Inflatable Ferret - Volume II, Issue 10

Vol 2 No. 10 ///// Dec 2010

TAYLOR SWIFT AND LAURA MARLING COMPARING THE PRINCESSES OF FOLK AND COUNTRY POP

YANN TIERSEN TALKS MUSIC PHILOSOPHY AND NEW ALBUM

REVIEWS

including Kanye West & The House of the Devil

80 Minutes

of Music for CHRISTMAS

LETTER FROM THE EDITOR

YOU GUYS (AND GIRLS)

are going to be very angry with me. This issue does not include our Top Albums of 2010 list. I know, the New Year is almost upon us. Just about every major music publication has come out with its list. But when they say the “year” they mean “year”, right?

Because last time I checked, December, is in fact one of the twelve months of the year. The Academy does a lot of things wrong, but one of the few things they do right is having their awards ceremony after the year’s end. Not that we’re going to make you wait that long like last year. But we’re going to wait a couple weeks to let 2010 sink in. After all, some of the best music doesn’t hit you until it’s too late. So, there’s my explanation.

But why focus on what we don’t yet have when we do have so many great things for you? We’re excited to present to you our interview with the world-famous French composer and pop star Yann Tiersen. We would also like to welcome to the staff Rob DeStefano, who makes his worthy debut with “Rewind ‘Shocktober,’” a look at one of 2009’s most overlooked films.

Also, layout queen Kathryn Freund put the pen to the pad for the first time in a while, as she helps get you in the holiday spirits with the second annual “80 Minutes of Christmas Music.”

Our two album reviews are on the opposite sides of the spectrum: Bryant Kitching’s undertaking of Kanye West’s extraordinarily anticipated album, My Beautiful Dark Twisted Fantasy and my review of Blood Warrior’s self-titled debut album, one of the quieter releases of November. Last, but not least, we have Taylor Catalana’s exploration of the striking similarities between two very different blond, twenty-year old divas.

Then again, I suppose that’s what the table of contents is for, isn’t it? I’ll leave you with that. Thanks for reading, and happy holidays. You probably won’t hear from me until after the 25th (queue sigh of relief).

P.S. I would also like to apologize for Taylor Swift being on the cover—when Kathryn showed me her idea for the cover, it just looked too good to turn down. I promise it will be the last time.

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james passarelli

CONTENTS

Vol 2 No. 10 ///// Dec 2010 FEATURE

06

Why Laura Marling and Taylor Swift aren't as different as you might think

REVIEWS

16

Reviews for Kanye West, Blood Warrior, and House of the Devil (why it should be on your Netflix queue

INTERVIEW 12 A delightful dialogue with musical renaissance man Yann Tiersen

PLAYLIST

20

80 minutes of Christmas to tickle (or spoil) your Christmas fancy

03

OUR STAFF

ISSUE CONTRIBUTORS Editor-in-Chief

Web Design

James Passarelli

Greg Ervanian Rob Schellenberg

Layout Kathryn Freund

Featured Writers Taylor Catalana Rob DeStefano Kathryn Freund Bryant Kitching James Passarelli

Photography Eye Magazine Simon Fernandez Just Jared mxdwn NEWSOK James Passarelli Pop Matters Skins.be



We gladly welcome any criticism or suggestions. If you have any ideas for the magazine, or if you would like to be a part of it, please contact us at: info@ inflatableferret.com.

CONTACT US via Email

via Interweb

GENERAL INQUIRIES info@inflatableferret.com

WEBSITE www.inflatableferret.com

TOM KUTILEK tom@inflatableferret.com HANS LARSEN hans@inflatableferret.com JAMES PASSARELLI james@inflatableferret.com RYAN WARING ryan@inflatableferret.com

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06FEATURE

Photos by NEWSOK & Simon Fernandez

Two P r inc e s s e s Laura Marling and Taylor Swift are p o l a r opposites...

But they might just have more in common than meets the naked eye.

