04.19.09
Posted in Books at 11:31 pm by Administrator
This is the first book in the Psi Corps trilogy, and one of the first B5 books to be written based on an outline by JMS. I still have my first-edition paperback copy of the book, and it was definitely interesting to go back for a re-read after so many years.
The first thing that struck me was how it definitely feels like it was written from an outline from JMS. And I don’t necessarily mean that in a good way. The story is essentially the story of Kevin Vacit, the man who would set the Psi Corps on its course through history while also setting up a resistance to keep it in check. It’s the story of where Vacit came from, how he fooled the world into believing that a mundane was leading the effort to control those dangerous telepaths, and how he begat Alfred Bester. Along the way, Kevin Vacit manages to learn, and keep very quiet, the truth about the origins of human telepaths.
In terms of shedding light on the hyper-detailed history of the “Babylon 5” universe, the book does its job. It introduces, among other things, the interesting notion that the telepath underground was a necessary counterweight to the Psi Corps. Unfortunately, the story is occasionally too scattered for its own good. It often feels like the author was under a deadline for the first book, and just did whatever he could to get the job done as quickly as possible. As such, some portions of the book are barely more than a slightly fleshed-out bullet point. Where the story could use much more depth and consideration, the author jumps to the next bullet point.
The end result is a book that sounds a lot better in theory than in reality. Fans of the series will definitely enjoy the book the first time around, as revelations abound throughout. But the book doesn’t hold up well the second time around.
Rating: 7/10
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04.05.09
Posted in Books at 11:47 pm by Administrator
This is the third novel in the soon-to-be-completed “Wheel of Time” series. Much like the first two books in the series, the narrative is extremely detailed, almost to the point of being overly so. Jordan writes from the perspective that almost every single possible moment of a character’s life should be conveyed in exacting detail. It can be overwhelming, but there’s no question that it serves to create a deep and believable fantasy world.
After the previous novel went to great lengths to draw parallels with Arthurian legend, it felt natural for the story to turn towards a riff on the Excalibur lore. I thought that would mean that the book would focus on Rand, but I was pleasantly surprised. Rand is barely in the book, and when he is, he’s barely maintaining control. Instead, the story focuses on the Tar Valon Trio, Perrin, and Matt, all engaged in their own subplots while sliding towards a common resolution with Rand.
Considering how often the characters have mentioned that a potential Dragon Reborn must be “stilled” if he gets too far out of control, it’s interesting to note that none of the rather disturbing effects of Rand’s barely-restrained power qualifies as “too far out of control”! I suppose it’s somewhat less than the breaking of the world, when one gets down to it.
I can already see where future books could get bogged down in the details and maddening subplots. In a way, these novels remind me of the fantasy equivalent of a Tom Clancy novel. As long as there’s a sense that the extreme detail and meandering story will arrive at a logical (if temporary) resolution, then all is well. But it’s very easy to stray into territory where several hundred pages will go by without much narrative progress.
Thankfully, I’m a relatively patient reader, so my threshold for such meandering is high. This book, however, is quite straightforward and managed to hold my interest throughout. Hopefully I’ll feel the same way when I resume my journey through the saga!
Rating: 8/10
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Posted in Books at 11:47 pm by Administrator
Considering how long the editors for the Trek book line planned out the arc that culminated in the “Destiny” trilogy, a rather ambitious “reboot” of the novel version of the Trek continuity, it’s good to see that the very next book managed to set the stage for the next big event. In fact, this book is all about weaving the fallout of the Borg invasion into the next big thing on a more personal level.
I can definitely see why this wasn’t received particularly well by the masses. This is very similar to “Articles of the Federation” in style, and that was a definitely “love it or hate it” novel. I, for one, loved that book, so the similarities were much appreciated. I’m a sucker for character, so after a massive trilogy focused mostly on plot and continuity, a character-driven novel hit the spot.
Sonek Pran is the main character, and he uses his political connections from involvement in previous administrations to grease the wheels with foreign powers when the cleanup from the Borg invasion starts to break down. Sonek is a bit of an insufferable character, a bit of a know-it-all, until it becomes clear that he comes from that classic literature mold of the “expert who can’t fix his personal relationships”. That humanizes Sonek just enough to keep him interesting.
