MY MOON, MY MING

It's a crime you haven't read the new issue of buzzsaw yet ...

So, the new issue is out. Copies are littered around the Commons and the college. It's the crime/Hurricane Katrina issue. I don't suspect it'll go online until the fall (or later in the summer at least), so you'll want to nab one up like the fast-disappearing print periodical it is. -APF


Striving in Greater Hopes
At first glance, you wouldn’t expect the petite frame of Cyrille Robes to produce such a powerful and soulful voice, but then again the Long Island, NY based band Striving in Greater Hopes (S.I.G.H) has grown accustomed to surprising people. Fusing melodies and catchy lyrics, S.I.G.H produces music that is both hard hitting and raw. S.I.G.H’s aggressive approach to song writing and their mixture of so many different genres, including metal, pop, hard rock and punk, really gives most, if not every listener something to enjoy. Cyrille’s melodic voice perfectly balances the heavy rock riffs of the rest of the band. With their sound echoing bands such as Incubus, Evanescence and Killswitch Engage, S.I.G.H’s metal-driven pop rock is nothing short of entertaining. Their sound remains fresh and unique by combining various styles of diverse bands, yet still adding their own spices into the mixture. Bassist and back up singer, JayR Castillo, accompanies Cyrille’s graceful and upbeat singing with his energetic screams throughout different tracks on their self-titled EP. With their fast riffs and thoughtful lyrics, Striving in Greater Hopes creates unforgettable music. If it’s not their fusion of genres that will get you hooked on each track, it’s the catchy choruses. Each track on their EP has a chorus that will inhabit your mind for days on end and song titles like “Ignoraphobia” and “Schandenfreude” are sure to get your attention even before listening.

S.I.G.H’s 4-song EP rocks from start to finish. Each track has its own unique style, and each band member’s talent brings something important to their sound. Jeff Lyons sets the pace on the drums, JayR brings the groove on the bass, guitarist Jason Mueller and Ithaca College senior Daniel Buquicchio add the killer riffs and Cyrille brings it all together with her amazing voice. With all of their own original material and growing fan base, S.I.G.H continues to tour all around the North East with scheduled concerts almost every week. Check out their music and tour schedule. Catch a show if you’re in the area. You won’t be disappointed. -Jackie McBrien

A Night at the Drive-In

If Quentin Tarantino and Robert Rodriguez, the exalted directors of Grindhouse, know anything, they know crappy movies. Through some postmodern loophole, they are Hollywood’s chief purveyors of comic book crud passing off as art. With Grindhouse, their intent is not to simply pay homage to their dollar-bin influences, but instead downright emulate them; and I don’t think any other directors could have done the job better.

The result is two “mini” (ninety minute) movies and a smattering of horror-movie-parody trailers that were lovingly directed by such schlock-and-gore fans as Rob Zombie, Edgar Wright (Shaun of the Dead) and Eli Roth (Hostel). Everything is exactingly in sync with a seventies drive-in double bill; even the film stock has been washed out and aged. In terms of atmosphere, Tarantino, Rodriguez and their cohorts are geniuses; one leaves feeling sociable and giddy.

The first feature, Rodriguez’s Planet Terror, culls all of the clichés from the now-hackneyed zombies-on-the-rampage genre: a small town setting, a well-intentioned hero with a past, military complicity, a liberal volume of blood spray, and an apocalyptic ending. This segment is not particularly memorable, but it was so overwrought and so full of cheesy dialogue that it never lost my attention; disposable movies such as this should just wash over you. The cast has all the right stock players – people that never have and never will become stars, and have since given up trying. Some, like Michael Biehn (the protagonist in the original Terminator plays a gruff sheriff here), and a tired Bruce Willis, are jokes in and of themselves.

Tarrantino’s flick, Death Proof, despite being full of horny girls and mean muscle cars, actually betrays its roots at times. An early scene at a bar, for example, could be the set-up for a more substantial film. To my surprise, the middle actually sagged. Tarantino, the writer, got indulgent; his attempts at characterization go nowhere and – worse – lack his trademark wit. There’s a very long take that spins around a group of girls at a table that seems like something out of Grand Illusion and not Vanishing Point. And there is a whole lot of build up for a stunt that seems comparatively unimpressive. But the movie zings when Kurt Russell is on screen as an old TV stuntman who likes to use his “death proof” car as a murder weapon for unsuspecting women. He goes between being a smooth but world-weary charmer while he’s on the winning side and an apoplectic wuss when he’s on the defensive. He finally harasses the wrong girls – themselves Hollywood stunt people – who decide to get back at him and then some.

Their car chase/dog fight is probably the best that I’ve ever seen on the big screen; I’d put it next to The French Connection without flinching. One friend likened watching it to getting high; the choreography, coupled with the feminist revenge fantasy – because you really want to see the murderous old chauvinist finally get his comeuppance – really leaves you feeling elated. It’s the perfect high note for Grindhouse to end on.

The beauty of this movie is that it's wholly loyal to what it’s doing; Rodriguez and Tarantino never try to elevate the material into what some critics mistake for “art.” This is empty, compelling popcorn entertainment, and the perfect movie-going experience. And unlike movies, such as 300, it's thoroughly witty and without a nauseating flair for propaganda.

-Elliott Feedore

more music. . .

In addition to the previously discussed FREE events this weekend (two awesome buzzsaw shows, click here if you don't know), there's an assemblage of other activities. Directly after our Friday- Robot Ate Me- show there'll be a dance party fundraiser for the Ithaca Opera Project right at No Radio. Bob describes it as follows:

Friday, April 20th at 10 pm
Dance Party
Love-In vs. Freak-Out
No Radio Records
312 E Seneca St
$3/18+

Also, the same night there's a 10pm Fanclub show at the Lost Dog with Ike Yard,"NYC electro / no wave / industrial band from the early 80s." Check out Natasha at the Times' story on that.

If you still want more music after the mass of concert-parties this weekend, this Sunday Mara Levi will be playing a free show at Felicia's Atomic Lounge (508 W State St) at 7pm. She's from DC and plays pretty cool singer-songwritery stuff.

MUSIC!

These shows will also serve as the collective release parties for the first-ever Buzzsaw Haircut Compilation CD.