Words: Taylor Catalana

WHILE

scrolling through my iPod, I frequently come across two artists who never fail to depress me, although not because of their music. While I am trudging through the gritty Bronx streets to class, Taylor Swift and Laura Marling are touring the world, playing their guitars, and connecting with scores of devoted fans through their self-penned music. The source of this particular strain of envy? If we had all been in the same place, these singer-songwriters and I could have graduat ed high school together.

T h e s e young women are obviously not leading the

lives of the average twenty-year-old, but let’s frame this in a high school setting. If my iPod were a high school cafeteria, on one side, would be Miss Taylor Swift. Under those drab fluorescent lights, her luscious waves of golden hair would shimmer, her mysterious good looks turn heads, and her bubbly personality make her the prom queen you want to hate but can’t. She writes off herself as “that awkward girl” who writes songs about boys who never notice her, but coming from a Grammy-winning bomb shell, that act is hard to buy into. To put it more simply, gawky, unassuming teenage girls don’t wield rhinestone guitars.

On the other side of the cafeteria, we have Miss Laura Marling, the oh-so-quiet, pretty, sof t-spoken girl.

She would likely b e

reading Riverside Shakespeare or staring into the flame of a candle, desperately trying to disappear in the chaos around her. Devoid of glitter or glam, she would worry little about her homely hairstyle or plain clothes. She could well have wowed the crowds of rowdy teens with her virtuosic guitar skills, but she would have reserved them for an empty classroom in the English department during her gym period. As a fan of both of artists and someone with decent taste in music, I can say that their styles are completely different. Taylor Swift is that unbelievably successful musical experiment, the perfect combo of country and bubblegum teenage storytelling. Using catchy hooks and frilly dresses, she’s a living Barbie doll—relatable, sugary sweet, even when she goes emo in her ballads. Laura Marling, on the other hand, prefers to plunk a sad guitar to match the croon of her velvety deep voice. Her music and lyrics are more complex with less mass appeal, but certainly enough to silence a room full of moon-eyed folk lovers.

“ She's a

living Barbie doll—relatable, sugary sweet, even when she goes emo in her ballads."

08 feature Photo by Skins.be

Photo by mxdwn

Despite their stylistic differences, I’m inclined to argue that as songwriters they’re more alike than they seem. Their images and packaging differ, but fundamentally, they’re both twenty-year-old girls who sing about the same things. I am by no means trying to reduce my own kind to a one-dimensional prototype, but if you listen to either artist, you can deduce the problem plaguing all young women in their words—becoming yourself, dealing with the past, toying with the future. And boys.

One of my favorite similarities between the cutesy American and the lithe Brit is their high-profile dating histories. Taylor Swift dated a Jonas brother and one of the Twilight guys (does it really matter which one?). Both now just exes, they quickly turned into catchy and bankable song material. Laura Marling dated Charlie Fink, lead singer of Noah and the Whale (her back-up in “5 Years Time”). When they broke up, he proceeded to write two albums’

worth of residual heartbreak, including one song called “Hold My Hand as I’m Lowered”. Marling’s songs allude to emotional unavailability in relationships, but she said it all in her cheeky response on “Blackberry Stone” when she sang, “I’m sorry that I couldn’t hold your hand as you were lowered.” She is currently dating the lead singer of Mumford and Sons, another rising British pop folk star.

When Marling released her second album I Speak Because I Can earlier this year, many critics pointed out the disparity between her music and Swift’s. Interestingly enough, Swift’s new album is titled Speak Now. Before I heard the two title tracks, I wondered what message they intended to transmit. Female empowerment? Taking a stand? Being a talented woman surrounded by the greedy men of the music industry? It turns out that Swift’s song is about begging a guy not to marry a total wench and Mar-

“ Her music and

lyrics are more complex with less mass appeal, but certainly enough to silence a room full of moon-eyed folk lovers."

09

feature

ling’s song is about the bitterness and regret of being ditched by your husband. Material not directly relevant to the women’s current lives, but revolving around that same sphere of finality, love gone wrong, and the ever tantalizing idea to the twentyyear-old mistake maker—how to prevent those mistakes and the fear of what happens once they are irreversible. One is a kicky little pop song and the other is a slow, dramatic ballad, but they are both heavy in their own right.