This book actually made me think about the differences between the Star Wars and Star Trek novel lines. The Star Wars line has been fairly consistent, especially in recent years, with the intention of putting together a cohesive novel continuity. They extend the story in large chunks with an overreaching arc, usually building out of the previous event. But as the recent “Legacy of the Force” demonstrated, the writers seem to be caught in a bit of a rut. They’ve all but played out the reasonable opponents to struggle against, even if the books are still readable.
Star Trek, on the other hand, is blessed with more sources of conflict than one can count (which is ironic, if one thinks about it). Yet they’ve struggled the most when they try to introduce massive and transcendent enemies like the Borg. Those threats begin as overwhelming and awe-inspiring as a result, but over time, the only way to keep them at bay for any period of time is to weaken them, bringing them down to size. And in turn, that sense of awe is lost.
It’s far more interesting when the enemy is more subtle, more relatable from the beginning. That’s what makes the Typhon Pact so intriguing. It’s logical within the context of the Trek universe as a whole, and also logical in terms of the fallout of the Borg invasion. It actually reminds me of the best elements of the Dominion War. There’s a reason why “Deep Space Nine” was my favorite modern Trek series, and I see the same potential in the Typhon Pact.
As the novel that starts the ramp-up to the Typhon Pact, this sets the tone for something a little more political, a more little personal, and a lot more complicated than invasion by an overwhelming power. This is also a step away from overused villains like the Borg, which I personally wanted to see.
Rating: 8/10
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03.14.09
Posted in Books at 11:22 pm by Administrator
This is the first novel in a quartet set during the timeline of the original series, rather than the previous prequels and sequels. On the one hand, this approach grounds the story in more familiar waters. On the other hand, this serves to highlight the glaring differences between the Frank Herbert continuity and the new canon that has been shaped around it.
All things being equal, I don’t hate the content of the new canon; I simply see it as one vision of how it might have been finished and fleshed out. It’s the same way I regard the “Second Foundation Trilogy” with respect to the original Asimov material. It proposes a more definitive ending and interpretation, but it’s just that: an interpretation. The originals stand on their own, and the new canon is, without debate, a kind of revisionist history.
As such, I’ve always viewed the books from a meta-fictional perspective. The originals present one view, the new canon another. Historical novels always fudge facts to support their interpretations, and so the same follows suit here. I don’t accept much of the new canon as the intentions of Frank Herbert, but they do manage to remain fairly consistent within their own skein.
This is, of course, why the novel is not just a bridge between “Dune” and “Dune Messiah”. It also touches on a “forgotten chapter” of Paul’s life, resolving items left open at the end of the “House Trilogy”. In the process, items mentioned in passing in “Dune Messiah” are expanded upon, sometimes in unusually satisfying ways.
Yet this is damning evidence in and of itself. Brian Herbert and Kevin Anderson are so consistent with their own plot threads, characterization (however shallow), and timeline that it’s hard to believe that they would somehow manage to make so many mistakes in terms of inconsistencies with the original novels. Several instances in the book are designed specifically to gloss over earlier mistakes and claim that they are, in fact, just the result of propaganda. In other words, the authors essentially use this novel to establish the novel “Dune” as nothing more than an in-story example of Irulan’s efforts to control perceptions of Paul’s jihad and empire.
This is hubris and disrespect on a level that is practically beyond words. Had such an interpretation been reserved for the epigraphs in “Dune”, it would have made perfect sense, as it serves the purpose of propaganda within “Dune” anyway. It would have been consistent. But placing the entire novel in that context? It’s effectively saying that the Frank Herbert novels were “wrong”, and the new canon is “right”.
It certainly makes sense of the decision to treat the original continuity with such poor care, picking and choosing what to absorb into their own self-aggrandizing vision of what should have happened. This is unfortunate, because the book is one of the better “new canon” efforts. One glaring and unnecessary choice of ego overshadows it all.
