Chad Liffmann – Page 28 – Spinning Platters

Local Spin: Interview with Eli Conley

Eli Conley suggests I order the breakfast burrito. With a wide grin, he tells me that it’s a great vegan dish. The Virginia native, now an East Bay resident, has a lot to smile about. He’s finished his first full-length album, At the Seams, to be released on September 28th. He’s setting west coast tour dates for the fall and lovin’ life at the moment. At our small table at Herbivore, I could easily tell that Eli, the queer folk singer-songwriter with a powerful passion for music and an equally powerful voice, was anxious to unleash his music unto the world…

Your album, At the Seams, is done and about to be released. How do you feel?

I’m super excited. I actually got the physical CDs two months ago. I know many musicians who had to rush at the end, not having time to master it or not having them in time for a CD release show. So I’m like, ok, I’m recording in April and I should have them in hand by June so I have time to send them out to press. Then I was thinking when to release it in September, and just figured ‘why not just do it on my birthday!?’

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Show Review: Williams and Spielberg: Maestros of the Movies, 9/16

'Maestros of the Movies' at Davies Symphony Hall — ‘Maestros of the Movies’ at Davies Symphony Hall

The first four notes of the Star Wars main title blast to life in the beautiful Davies Symphony Hall, and members of the audience cheer loudly, whistle, applaud, and some even rise to their feet. Only John Williams, the movie score composer who’s been writing music to accompany the silver screen since the late 1950’s, and who’s responsible for countless universally recognized themes, can induce such a response at a “classical concert.” Such was the general atmosphere at the San Francisco Symphony’s Monday night event, Williams and Spielberg: Maestros of the Movies, a night dedicated to the impact of the award-winning composer (5 Academy Awards, 48 Oscar Nominations, 21 Grammy Awards…etc. etc.).

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Spinning Platters Interview: Kyle Patrick Alvarez, writer/director of “C.O.G.”

C.O.G. writer/director Kyle Patrick Alvarez

For the first time, a David Sedaris work has been adapted for the big screen. Kyle Patrick Alvarez, the young filmmaker that helmed the acclaimed indie, Easier With Practice (2010), received the great (and very first) honor of a green light from Sedaris and co. to move forward on an adaptation of the short story, C.O.G. I met up with Mr. Alvarez at Luca in West Hollywood to discuss C.O.G.’s journey to the big screen. After some tea and pleasantries, and some friendly banter about other summer flicks like The To Do List and Kings of Summer, we dove in…

How has the festival circuit been treating you?

It’s been good. It’s been different. My first movie didn’t get into any major festivals at all. We really had to fight for it to get into festivals and fight for people to see it. And this time around, getting into Sundance just set a precedent and made it a little easier. The festivals that are going to be interested in your movie will seek you out. Not to say I haven’t inquired about some festivals I’ve wanted to be a part of, but, it does take a little bit of the leg work out of it. So it’s been good. It’s been weird too, a lot of young filmmakers think ‘well you know, it’s a movie so it should play at festivals’ but they don’t ever ask themselves, which festivals and why. Having sold our film out of Sundance, it became about making sure we’re playing the right cities, where we’ll open the movie later down the line, so that people can see it there and be aware of it. It’s just a different strategy, but it’s been great!

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Album Review: Laura Veirs – Warp and Weft

warpandweft

Not many musicians have the longevity to release nine full-length studio albums. Laura Veirs is one of the few. The Portland, OR resident has been producing a constant flow of beautiful folk rock and delicately woven lyrical tales since 1999. It’s only appropriate, then, that Veirs’ new effort, Warp and Weft, is aptly named using the terms for the crossing threads in weaving. It is tightly constructed, contemplative but also commentative, and weaves together vivid images and stories of lives long gone and some yet to pass.

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Film Review: Jobs

“Jobs” is uninspired and constantly misses the mark…unlike Steve Jobs.

Ashton Kutcher does a serviceable impersonation, including a Jobs pose.

Most of us know about Apple, Inc. If you were born in the early 80s, you may even remember many of the corporate controversies, lawsuits, etc. that Apple had to trudge through before profitability in the late 90s. If you were born later, it’s likely you’ve heard of these events, anyway. We also have an appreciation for the design, innovation, and use of their products and show it by making purchases. When we purchase an Apple product, we are acknowledging the brilliant mind for business and technological innovation that Steve Jobs had. But acknowledgement is one thing, and understanding is another, and what most of us don’t know and can’t find through a simple Google search, is extensive information about the man himself and why he did what he did. Jobs, the new biopic starring Ashton Kutcher as Steve Jobs, does not shed any light on the subject, instead giving us a standard (and repetitious) timeline of the company…which isn’t that interesting on screen.