And both are easy to relate to, as evidenced by each artist’s each fan base. If you want your emotions laid bare like fireworks in the last scene of a romantic drama, Taylor

10 feature

Swift is there to provide you with a soundtrack. She’s there when you want the message to your new infatuation or your horrid ex made absolutely clear and blunt. She’s the ugly duckling turned swan who champions everyone’s inner middle school geek who just wanted that cute guy to like her. With Laura Marling, you get a more intricate kind of poetry that comes from the diary of a brooding intellectual. A quiet storm, slowly releasing condensed emotion.

Swift’s music is for when you want even your deepest, darkest feelings fringed with light; Marling’s is for the actual dark, for moments that are too deep to have a simple melody and set of easy rhymes.

I draw these comparisons to dispel the commonplace shame from which people of our generation seems to suffer when they find themselves entertained by mainstream pop music that most likely will not be chosen by someone wanting to publicly preserve the dignity of his or her taste is music. Swift is too vapid, her critics say, too Disney princess; someone like her could never get to the heart of the matter as a Laura Marling can. But it’s just not true.

Sure, it is easy to like one of these artists and not the other based on style and preference, but it’s also easy to like both. if

Photo of Laura by Pop Matters Photo of Taylor

by Just Jared

“ Their images and packaging

differ, but fundamentally, they're both twenty-year-old girls who sing about the same things."

11

feature

12INTERVIEW

Chats with

Yann Tiersen Interview: James Passarelli

Photo by James Passarelli

YANN TIERSEN

is one of the most popular and recognizable artists we have ever interviewed.

At the same time, he is also one of the most down-to-earth. Best known as the creator of the soundtrack for JeannePierre Jeunet’s celebrated film, AmÊlie, Tiersen has garnered a dedicated worldwide following as a pop/folk/classical composer and multi-instrumentalist. At any one time, his music might call to mind a casual stroll through Paris, an intense longing for a lost loved one, or a standard pop-rock song, though Tiersen will tell you none of these directly influences his creative process.

His latest effort, Dust Lane, invites, and requires, complete immersion in the album, nine punctiliously produced songs strung together: a concept album without a concept. I was excited to learn that he was passing through New York this fall in support of the album. Playing with his delightful five-person backing band, Tiersen put on one of the most entertaining shows of the year, capped off by a terse and penetrating violin solo encore. The night before the show, I was fortunate enough to sit down with him for a drink at the Spanish Taverna. Despite a debilitating cold, he managed to muster the voice for a lengthy and interesting conversation spanning his entire musical career.

Photo by Eye Magazine

“ For me, music is

Inflatable Ferret: A lot of people divide your music into…

Yann Tiersen: Maybe. Not me.

IF: Yeah, they divide it into your lighter stuff and your more serious material. But you don’t see that division then?

YT: Not at all. If there is division, there is early stuff and new stuff.

That is the only division I can see— it’s a slow evolution. And I think the early stuff is…less serious, in a way or more simple…I don’t know—I was younger.

IF: There have been classical composers who have done rock albums, and then there have been rock musicians—like Jonny Greenwood and Nick Cave—who have done scores.

I feel like with you there’s not really a distinction between rock or pop or classical.

YT: Yeah, and if I had to be in one category I am more in the second

14 interview

one than the first. For me, it was more unusual to use acoustic instruments because it’s not my culture. But I came to acoustic instruments just because of the samplers in the 90’s. I used to have a rock band from [age] fifteen to twenty-one. And then after my band members went to do other stuff I started to make music on my own. I studied violin and piano— classical music—but really only for a short time—from [age] six to twelve.

And I was so disgusted about this [classical] world that I wanted to make music that had nothing to do with the classical world. When I was twenty, twenty-one, and I started to make music on my own I got bored sitting all day long listening to tons of CDs and vinyl trying to find a good sample of classical stuff. So, I said to myself, “Okay, I play violin. Maybe I can fix it.” And just use it to be simpler and sample myself.

IF: So, you had to break free from

not a language.