Rating: 7/10
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03.12.09
Posted in Music at 11:35 pm by Administrator
The previous two albums by U2, as well as the “best of” compilations in the post-“Pop” era, have represented something of a return to a more straightforward rock approach. Both albums are an amalgam of “War”, “Joshua Tree”, and “Achtung Baby”, and as such, they touch on all the things that fans love about U2. At the same time, the past several years have delivered some truly horrible lyrics. Bono’s writing can go from poetic to clunky in a matter of seconds. So the question going into this album was twofold: 1) will U2 continue to deliver more of the same, and 2) will the lyrics be more inspired?
1) No Line on the Horizon – This song gets the album off to a decent start. It sounds a lot like the more rousing anthems from recent albums, with a bit more atmosphere. One thing that I did notice, of course, is the continued degradation of Bono’s upper register. He struggles a lot in this song. (7/10)
2) Magnificent – This is easily one of the highlights of the entire album, and even transcends much of the material from the past decade. There are immediate comparisons to “The Unforgettable Fire” and its more experimental “European” sound. This would be great live! (10/10)
3) Moment of Surrender – The experimental tone continues here, with a gorgeous and meditative epic. The music here is wonderful, and while the lyrics are a bit pretentious here and there, they fit the tone of the piece. (9/10)
4) Unknown Caller – The song starts out well, continuing pseudo-“Unforgettable Fire” vibe. The music is particularly strong. The chorus, however, is weak and fails to match the excellence of the musical landscape. The unfortunate thing is that the song would work perfectly without it! (7/10)
5) I’ll Go Crazy If I Don’t Go Crazy Tonight – This song is a bit of a step backwards, and sounds like it would fit better on “All That You Can’t Leave Behind”. It’s the kind of song that would never be missed if it was absent. Distressingly average. And that opening falsetto is just plain awful. (7/10)
6) Get On Your Boots – Easily the weakest song on the album, and tonally, it doesn’t really fit. I have no idea why they would have chosen this song as the first single; it doesn’t really represent the album very well! It makes the band sound unfocused and out of touch. (5/10)
7) Stand Up Comedy – This brings things back in the right direction. This is often a standard rocker, but moments soar, and this is going to be a great song live, particularly during the chorus. (8/10)
FEZ – Being Born – This is quite unusual for a U2 album, but it works beautifully. It fits the overall experimental tone of the album, and it highlights the musical ability of everyone involved. This is the kind of song that works within the context of an album. (8/10)
9) White as Snow – This song starts out in the same vein, and continues with a maudlin tone that is reminiscent of certain songs from “Rattle and Hum”. It never quite soars, never quite touches that next level, but it is a solid track for the album. (7/10)
10) Breathe – Starting with a roar, this is another song that will be incredible live. There are some lyrical issues along the way, but nothing too horrible, and the structure of the vocal lines is different in a good way. It’s the last major statement for the album, and in that capacity, it’s a strong one. (9/10)
11) Cedars of Lebanon – This is a relatively quiet coda to the album, touching more on the atmospheric elements of the album and tying them together, beginning to end. The lyrics are a bit hokey, to be honest, but this is more about mood and message, so the preachy tone is to be expected. The ending, however, is a bit abrupt, leaving the album feeling unfinished. (7/10)
With this album, U2 avoided the temptation of repeating themselves again, and for the most part, took the better elements of the past few albums and incorporated them into material closer to their artistic and experimental leanings. While the music certainly continues to be excellent, in some ways expanding on the established sound, the lyrics remain a weak link, continuing the trend that began in the wake of “Rattle and Hum”. Interestingly, the band has noted that they have more than enough material for a second album, closer to their usual sound, and they may be releasing that in the near future.
Final Rating: 7.6/10 (above average)
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03.02.09
Posted in Music at 1:40 am by Administrator
Morrissey was one of my favorite artists in my college years, and I associate his music very strongly with a certain old friend from that time of my life. I was always sorry to see the Moz drop off the map, and was thrilled with “You Are the Quarry” when it was released. I was less moved by “Ringleader of the Tormentors”, the follow-up, so I was a bit concerned about this latest collection.
