It’s starting to get hot outside as the summer months slowly creep upon us, so naturally, we’re turning up the heat here for the latest edition of the Jet Fuel Jukebox. We’ve compiled 20 of the hottest tunes around for you this week.
Of the 20 tracks, artists include Holy Ghost!, Troye Sivan, and Frank Ocean.
I also want to specially mention Car Seat Headrest, whose song “Fill in the Blank” leads the playlist. Car Seat Headrest’s brand new album Teens of Denial is phenomenal, so if you enjoy the track included here, I implore you to dive into the entire album.
Last week, I reviewed Murder Party, director Jeremy Saulnier’s début feature from 2007. I found it to be a funny, unique little horror film, and especially impressive when stacked up against its minuscule budget. There are strokes in that film that exhibit a budding director whose future only holds better things. Just how much better, exactly, I don’t think anyone could have expected. Saulnier’s 2013 follow-up, Blue Ruin,isa masterful sophomore effort.
The revenge thriller has been a staple in film for decades. Death Wish, Kill Bill, I Spit On Your Grave — we’ve all seen movies in which revenge is the central motivator. In the majority of these films, the concept of revenge is the end goal of the main characters and, more often than not, it’s supposed to be a celebratory event. Revenge is seen as the proverbial cherry atop the blood-stained ice cream sundae.
In these films, we usually see the event that sparks the main character’s bloodlust. We watch in terror as they are betrayed, left for dead, or worse yet, bear witness to the death of their loved ones. We feel the pain that the protagonist endures, and maybe we even wish that we could be the ones to connect that final blow to the adversary. By the end, we’ve watched the protagonist go to hell and back to defeat their nemeses, and we cheer as the enemy finally gets what’s coming to them.
Hey, everyone! We’re back this week with another cool song. I chose a piece from the group Portugal. The Man. They not only have a unique, badass sound, but also present a unique perspective on the inconsistencies and hypocrisy of society — it’s total college student vibes.
I have classified their songs as “hooligan music,” because you can’t help but wish you were doing something illegal while listening (I’m not saying I have, but the music makes me feel cooler than I actually am). If you want to feel young and rebellious, listen to Portugal. The song I’ve chosen was one of the first I ever heard by them. It’s called “Modern Jesus,” and it’s from their 2013 album, Evil Friends.
Disclaimer: The Jet Fuel Review does not have any official stance on religion or faith, and this by no means reflects the organization’s views. Once again, I am simply analyzing a piece of art from my perspective. While this song appears very anti-religion, especially anti-Christian, we must remember that artists are free to their opinions and views just as we are. Personally, for the record, I am religious, but that doesn’t mean I cannot laugh at religion or recognize the various inconsistencies that humans create while following their faith — which is exactly what this song is talking about.
So, religious or not, I hope you can enjoy this week’s song!
Hi, blog readers! It’s Wednesday, so it’s time for another Pick-a-Poem post here on the blog. Each week we feature a new poem for you to discover. These poems all come from Poetry Daily, which is a great resource for finding new poetry. This week we’re featuring The Doublesby Kara van de Graaf.
According to her bio, Kara van de Graaf is a Chicago poet. Her first book, “Spitting Image,” has been a finalist for many awards, including the Levis Prize for Poetry from Four Way Books, the New Issues Prize for Poetry, the Crab Orchard Series in Poetry, and others. Her work has appeared in various publications, such as The Southern Review, AGNI, and the Best New Poets anthology. She is currently an editor for Lightbox Poetry, an online educational resource for poetry in the classroom, which she co-founded in 2015 with the poet Richie Hofmann.
Here we go again. It’s a new week, and that means it’s a new playlist as well.
In an attempt to avoid staleness, I’ve continued my efforts to add new songs and artists instead of resorting to the same old artists every week. And so, everything I’ve chosen for my half of the playlist this week is either a brand new song that’s been released in the past month, or an artist that I’ve just discovered.
This week’s playlist includes 20 phenomenal tracks from the likes of Gallant, Kanye West, and Katy Perry.
Welcome to Basement Dwelling, where I review new records that should be on your musical radar. What sets Basement Dwelling apart from other music review columns is that these are all albums that are currently residing in my record collection. No promo copy was given, no stream was listened to. Instead, a physical copy of an album was purchased before I listened to it. Don’t think of me as a critic, but as a music obsessive looking to open a dialogue about some of the best tunes that are currently being released.
Let’s head down to the basement and listen to A Moon Shaped Pool by Radiohead…
What makes listening to a new Radiohead record always such a great experience is the amount of layers you have to unpack. Whether it’s a sonic texture you didn’t notice the first time, or a lyric that you didn’t quite catch from Thom Yorke’s sometimes garbled vocal delivery, there’s always a level of depth and greater meaning to uncover and appreciate in every Radiohead record.
The last time around, on 2011’s ode to sampling and loops, The King Of Limbs, the band proved this in a record that felt pretty skeletal but showed how much great songwriting you can get out of studio manipulation. It felt robotic, which works in the tone of that particular record. Radiohead, being masters of never making the same record twice, have switched things up again, with a record that doesn’t feel so robotic this time around. In fact, it’s quite the opposite.
Over the following weeks, I will be reviewing the three films directed by Jeremy Saulnier, a particularly exciting young filmmaker who has been garnering a lot of traction these past few years. Perhaps not so well known to mass audiences, but definitely in the view of more niche horror/indie film corners of the spectrum, Jeremy Saulnier is a young writer-director best known for his critically acclaimed 2013 revenge-thriller Blue Ruin.
After seeing his latest release which is currently in theaters called Green Room, I went back and watched his previous films: the aforementioned films Murder Party and Blue Ruin. I will be reviewing his films in chronological order of release.
And so, Murder Party:
Murder Party is an 80 minute comedy-horror film from 2007 by a first-time director, created with virtually no budget, and featuring a cast of amateur actors. Admittedly, it doesn’t seem to have much going for it knowing that, but Saulnier and Co. actually work to create a humorous, lean, and unique horror film that is unlike any I’ve seen before.