It’s just a way to express abstract feelings—it’s really instinctive.”

being totally influenced by other music?

YT: Yeah, you know, when I was in a rock band I was really young. I was mainly being what I was a fan of.

So, for me, acoustic instruments like guitar and mandolin were completely new. It was impossible for me to copy something just because of the instruments. So, I think that’s how I found my own way of making music at the beginning.

IF: You’ve done a few soundtracks.

YT: Not a lot. In fact, I just made two soundtracks: Goodbye, Lenin!. And recently I made a soundtrack for a documentary [Pierre Marcel’s 2008 film Tabarly about French sailor Eric Tabarly].

IF: And then the Amélie soundtrack was just a compilation of old stuff?

YT: Yeah, which was strange for me because it was like covering my earlier stuff. I was so far from that even at that moment.

IF: Do you think there was anything really special about that soundtrack that made it your trademark, or do you think it was just the success of the film?

YT: I don’t know. It was like an open door for people to listen to my music. But I wasn’t expecting success with that. I even didn’t want the soundtrack to be released because at that time, the director wanted to change my titles because they had nothing to do with the movie. And I said, “If you do that, then there won’t be any record out.”

IF: With a movie score, do you think the film usually dictates how a score is written, or do you think it’s a little bit more how the score impacts the way the film is viewed?

YT: For me, music is not a language.

It’s just a way to express abstract feelings—it’s really instinctive. Music for me is just sound, and that’s means nothing, which is great. And pure, in a way. I think you can put whatever you want in a movie—you just need a reason. You don’t choose the “soundtrack of your life.” You can think hardcore death metal is the most romantic kind of music because you met the love your life with it. I’m really not as comfortable talking about soundtracks because for me it’s just completely another world. I think it’s impossible to even make a soundtrack. You can just make music, and it can fit with a movie, but for no reason. I made Goodbye, Lenin when my mother was sick, and that’s one of the reasons I said yes—because the story is about a son whose mother died.

IF: I was going to ask you about when you write lyrics in French versus writing them in English. You don’t really write the music in a different way for French or English lyrics?

YT: Yeah, it’s the same. There is a really good interview with Elliott Smith about his lyrics. He said that his lyrics didn’t make lots of sense—it’s up to the listener to build the story.

And I really believe in that in any way of expression. I don’t believe in creation—I think you just have to let the thing come and let it live by itself without any direct message. You can suggest something, but not tell it.

IF: For your new album, Dustlane, I’ve only listened to a couple tracks. I haven’t gotten the full album yet.

YT: Oh, it’s not yet downloadable somewhere?

IF: Not that I saw.

YT: Really? I guess that’s maybe good, maybe not? It’s good to listen to it all though, because there are eight songs that all link together.

There’s no gap, so it’s like one big song, except “Fuck Me”, which is like an epilogue in a way, lighter.

IF: And how many tracks have lyrics on them?

YT: All of them. Sometimes it’s just like a sentence, but there are lyrics on all of them.

IF: You recorded most of it in Ouessant?

YT: Yeah.

IF: Did you record at home?

YT: Yeah, all the acoustic stuff was recorded in Ouessant, and then all the rest was recorded in Paris.

IF: Does it make you more comfortable to record at home?

YT: It’s nice to be independent. You don’t have to think about money or the record company—to know that you can do it by yourself—to start an album and know I can record an entire album. And after, if I have the budget, I can go to a studio and everything, but I like the idea of independence.

IF: And you worked with Ken Thomas, right?

YT: Yeah. He was great—he mixed the album. I also made a tribute album to [English experimental group] Coil. So I was listening to a lot of Psychic TV, and one of my favorite Psychic TV albums was produced by Ken Thomas. And after, he worked with M83 and Sigur Rós, and I really like how he works with vocals. So I called him, and he was really happy to do it. In fact, I think he was the only man on Earth who could have done this album, because there are so many layers, so many tracks. I wanted to have a mix where you can hear everything, but still a bit blurry. And we were completely on the same page, which was great.

 Check out some of Yann's work

Amélie, 2001

IF: You mentioned your mom earlier.