1) Something is Squeezing My Skull – The album gets off to a rousing start with this track. The lyrics, as usual, are clever, cynical, and sardonic. I particularly the laundry list of antidepressants in the middle of the song. This is the kind of song that will be awesome live! (8/10)
2) Mama Lay Softly on the Riverbed – This song has its good points, including a driving rhythm, but the middle section is a bit of an unnecessary noisy mess, and that takes a bit away from the overall effect. What is essentially a song about wanting to lie down and die next to a dead mother is remarkably perky. (6/10)
3) Black Cloud – Another good rocker, and another one that should be great live. Nothing particularly distinctive, but a solid addition nonetheless. (7/10)
4) I’m Throwing My Arms Around Paris – This is the first single for the album, which I suppose I can understand. The song fits the classic Morrissey mold, both in musical style and tone. Even so, it’s nothing amazing, about on the level of “Alma Matters”. (7/10)
5) All You Need is Me – This brings the album back to a harder sound and a bit more vocal variety. This is sounds like a great bar song, especially as the end of a lively late-night set. (8/10)
6) When I Last Spoke to Carol – I’m not quite sure I get this song, from a lyrical point of view or the musical mash of rock rhythms and Latin horns. I’ll give them props for originality, but this is not the kind of song I would listen to often, that’s for sure. (6/10)
7) That’s How People Grow Up – This one starts out very oddly, with bizarre operatic singing over the usual rock chords. It never really transcends that beginning to find a particularly engaging identity. (7/10)
One Day Goodbye Will Be Farewell – This is a dark little rocker that will likely become a live anthem for fans. Those horns come back in again close to the end of the song, and the keyboards are a bit much, but it’s still solid enough to compete. (7/10)
9) It’s Not Your Birthday Anymore – This builds into quite a cruel rock ballad, to say the least. I can see this being used to good effect in some film and television montages. It’s about as close to a soaring U2-esque arena anthem as Morrissey will ever get. (8/10)
10) You Were Good in Your Time – This is a lot slower than most tracks on the rest of the album, and it seems out of place right from the beginning as a result. And then the song descends into a morass of noise for half the running time. It might work for some, but it didn’t work for me. (5/10)
11) Sorry Doesn’t Help – This is certainly a lot more upbeat than the previous track, and gets the album back on its original rocking course. It’s nothing distinctive, but at least it has a solid beat and charge to it. (7/10)
12) I’m OK By Myself – This is very much like the prior track, and really, like most of the album. It has a solid heavy sound, and the lyrics have the same snap and crackle, but it’s not soaring. It does, however, gather into a much heavier sound than the rest of the album before it ends. (7/10)
If Morrissey was looking for the chance to put together an album that would work for a brawling bar tour, then he was for the most part successful. Other than the obvious leading single, this is not the most radio-friendly fare, and if it wasn’t for Morrissey’s typical crooning or poetically devious lyrics, it wouldn’t sound like a Morrissey album at all. It’s a solid enough album, but there’s definitely better Moz material out there.
Final Rating: 6.9/10 (average)
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02.22.09
Posted in Books at 2:36 am by Administrator
When I returned to “Interview With the Vampire” quite some time after first reading it, I was shocked to discover how poorly it held up. The writing was horribly pretentious, the novel aspects of the story seemed to be missing, and it was hard to reconcile my fond memories of the book with the reality on the page.
Upon re-reading this follow-up novel, it was immediately apparent that this was the book upon which all those fond memories were truly formed. It’s not perfect, by any means, but the writing style seemed to be more polished and the ideas were far more substantial. The character of Lestat was always more interesting than Louis, of course, and that makes his long and tortured narrative a lot more involving.
I’ve always enjoyed stories that delve into “secret histories”, and that is a large part of the appeal of this novel. In the strictest sense, the story takes place in “modern” 1984; Lestat has decided to reveal the existence and history of the vampires to the mortal world through the 80s version of a cutting edge Goth band. Those framing sections haven’t aged well at all; they seem cheesy and self-important (which, frankly, fits Lestat like a velvet glove).
