Dorau The [Sports] Explorer: Playoffs Bring Out the Best in Sports

Kyle Dorau / The Recorder

Spontaneity is a wonderful thing when it comes to sports and being a fan. Hitting the road to see your favorite team only enhances an unplanned experience. Add postseason to the equation, and it’s a recipe for magic.

I woke up on Sunday and was cruising around online only to see that playoff tickets for the Boston Bruins (of which I am a diehard fan) against the Carolina Hurricanes had fallen dramatically on StubHub. Calling a good friend, we decided to call an audible on our respective Sundays, purchase a pair of tickets, and ship up to Boston.

The electricity in the arena was palpable. There was just a different feel to it. Despite the fact the Bruins lost 3-0 at the hands of a hot Cam Ward, I had a blast. The result didn’t matter. Just being surrounded by many fans who understood our passion for the team was enough to make it such a memorable experience.

There really is nothing like postseason play. It doesn’t matter what sport it is. Whether it’s professional, college, high school, or even in recreational leagues, a playoff game always feels different than the rest of the slate.

We’ve even had our own playoff magic right here in our backyard. The atmosphere for the 2007 Northeast Conference Championship in Detrick Gymnasium was something you could feel. I know I’ve hammered on this point before, but storming the court as part of a sea of blue shirts was a thrill that cannot be easily replicated.

Playoffs help create legends and define legacies. Look at David Ortiz of the Boston Red Sox. Struggling mightily this year, would any Sox fan be so eager to see him hit if it were not for his heroics in the 2004 season? Probably not. Look at Bill Buckner, also of the Red Sox. His error in 1986 was a rallying cry for Yankee fans everywhere for the better part of 20 years. The pressure we put on athletes is magnified tenfold come the postseason.

We’re in a time right now where hockey and basketball playoffs are heating up.  Magnificent players who are known by singular monikers or nicknames are fighting hard to advance their teams. Kobe. King James. Sid the Kid. Ovie. The winter stars have taken precedence here in the spring.

As writers and broadcasters, we love to assign the term “playoff atmosphere” to regular season games in hopes to give a contest more meaning than it actually has or somehow make it a more dramatic situation.

For CCSU Baseball, there is no need for it to be a more dramatic situation. They are in a tie for first place in a jam-packed Northeast Conference, but have no breathing room to speak of. Mount St. Mary’s, who sits on the outside looking in of the playoff picture, is just a game and a half out of first place. They come to New Britain this weekend to face the Blue Devils in a huge conference showdown.

Obviously it’s a very different feel between baseball and basketball, but it would be great to see some of that 2007 NEC Basketball Championship kind of support for the baseball team this weekend, even on a smaller scale. Grab some friends, head down to Beehive Stadium, and support the Blue Devils in what will no doubt be the biggest series of the year.

There are four games. No excuses. What better way to kick off a Thursday night out than a 7 p.m. game under the lights? That doesn’t work for you? Friday at noon there’s a doubleheader. Two seven-inning games. Catch one, the other, or both. Saturday at 1 p.m., the two teams collide in the series finale, which could dictate the momentum of the rest of the regular season.

If the Blue Devils can make it to New Britain Stadium for the NEC Tournament, that would be an even greater opportunity for fans to show support for Blue Devil athletics. Be spontaneous, take the 10 minute drive, and head to the Beehive this weekend. For all intents and purposes, it is playoff time. I encourage you to go experience the action and help the Blue Devils overcome the Mount en route to an NEC title.

Blue Devils Roll Past Nine-man Hartford United

Christopher Boulay / The Recorder

CCSU men’s soccer finished off their Spring Season on a high note with a 4-0 victory over Hartford United, giving the Blue Devils a 4-1-1 record for the Spring.

CCSU was only able to take a 1-0 lead into halftime when Robert Cavener’s free kick was nudged by Hadji Diop and easily went past the United Goalkeeper for the lead.

Coach Shaun Green was pleased with the effort by his team, especially throughout the entire Spring Season.

“[Winning 4-0] was a good way to end the season,” said Green. “We fell to their level during the first half, mirroring their style. But we have had a great season playing with our style.”

After halftime, the scoring floodgates opened, as Cavener passed across the face of goal and connected with Christopher Brown for a 2-0 lead.

“The goal was alright. It was a lot of work for [Cavener]. I just had to finish,” Brown said.

Cavener finally netted one of his own after tapping the ball right under the keeper for the third goal of the match.

Colin Nicholas added a spectacular strike that rounded out the scoring late in the second half.

“We have done well and only lost one game. The victory over [Western Massachusetts] was the highlight,” Brown said. “Hopefully we will take this form and use it as a stepping stone.”