The press description mentioned that you lost her as well as a friend of yours while making the album. Did that come through in the album?

YT: Yeah, but in a positive way. I guess I made the songs happier, because you have to enjoy life. Death is part of life, and sometimes it makes you realize you’re still alive.

Goodbye, Lenin!, 2003

IF: What kind of music do you usually listen to at home?

YT: In the last year I’ve spent a lot of time listening to Electric Prunes, and also a lot of German. I’m a very big fan of Neue and Can. Also, do you know Brainticket? It’s a German band, and they have an album called Cottonwoodhill, which is really strange, but really really good. Also new stuff—I think Animal Collective is a great band, and I’m not the only one.

Tabarly, 2008

IF: Have you ever reached out to a newer artist to ask them to collaborate?

YT: I don’t believe in asking to collaborate. I like when you meet someone, and you say, “Great, why not?”

Instead of phoning the guy and saying, “I like your work.”

Dust Lane, 2010 if

15

interview

REVIEWS My Beautiful Dark Twisted Fantasy Kanye West (Def Jam / Roc-A-Fella)

You’ve got to hand it to Kanye West. After a string of potentially career-ending public embarrassments, he took a break to search his soul and reflect on his role as an entertainer and artist. What did he find exactly? After listening to his latest, My Beautiful Dark Twisted Fantasy, that might be a scarier question than one might think. This is not the work of a sane human being. It could only have come from someone as selfabsorbed, demented and egomaniacal as West, but it’s the product of nothing less than a musical genius.

Fantasy is the best album of Kanye’s career, which is saying a lot considering he has spent the better last half of a decade redefining the world of hip-hop. There are no apologies, there are no attempts for redemption —there is just a golden pedestal for Kanye to display his inner demons to the entire world. Fantasy takes a deep look at what fame and power can do to a person. Lucky for us, in this case that person possesses a frightening amount of talent.

On the first track of the album, Kanye asks, “Can we get much higher?” Throughout the album he succeeds in crashing through higher and higher ceilings, creating a body of work that is big in every sense of the word. There are more featured artist for another two albums (Eminem, Common, Kid Cudi, Alicia Keys, and Jay-Z, among many, many more), even more single-worthy tracks, and barely a moment that West doesn’t have you hanging on his next dark and twisted word. “No one man should have all that power,” Kanye growls in the epic first single, “Power.” In perhaps the most egotis-

16

tic, but also most inspired, five minutes of music you’ll hear all year, the track succinctly sums up Fantasy in a thematic sense. Among countless other one-liners sits, “I don’t need no pussy, bitch I’m on my own dick.”

Kind of says it all, doesn’t it? Kanye reflects on the oftentimes-negative effects of power but doesn’t plan on giving up his own anytime soon.

Fantasy challenges the listener to follow Kanye down the rabbit hole that is his inner consciousness.

“All of the Lights,” which features an Elton John piano solo, follows a fictional character as he fights for custody of, and a relationship with, his daughter. Again, Kanye displays the cons of being under “the lights,” but never asks for forgiveness. In the chorus, Rhianna sings, “Turn up the lights in here baby, extra bright I want y’all to see this.” Kanye is calling all eyes to him, thriving on the attention regardless of the circumstances.

He uses this power as a platform to do what he does best and has made a career out of: being Kanye West. “Runaway” sits as the clear centerpiece of Fantasy. Here, Kanye mixes some of his most lush, ambitious beats to date with extremely introspective and painfully personal lyrics. When he toasts the “douchebags,” he seems to be referring to

himself. He revels in his flaws, partly because they are what helped spawn the song itself.

It’s almost impossible to pick a favorite track from Fantasy. There’s simply so much richness that every listen allows for new perspective.The haunting soul-inspired beat of “Devil In a New Dress” and Rick Ross’ verse make the track a standout candidate.

Similarly, Nicki Minaj’s appearance on “Monster” is without question the musical high water mark of her career, as she more than holds her own in the company of hip-hop royalty.

My Beautiful Dark Twisted Fantasy is not so much therapy for West as it is catharsis. He bears his bones and shows us his soul, twisted urges and egotistic flaws. Back from the abyss, Kanye does not get down on himself.