Once Lestat starts telling his autobiography, however, the story becomes almost timeless. The French world of Lestat’s young mortal life is rendered in compelling detail and his libertine sexual tastes are explored just enough to communicate Lestat’s serious psychological needs. Two things stand out as nearly perfect: the exploration of Lestat’s unique role in the vampire world, and the use of Lestat as a window for the reader into that world.
While “Interview” certainly gained the attention of millions of readers, this is the book that cemented Anne Rice as a mainstay in the “erotic horror” genre, something that she all but jump-started in the first place. It’s also interesting to note that the quality of her novels is in direct proportion to the depth and extent of the history that her characters are led to explore. “The Vampire Lestat” was the first substantial look into her vampire universe, so as one would expect, this is one of the strongest novels she produced.
Rating: 9/10
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02.09.09
Posted in Books at 1:01 am by Administrator
When I began reading this trilogy, I considered tackling each volume individually. I discovered, soon enough, that it would be a mistake to see this as anything other than one massive tale. This is more than just the culmination of the recent Next Generation relaunch; this is the culmination of several years worth of novels published in the post-“Nemesis” era.
As many know, I’ve grown tired of the Borg as the stock villain of the modern Trek era. They had become ravaged by internal contradictions of purpose and watered down by the vagaries of convenient depiction. In the wake of a few disappointing efforts to restore them as a threat, notably “Resistance” and “Before Dishonor”, I was disappointed when “Greater Than the Sum” failed to bring the Borg to their final and deserving end.
The Borg were also the subject of the initial attempts at a “Voyager” relaunch. Those books stalled before they had a chance to find their own identity. Instead, the threads that began in those novels were ultimately subsumed or ignored in the Next Generation relaunch.
This trilogy takes all of that into account, adds unexpected connections to the “Deep Space Nine” and “Enterprise” relaunch novels, and brings it all together into one unifying concept. The resulting conflict not only brings about the best depiction of the Borg since their original appearance, but manages to resolve their threat and expose their origins in one fell swoop. More impressive by far is the deft management of those aforementioned contradictions; the nature of the Borg now makes sense, as compared to those muddled depictions of the past.
There have been some complaints about characterization in the novels, but I disagree. What is often forgotten is that the characters have grown and changed since their last on-screen appearance. They’ve evolved. And frankly, this trilogy places them in the worst crucible imaginable, with no expectation of success (except, of course, on the part of the reader). Who wouldn’t seem out of character under that kind of pressure?
And that was another thing I found remarkably about this trilogy. It’s impossible not to recognize this as a major cataclysm for the Trek universe. It reminds me, in a good way, of “Unity”, the novel that culminated a few years worth of books in the “Deep Space Nine” relaunch. Everything since “Nemesis” has been leading to this. The trilogy delivers on that promise.
Rating: 9/10
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Posted in Books at 12:59 am by Administrator
I’m relatively new to the Harry Potter fandom; it’s only been about a year since I first picked up one of the books, let alone finished reading the series. So much of what is described in this memoir is enlightening to me. I heard of some of it from friends devoted to the series, and I’ve been basking in some of the fruits of those frantic fandom labors (particularly wizard rock), but I’m well aware of the fact that the peak years of the fandom have come and gone.
This book provides a glimpse into how the fandom emerged, how it grew, and the best and worst of the response to Harry Potter. It’s built around the framework of the “Deathly Hallows” release in July 2007, and for me, that was a nice touch. That it was one person’s journey through the fandom, and the journey of someone at the center of the maelstrom, gave it an educated perspective.
I honestly don’t understand some of the negative comments I’ve read about the book. A lot of criticism seems to be devoted to the author’s supposed attempt to ride on J.K. Rowling’s coattails. I don’t see it that way at all. Throughout the book is a sense of awestruck humility. It’s a testimony to one of the best aspects of fandom: literally anyone can end up being a voice for thousands, even millions, who share a common passion.
The book is riddled with dozens of examples of people who believed in the Harry Potter concept, believed in the world that J.K. Rowling has created, and have wanted to honor that through action and homage. As a fan of the Leaky Cauldron and a regular listener to Pottercast, I believe the author to be someone devoted to Rowling.
