be the best song Atreyu has ever wrote thanks to a use of piano leading into a remarkable solo. Included in all are the singles from their three albums with 14 more choices; some aren’t the best pick for this release. While it may be because I think Suicide Notes is the best album these guys released I was disappointed that “At Least I Know I’m a Sinner” and “A Vampire’s Lament” were not included as the former was highlighted by an admirable cameo by Death by Stereo vocalist Efrem Schulz. Atreyu’s Best f is an acceptable release if you haven’t heard any of their releases and want an easy way to get into Atreyu.
Get Set Go Selling ut & Going Home
PopMatters – Jan 23, 2007
In it TV recounts the early days of Get Set Go how their little indie label got shafted by the big conglomerates and his slide into a drug-caused stroke addiction and hopelessness. He then marvels at how his band got a second chance when their music ended up on both Grey’s Anatomy soundtracks: “So I contacted the record label and they said ‘Yeah you sick twisted drug-perverted junkie we’d be interested in putting out your oozing black runny catharsis of a record. ’” (Well at least something good has come out of Grey’s Anatomy. ) He’s clean now the band is back and Mike TV writes a hell of a press release. And he describes his third album pretty perfectly. Not that this sounds especially oozing or runny; musically it’s all kind of upbeat nu-power-pop with overlays of garage rock and punk rock and thanks to Mike Summer’s viola a touch of country-ass rock as well… “Sweet Little Kisses” sounds like an unholy cross between the B-52s and the Knack. And “Get What’s Coming to You” is straight-up cowpunk aggressive and sloppy and thoroughly fun for its entire two minutes and 13 seconds. So don’t expect any black metal sludgecore or agonized howling—Get Set Go is made to make people pogo up and down even if they are driving through three inches of snow to pick up the kids from Sunday school. )If there is any real sickness here—and there is—it can be found in Mike TV’s lyrics which are pretty bleak for a guy whose band is best known for soundtracking the weepy love-starved doctors of Seattle General. Dude is twisted up inside and doesn’t mind sharing the sickness.
The Fresh and the Seasoned
villagevoice.com – Jan 23, 2007
Fonte like Elo sometimes favors body complications reminiscent of William Forsythe’s work and his It’s not about the Numbers treats Steve Reich’s music (Three Movements for rchestra and The Four Sections) more as a throbbing propulsive force than a sophisticated rhythmic structure. But beginning with a trio for Brooke Klinger Eric Chase and Willis Fonte creates some attractive dancing for seven company members (all wearing Christine Joly’s unisex black outfits with very short skirts). The sculpture by James Surls that looms over one side of the stage and lowers toward the end is interesting to ponder (huge metal daisies mingling with pointy three-dimensional kite shapes) but its significance is a mystery. The Elo and Fonte ballets bookend the program’s major delight: Twyla Tharp’s rarely performed Sweet Fields made for Tharp! the company of young modern dancers she formed in 1996. Set to early American hymns by William Billings from Shaker communities and from The Sacred Harp songbook the piece celebrates a joyous naive faith. In their white trunks and tops and loose transparent white coats by Norma Kamali the 10 dancers resemble both angels in a folk painting and members of a 19th-century Utopian community frolicking in the pastures of the Lord. Compared with much of Tharp’s work Sweet Fields is deceptively simple; its unison wheeling hopping patterns are as open to the breezes as the recorded voices of men and women singing in fervent octaves and open fifths… Compared with much of Tharp’s work Sweet Fields is deceptively simple; its unison wheeling hopping patterns are as open to the breezes as the recorded voices of men and women singing in fervent octaves and open fifths. In Elo’s Pointeoff the Aspen Santa Fe dancers sometimes lose flow and thrust in transition or preparatory steps; here their spirit literally leads them triumphantly on. Death holds no fears for this assembly. Men bear one of their group overhead as in a funeral procession but the one lifted keeps changing and in a breath-stopping moment Chase is tossed up where he spins like a compass needle before dropping into waiting arms. Religious devotion becomes as rugged and unsentimental as a children’s game. These people may stand on Jordan’s stormy banks but they believe that “death itself shall die. ” Tharp is one of the 20th century’s originals but she often acknowledged her debt to George Balanchine and her artistic friendship with Jerome Robbins.
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