In fact, he does the exact opposite and shatters all notions of grandiosity that contemporary hip-hop production knows. When all is said and done, I’ll have no problem with putting up with Kanye’s shit for however long he makes music like this.

bryant kitching

“ Blood Warrior

Blood Warrior Blood Warrior (Ernest Jennings)

“Blood on the sheep, let all the blood out/ Get on your knees, and rip the scars out” goes the chorus of Blood Warrior’s opening track, “Blood Letting.” It’s a love song, actually, but a disturbing one. The kind of horror song that’s almost too good and too intriguing to end up in any horror movie. But it’s over before you get the chance to revel in its beauty.

On the following track, however, you have all the time you need; the slow, solemn “Choir” leaves you wondering how you’re still hooked, even six minutes and only three-fourths through. It was probably unintentional, but the transition between Blood Warrior’s first two proper album cuts is the greatest demonstration of the band’s versatility. On Blood Warrior, we get the same nasally trill from lead singer Greg Jamie as we do in all his O’Death records, but he’s more a singer than just a frontman with Blood Warrior, and his choral, female-tinged [thanks to his wife, Kristin Kellas-Jamie] backing vocals do him well.

Jamie’s references to Robert Johnson and Townes Van Zandt give you an idea of the band’s country blues foundations, but even more present on the record is gospel.

There’s a vague spoor of ministry throughout the album, not least felt on “Snake Seer”’s proclamatory air; “Go and tell the world today there’s nothing left of me,” it begins in a full chorus that never lets up throughout the duration of the song. Blood Warrior never fall into a rut of mimicry, and they don’t even have to try—their style is so unique and vivid it’s hard to compare them to anyone. The album and song names themselves indicate the mood of the music (“Blood

Letting”, “Snake Seer”, “Winter’s Day”): sometimes somber, almost always haunting.

“King Day” is short and sweet, a song so buoyant it might sound out of place were it not for it’s sparse instrumentation, peculiar imagery, and Jamie’s anchoring vocals. “Our Ship Was Sailing” is a simple waltz that features the muffled, words of an elder storyteller. Jamie’s voice is most strained and O’Death-like on “Heaven,” but instead of the sonic punishment you might expect from the latter, Blood Warrior unwinds with a softly droning chord organ.

Kellas-Jamie takes the vocal lead on the album’s closer, “Winter’s Day,” a fitting conclusion as we enter the frigid months.

Blood Warrior is rough and irregular, not quite as ruthless as their name suggests, but delivering on a promise of unrefined emotion. It’s not grandiose or overproduced. It comes packaged with the flaws that accompany a group of music-making friends, but it simultaneously boasts the professional product of exceptionally creative minds. Jamie tests new waters with close friends, but the informality and variety don’t spoil the authenticity and flow.

Blood Warrior is a fine debut from a band that makes its motives clear: to release music as an end and not a means. It’s not party music (at least, not most of it), and it’s not study music. After several spins, I can’t tell you what kind of music this is, but it certainly has its place somewhere in the music world.

is a fine debut from a band that makes its motives clear: to release music as an end and not a means.”

james passarelli

17

reviews

Rewind

Shocktober Horror Under the Radar



FOR THE PAST

two Octobers, my friends and I have watched and re-watched a handful of genre defining films: classic camp as in The Evil Dead, independent macabre gruesomely portrayed in The Last House on the Left, studio terror à la The Thing and the list continues. Breaking away from some of these staples, the following recommendation comes from off the beaten path.

18 reviews

“ The

The House of the Devil Directed by Ti West (Dark Sky Films, Glass Eye Pix)

Most attempts at horror over the past few years have been emulations of the original auteurs’ works: Craven, Raimi, Carpenter, Romero. If one was to ask a studio such as Platinum Dunes (born from Michael Bay, of course) why it produces formulaic reboots, it might respond with “I’m still hungry,” also the response of Charles Foster Kane. While Leatherface was switching from gas to electric to keep up with his modernizing friends (a more economic but less effective transition), The House of the Devil went retro.

