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From the standpoint of plot, Crazy Heart isn't particularly original. The story centers around Bad Black, a washed up, alcoholic country singer relegated to playing bowling alleys and hole-in-the-wall bars. Along the way he meets an aspiring journalist and single mother named Jean, played by Maggie Gyllenhaal, and an unlikely romance blossoms. Yep, you got it, another story of the down-and-out grasping at a chance of love and redemption (see The Wrestler). As familiar as it all sounds, Crazy Heart never gets bogged down by cliche. Jeff Bridges' understated performance not only keeps the film afloat, it elevates it to must-see fare. His chemistry with Gyllenhaal, an actor nearly 30 years his junior, is very believable and as self-destructive as he is, you find yourself really pulling for him. Performances from Colin Farrell as Blake protege Tommy Sweet and Robert Duvall as Blake's closest friend round out a solid supporting cast, but it's Bridges' nuanced performance that will deservedly garner a bevy of award nominations and perhaps earn him a much-deserved first Oscar. -- Capt. Obvious
Verdict:
New Wax
With 2008's Nation Of Heat EP, Joe Pug established himself as an important new voice in an increasingly stale folk genre. Once on the playwright track at the University of North Carolina, Pug quit school, moved to Chicago, and recorded his jaw-dropping EP by night while working as a carpenter by day. The mini-album produced a swirl of critical praise, and after touring stints with the likes of Steve Earle, M. Ward, and Josh Ritter, Pug returns with Messenger, his first full-length album. Where hard-to-come-by studio time necessitated the bare-bones arrangements on Nation Of Heat, Messenger incorporates more production flare while still offering an intimate sound. The album opens with the title track, which is a marked departure from Pug's previous material. It is, simply put, a country song and a wonderful one at that. Rather than the familiar lone strum of Pug's acoustic guitar, "Messenger" gets the full-band treatment with gorgeous accompanying pedal-steel. While Messenger exhibits a fuller, more country-tinged sound, Pug still pares it down on tracks like "Not So Sure" and the powerful "Bury Me Far (From My Uniform). Lyrically, Pug still wields a sharp pen and he tackles themes of war and love with what seems like effortless skill. He even slightly eschews the potent stream-of-consciousness feel of Nation Of Heat for a more concise, equally punch-packing approach. On the aforementioned "Bury Me Far," Pug muses "Bury me far from my uniform/ So God will remember my face." Similarly impactful lyrics abound on the chance-taking Messenger, and the shockingly young Pug (who's only 25) turns in yet another impressive album. -- Capt. Obvious
New Wax
Set for a February 23rd release date via Barsuk, True Devotion, the sixth full-length studio album from Texas-born, ex-Waxwing singer Rocky Votolato extends his pension for the country-tinged, soul-baring fare established on his last two albums, Makers and The Brag & Cuss. After years of touring, Votolato's private bout with depression and anxiety became overwhelming and he, for all intents and purposes, became a recluse. After spending a year holed up in his apartment studying existential philosophy, history, theology, and physics, Votolato's songwriting muse finally returned and True Devotion materialized. While tapped into the same sonic vein as his last few albums, the songs on True Devotion are more pared down and mostly acoustic. Thematically, Votolato tackles self-doubt, mortality, and life on the road. Votolato, a married man with two children, sounds road-weary and homesick on "Instrument" as he belts out: "Just wanna come back home to you again/ 'Cause I just wanna be free." Votolato's words are often understated yet loaded and he delivers them with the authenticity of a man privy to both the darkness and light. He muses on the finite nature of life on "Sparklers" when he sings" Sparklers only burn for so long," but elsewhere he sounds enlightened, hopeful, and very much in love with the woman he's chosen to build a life with. True Devotion, like life, is a mixed bag of emotions, and Votolato tackles that subject matter with a measure of honesty often unparalleled by other songwriters. -- Capt. Obvious

New Wax