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Film Review: Kick-Ass 2

Kick-Ass is back, and this time he’s (too) serious.

2010’s Kick-Ass had a refreshingly original tone — including a hard-on for depicting severe violent repercussions within a completely unrealistic comic-born plot. The film solidified Chloë Grace Moretz as a rising star…and a genuine bad-ass. Fans hoped to eventually see more of Hit Girl and more of this type of violent mayhem that was (crucially) grounded in a sense of fun and, dare I say, purpose. Now comes Kick-Ass 2, a mostly straightforward revenge tale that features more graphic violence than the original, but much less fun and with less purpose.

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Film Review: Prince Avalanche

‘Prince Avalanche’ takes a humorous stroll down melancholy road.

Where we're going, we don't need lines on the roads. — Where we’re going, we don’t need lines on the roads.

Adapted loosely from the Iceland film, Either Way, Prince Avalanche is a sad, yet, somehow, delightful tale of unlikely friends connecting in an equally unlikely setting. Alvin and Lance are spending the summer of 1988 re-painting traffic lines on a Texas highway that winds through a burnt out forest. Their job is repetitive and tiresome, and takes an extraordinary amount of patience to adapt to the disconnect from city life and nearly all social/romantic interactions. There is a lot of isolation in Prince Avalanche, from within the characters, to the landscape in which they work and pine, yet the film is light and inviting thanks to the humor elicited from a charming script and powerful performances by the two leads.

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Film Review: The Wolverine

‘The Wolverine’ is 3/4 the thrilling character driven spinoff we wanted.

Yeah, he's angry, bub! — He’s angry, bub!

Rest assured, The Wolverine washes away most of the sour taste leftover from 2009’s X-Men Origins: Wolverine. The Wolverine is not an origin story, nor is it similar to the usual X-Men fare. Under the consistently solid, if not stellar, direction of James Mangold (Walk the Line, 3:10 to Yuma, Knight & Day), The Wolverine manages to resurrect the energy of a character who was losing appeal due to over exposure and silly effects-laden films. The first three quarters of The Wolverine make up one of the most entertaining comic book adaptations to date. Pardon the expression, but The Wolverine is almost ‘Nolan-esque’. In more ways than one, the story is also filled with parallels to Greek mythology (much of the X-Men universe is), all the while maintaining a strong loyalty to the fan favorite title character. Unfortunately, all comes tumbling down in the final act.

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Film Review: The To Do List

A raunchy two-joke movie that keeps the humor flowing.

Aubrey Plaza demonstrates her (acting) skills.

If you’re old enough to remember growing up in the 90’s, then The To Do List will supply you with a healthy dose of nostalgia. If you like sexual humor and gross-out comedies, then The To Do List will surely entertain you. If you find the combination of 90’s culture and sexual humor appealing, then this movie is basically a cinematic orgasm. It’s also a coming-out party for Aubrey Plaza, if Parks & Recreation hasn’t yet done the trick. The To Do List turns the stereotypical preachy message that you’d find in most romantic comedies (even the gross ones) over on its head, instead delivering the truth about teenage sexual curiosity and pressures…the unabashed, awkward, and honest truth.

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Album Review: Edward Sharpe & The Magnetic Zeros

edward sharpe

Edward Sharpe & The Magnetic Zeros is the self-titled third full-length album from the 10-person folk rock group. It’s fitting that the group’s third album is self-titled, since it emits a level of musical maturity that signals that they’ve finally found their authentic stride. Their super popular debut album, Up From Below, was filled with songs that were heard all over the radio and in commercials, movies, and just about everywhere one looked. Yet Up From Below felt forced, as if the group jumped onto the folk revival bandwagon late and inserted as many trending characteristics as they could. The same level of mass consumption didn’t occur with the second album, Here, but it nevertheless catered to a fan base eager to hear catchy choruses and jangling folk-rock melodies. With Edward Sharpe and the Magnetic Zeros, the group has merged catchy hooks with natural sounding music composition. The songs don’t feel contrived. Sure, the album still carries a dose of pretentiousness that the group will never be able to shake. However, frontman Alex Ebert feels more at home here, embracing the rawness and eclectic range of influences and tones, and the band is able to follow suit, creating what may end up being one of the best albums of the year.

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