Having its widest release in only seven theaters across the country, this independent sleeper persuaded critics with its nerving atmosphere and homage to ghosts of eras past such as 1986’s April Fool’s Day, though the comparison extends only as far as costume and makeup. The House of the Devil follows Samantha (Jocelin Donahue), a college girl trying to come up with enough money to rent an apartment and escape her lecherous roommate. Samantha finds an advertisement looking for a “baby$itter.”

Naturally she pursues, despite her friend Megan’s advice and the forewarnings that Mr. and Mrs. Ulman (Tom Noonan & Mary Woronov) may want her for reasons other than taking the kids to Olive Garden. Upon arrival Samantha learns there are no children; instead, the eerie couple asks her to spend a few hours in the home to support their assumed to be invalid and off-screen mother should she need anything while they are away.

A paycheck is a paycheck.

Benefiting from a large depth of field and voyeuristic framings, the camera allows the audience to observe the story’s heroine while simultaneously basking in the 80s replication. The film begins with a lingering encroachment on Sam while she is previewing her coveted apartment.

The audience is eased in and accepts the melodic pacing as a testament to the time and method of suspense. As for the story’s villains, we are given more information than Samantha, predominantly through a white on black text about peoples’ awareness of satanic cults in the 1980s. Capitalizing on this inherent Hitchcockian suspense as well as a structure reminiscent of early Polanski, writer/director/editor Ti West builds an anxious tension as the impending doom unfolds. Though a simple narrative with few characters, it teems with delicacy and nuance, especially in how it depicts Samantha’s character arc throughout its runtime.

In the final act the film crescendos into a haunting conclusion, an ending that is not afraid to shy away from the warm Hollywood cliché.

The House of the Devil doesn’t sport a whodunit mystery, a cell phone without reception, or a pair of red and blue tinted glasses in its packaging. It sports a methodical, creepy, and rare approach to horror filmmaking in the 21st Century.

The House of the Devil is now available on DVD and Blu-Ray

camera allows the audience to observe the story’s heroine while simultaneously basking in the 80s replication.”

rob destefano

19

reviews

Naughty

80 MUSIC

(FOR MINUTESXMAS) OF

's

This year, IF compiled a list of some of our favorite Christmas music— including the good, bad, and the ugly. Our "Naughty List" features some of our guilty pleasures and some of the most hilarious Christmas tunes we stumbled upon this year. We hope you'll get a laugh or two out of it.

1

2:22 MXPX – “Christmas Night of Zombies” Imagine a Walking Dead Christmas Episode. Here’s your soundtrack.

Now go sever some zombie heads!

2

4:40 ROB THOMAS – “A New York Christmas” “And the sidewalk angels echo ‘Hallelujah.’” Although I’m not sure if “sidewalk angels” realistically are drunk homeless men or flash-mob carolers, Rob Thomas makes me believe they exist, somewhere—it is Christmas after all.

3

3:07 B2K – “Santa Claus is Coming to Town” Santa in the hood, ya’ll. And if you like this song, B2K has an entire album of more of the same, entitled Santa Hooked Me Up.

4

4:55 CRAZY – “We Jammin’ for Christmas” Wish you were in Jamaica for the holidays? Crazy takes you as close as you can get without having to buy a plane ticket. "They gettin’ outrageous."

20 reviews

5

3:01 GREEN DAY – “Christmas Day” Remember when pop punk was cool?

Bring it back with Green Day’s teenangsty punk Christmas tune.

6

3:54 THE SUPERIONS – “Santa’s Disco” WHAT?!?! Seriously, watch this video if you feel your Christmas party is nowhere near disturbing enough. I’m assuming B-52s front man Fred Schneider is aiming for self-parody, but that is no excuse.

7

2:40 BARENAKED LADIES – “Green Christmas” Feeling nostalgic about your favorite 90s alternative music, AND looking for something to get you in the Christmas spirit? Well, Barenaked Ladies has the perfect song for you.

You can have your egg nog and drink it, too.