Sadly, the book doesn’t shy away from those who have sought, or continue to seek, some reflected personal fame and glory. Frankly, the author goes to great lengths to be fair and balanced, even when talking about certain individuals who have parleyed their connections to the fandom (or just the existence of Harry Potter novels) to their own ends.
This is not, in my opinion, a book written by someone who wants to make money off of Harry Potter. This is one person’s amazing accounting of how a fan came to experience some amazing things in the name of supporting something she loves. In the process, she gives voice to those who seem, to Muggles, a bit odd and a little frightening. But, as J.K. Rowling says herself in the foreword, this is a perspective that should not be missed.
Rating: 8/10
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02.01.09
Posted in Music at 6:01 pm by Administrator
The previous album by Keane, “Under the Iron Sea”, was an eclectic mix of different sounds, even as it was an evolution from the relatively simple songwriting of their debut. I was left wondering, as the release of this album began creeping up, if Keane would continue along the more contemplative and layered path with fare like “Atlantic”, or if “Is It Any Wonder?” was a hallmark of the future.
1) Spiralling – This song certainly answered my question. It took a moment to realize that this was, in fact, Keane, but it didn’t take long to appreciate what they were trying to evoke. This may sound too much like “The Killers” for some, but I love this song and could listen to it all day long. (9/10)
2) The Lovers are Losing – The same applies to this song. Keane has always been good at harmonizing, and the chorus is no exception. I can’t help but note that they went with a Jeff Lynne vibe with the production of this song, which is usually a bad sign, but I think it worked in this case. (9/10)
3) Better Than This – The first half of this song is a bit rough for me. I don’t like the vocal effect, and it feels like something is missing. That’s because it is, and when the additional layers come in later in the song, I like it a lot better. (7/10)
4) You Haven’t Told Me Anything – I find this song to be like many of the lesser entries in the Keane catalog: inexplicably repetitive, and not in particular interesting ways. This is one I tend to skip or leave off the Favorites list. (6/10)
5) Perfect Symmetry – Now this is more like it. Some of the lyrics may be a tad trite, especially in the choral section, but this is like some magnificent overwrought 80’s anthem, and I couldn’t love it more for it. I know it will sound pretentious to many, but wouldn’t this be awesome live? (9/10)
6) You Don’t See Me – I have to be in the right mood for the slower songs by Keane, and that applies to this song as well. The vocals are gorgeous, however, and the lyrical style is a bit more akin to the earlier albums, so it’s definitely a decent track. It’s just not one of the highlights for me. (7/10)
7) Again & Again – I love the anger of this song, how it almost attacks the listener. It’s also very energetic. This is about as close as Keane has ever come to a full-out rock song, and it works tremendously well. (9/10)
Playing Along – This sounds like a mixture of tracks from the previous album and some of the production effects introduced to their bag of tricks for this album. While it works, it’s not the kind of song that demands my attention. (7/10)
9) Pretend That You’re Alone – This sounds like something in a pseudo-classic style, perhaps 80’s era David Bowie. The message of the song is interesting, to say the least. Depending on my mood, this can be a fun song. I’d love to see how this would do as a single! (7/10)
10) Black Burning Heart – Take away the synthesizers and slow down the beat, and this would have easily have been one of the most powerful Keane songs imaginable. As it stands, it’s still a great song, but it could have been so much better in the vein of “Bedshaped” or “The Frog Prince”. (8/10)
11) Love is the End – This is more in the older Keane style than any other song on the album, with soaring backing vocals and beautiful towards the end. I’m not sure that it meshes well with the rest of the tracks on the album, but it’s a gorgeous song. (8/10)
12) Time to Go – Some albums don’t end quite right. Keane has not had that problem in the past, but I’m not sure about this as a final track. The previous song was, in my opinion, a better closer. The theme of the song makes sense of its placement, but the style of the song just didn’t hit the right note for me. (7/10)
Starting with a furious new sound, this album is not quite what I expected from Keane, but I can’t deny that it worked for me. Every Keane album has a handful of songs that don’t quite tickle my fancy, and that was true in this case. But it also had a few songs that I could sing along to all day. What else could I ask for?
Final Rating: 7.8/10 (above average)
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