".. Just calm the fuck down!" screams Gareth Campesinos! in unison with his bandmates on "This Is A Flag. There Is No Wind." It's an ironic sentiment coming from the hyperactive Cardiff, Wales band Los Campesinos!, whose newest album Romance Is Boring was recently released via Toronto label Arts and Crafts. While the band still exhibits a wealth of energy on the new release, they seem more keen on letting the songs breathe rather than packing instruments into the arrangements. Don't worry, the band still flexes it's punk-rock infused pop on the breakneck "Plan A," but elsewhere they seem more measured and concise. Romance veers away from the brightness of their debut Hold On Now Youngster and focuses more on the hard-edged sound of 2008's We Are Beautiful, We Are Doomed. Gareth's pen is as scathing as ever and he shifts from serious subject matter to sarcastic witticisms at the drop of a dime. On the particularly venom-tongued "Straight In At 101," Gareth half sings/half yells: "I think we need more post-coital and less post-rock/ Feels like the build up takes forever but you never get me off." When Gareth's not poking fun at music genres, he's musing on a close friend's eating disorder. This unpredictability makes him an interesting lyricist. With Romance Is Boring, Los Campesinos! turns in their most mature effort, but this growth doesn't mark a letdown in brute energy. After all, a band so in tune with the ennui of folks in their early 20's should sound a little bit pissed off. -- Capt. Obvious
New Wax
After years of rescheduling and delays, Swedish dream-pop heavyweights The Radio Dept. are finally set to release their third full-length album entitled Clinging To A Scheme in March via Labrador. It's been four years since Pet Grief, which peaked at #11 on the Swedish charts and garnered the band a devout worldwide following, and it seems the time and effort the band poured into Clinging To A Scheme has paid off in spades. Brief but intoxicating opener "Domestic Scene" tangles hypnotic guitar and echoed vocals over a repetitive drum beat to stunning result. Next is the surefire hit "Heaven's On Fire" with its hazy vocals, highly danceable rhythm, and unexpected saxophone. Clinging To A Scheme perfectly marries the band's earlier pension for noise with the more dreamy aesthetic of Pet Grief and takes that marriage even further. Pulsing synthesizers mix with fuzz, ingeniously placed electronic beats, and lush, ethereal vocals. From the reggae-infused "Never Follow Suit" to the soaringly ambient "A Token Of Gratitude" to the driving early 90's indie-rock reminiscent guitars on "The Video Dept.," Clinging To A Scheme not only delivers in variety and quality but it justifies the album's long road to release. There's not a misstep to be found on this release, which easily ranks as one of the more notable of this young year. -- Capt. Obvious
You Should Know
Hailing from Chicago, The Bears Of Blue River have just dropped a new EP entitled The Killer Bee Scare. Engineered and produced with friends Margot and the Nuclear So & So's, The Killer Bee Scare combines breezy indie-pop with folk sensibilities. EP opener "Crayola" builds slowly over a jangly guitar riff and simple drum beat only to crescendo into a chorus of voices. "Betty Homemaker" is a sunny little folk tune that features playful tag-team his and hers vocals. Infectious harmonies abound, and the mood in both instrumentation and lyrical themes remains light and fun. Even when Gavin Wilkinson and company implore "Don't waste your time on me!," the backing music seems all honeybees and flowers. This melodically addictive little EP seems unfit for a January release date. The Killer Bee Scare seems better suited for spring. It's the musical equivalent of a light-breeze bicycle ride on a clear, sunny day. -- Capt. Obvious
You Should Know
Washington-state band Yarn Owl creates music that not only evokes imagery of the Pacific Northwest but they do so without skimping on the pop sensibility. Their 2009 limited edition cassette release Tiny Dots masterfully combines a lo-fi aesthetic with sweeping reverb-heavy guitar play, echoed vocals sure to please anyone keen on Fleet Foxes and Band of Horses, and a knack for catchy harmonies and smart arrangements. On Tiny Dots opener "Yarn Blues," lead singer Javier Suarez's understated vocals interplay gorgeously with dreamy, pastoral instrumentation. This is pop music for the mountains. Having already shared the stage with heralded Northwest bands such as Grand Archives, The Helio Sequence, and Fruit Bats, the band hopes to build on their momentum with a new EP entitled Stay Warm due for release in 2010. If the instantly catchy single "Bicycle" is a reflection of the rest of the album, this band is in store for big things. -- Capt. Obvious