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2:23 GUSTER – “Donde Esta Santa Claus” I’m not sure if I can put into words how absurd this Navidad-jam by Guster is. But I will say, the lyrics do include: “I hope he won’t forget to pack his castanets into his reindeer sleigh.”

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2:22 LADY GAGA (FEAT. SPACE COWBOY) –“Christmas Tree” “Yes everybody knows, we will take off our clothes.” This just might be the most naughty song on our list. Seriously, check out the not-so-subtle metaphors.

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3:17 BLINK 182 – “I Won’t Be Home for Christmas” “I’m growing tired of all this Christmas cheer.” A Blink song typical of the Take Off Your Pants and Jacket era—Mark Hoppus makes fun of his annoying relatives and run-ins with the cops.

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3:28 ELMO & PATSY – “Grandma Got Run Over By a Reindeer” “You can say there’s not such thing as Santa, but as for me and Grandpa we believe.” Need I say more? This one’s definitely a guilty Christmas pleasure.

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4:07 ADAM SANDLER – “Hanukkah Song” For all our Jewish friends lighting Menorahs instead of Christmas trees— we don’t want you to feel left out!

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Nice r

List

Our "Nice List" features some of the more "culturally relevant" Christmas songs this year, while also celebrating some of what we consider to be timeless classics this time of year. Hopefully these can bring a little fresh joy to your holidays. Enjoy!

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3:04 BLITZEN TRAPPER – “Christmas is Coming Soon” Putting a Christmas song on a debut album is pretty bold, and the Portland boys pull it off with ease (or at least that’s what they give off).

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5:20 THE WAITRESSES – “Christmas Wrapping” A new wave Christmas classic from the band that brought you “I Know What Boys Like,” it’s been a favorite since the 80s. It’s funny and a little cynical, but ultimately a great pickerupper. So what if we used it last year?

We’ll use it next year too.

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3:42 FEIST –“Lo, How a Rose E’er Blooming” In her own rendition of an old German Christmas hymn, Leslie Feist’s folk sound will help you stop to smell the poinsettias, or watch the snow fall during this busy season.

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3:05 TRANS-SIBERIAN ORCHESTRA– “Wizards of Winter” Make sure to sync your lights up to this one so the neighbors don’t show you up. While you’re at it, check your local arena calendar—these guys probably have three or four dates in your city.

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4:29 LOS CAMPESINOS! – “Kindle a Flame in Your Heart” Just the kind of X-Mas jingle you’d expect from Los Campesinos!, if you’d expect any at all. So good you might want to be playing it months after Christmas.

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3:44 BELLE & SEBASTIAN – "Twelve Days of Christmas" Want to impress your hipster posse with some alternative Christmas bsides? Belle and Sebastian have a whole album of them. This one features kazoos, triangles, and a whole slew of percussion sound effects.

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2:02 THE BIRD AND THE BEE – “Carol of the Bells” Inara George’s haunting croon presents this Christmas classic in a way you’ve never heard it before.

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1:58 BEST COAST & WAVVES – “I’ve Got Something for You” The ultimate indie couple join forces for a super-catchy lo-fi Christmas tune. The woooo oooo ooooo’s will be stuck in your head all day.

4:05 JUKEBOX THE GHOST – “Mistletoe” You might find yourself belting this Ben Folds/Billy Joel-esque ballad by Jukebox the Ghost in the shower. Just be careful if you’re staying with relatives for Christmas.

3:56 FLORENCE AND THE MACHINE – “Last Christmas” We all know Florence Welch, of course, from her unforgettable hit song “Dog Days are Over”—used in almost every advertisement that exists now, it seems. With good reason, though, because her voice sounds just as powerful in this live version of Wham!’s “Last Christmas” as it does in “Dog Days are Over.”

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4:19 MANNHEIM STEAMROLLER – “God Rest Ye Merry Gentlemen” Relax with fam to this synthy jam. Who knew that a simple rhythm change and a drum kit would make the most kick-ass Christmas carol kick even more ass? Chip Davis, that’s who.

He’s the mother of your child, and don’t you forget that. kathryn freund james passarelli

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playlist