Hartford United, a member of the Connecticut Soccer League that consists of mostly Jamaican players, in the fifth tier of the American Soccer Pyramid, moved the ball well throughout the match, but as the score line got wider, the team was visibly more frustrated. United received four cards, including two men sent off in the match.

“It was nice to play a team with a Jamaican style. The season has concluded great,” Green said.

Goalkeeper Chris Jones played the first half, while Paul Armstrong stood in net for the second half.

“We were not caught offside all game,” Green said. “Cavener played well, [Nicholas] had a great goal, Jones played well [in net] and [Aaron] Durr and [Jared] Spieker impressed as well.”

The match was suspended shortly before the 90th minute by the referee’s decision. Ryan Covey was hit with a hard slide tackle and was on the ground for an extended period of time. One of Hartford United’s red cards were handed out for the offense.

The Blue Devils begin season play against Vermont on Sept. 4 at the University of New Hampshire. Their home opener is against Holy Cross on Sept. 12.

Class and Taste Without the Snobbery

Charles Desrochers / The Recorder

Wallingford, Conn.’s Gouveia Vineyards prides itself on what sets it apart from the others: using only New England grapes and offering a truly unique and certainly casual wine tasting experience. 

But the vineyards bear no grapes just yet. The vines, sitting atop 15 acres of cultivated land, are budding and the rolling hills surrounding them are lush with green, but Gouveia expects to harvest the grapes sometime in late summer.

Despite the overcast weather on Saturday, patrons kept arriving at the stone building that houses Gouveia’s winery. Their attire ran the gamut from shirt and tie to an old Walter Payton football jersey.  

“We get so many age groups,” said Theresa Black, a bartender at Gouveia, as a group of college students were unpacking their bags of Doritos chips.

“I’d say that when it comes to wine tasting, it is as individualistic as art is,” said Black.  

Black and the other employees are stationed at the bar, waiting to escort customers through the list of wines that they have to offer. Gouveia’s employees aren’t bossy, they don’t impose and they don’t pester. They simply wait at the bar for the customers to come to them.

This kind of service sets the tone for an experience that feels natural and homely. The winery and lounge area are situated to offer a view of the vineyards to make for a scenic experience. After staring out onto the landscape for several minutes, it’s beyond easy to forget this is a business establishment. 

Gouveia offers seven red and white wines as well as two house blends. The vineyards’ chardonnays, rosé, cabernet and five other wines range between $15 and $22 per bottle. 

If a guest prefers something other than wine, they also offer non-alcoholic beverages like soda, coffee and tea. They do have a restriction, however, against outside beverages.

Gouveia does not sell food so they have adopted a policy that allows customers to bring whatever food they want. There is no minimum requirement for how many drinks a person has to buy to enjoy the room.

If someone wanted to drink a $4 glass of Seyval Blanc alongside a Subway meatball grinder they can sit and enjoy their meal for as long as they wish. 

“Sometimes we get parents who set up picnic blankets outside and watch their children run around,” said Black. Guests are also allowed to roam the vineyard as they please. 

She says that they try and keep parties down to 10 guests but if they grow larger, rarely is the rule ever enforced. Gouveia Vineyards also permits a tour of their wine cellar, should a larger party of guests request one.

What Joe and Lucy Gouveia have done is create a wine tasting experience that is so approachable it is amazing to think that neither their standards nor their quality have been lowered. It’s high-class presentation with low-class dress code. 

The vineyard is an inexpensive way to spend the afternoon. The options of food are limitless since guests eat what they choose to bring, and the wine is as good as any restaurant, but Gouveia’s local status makes it stand out.

With the semester coming to a close many of us will need some rest and relaxation in the coming weeks, Gouveia vineyards is as good as anything else.

‘Waiting for Lefty’ Delivers at CCSU

Jason Cunningham / The Recorder

Shouting fills the theater. As the audience enters they’re encouraged to “sign in”; to the left, sheets of paper and pens sit near the entrance. Chairs fill the room, circling the low stage. Actors run around, full costume, addressing you as if you were a character in the play you’re about to watch.

The cast of Waiting for Lefty successfully executes the illusion; instead of being an audience member, you’re now an angry cab driver of the 1930s, seriously considering the possibility of a strike. The room quiets, waiting for Lefty Costello, their committee president, to arrive. Everyone in the theatre is now a cast member. 

The CCSU theatre department certainly does Clifford Odets justice with their production of Waiting for Lefty, generating a believable atmosphere and an overall successful representation of the stress caused by the economic struggles of the play’s time period.

The April 28 opening performance, free to the public, was not without its subtle flaws, but those flaws were often overshadowed and forgotten due to the mostly excellent performances delivered by the young and talented cast. 

RJ Negron, who displayed some of the strongest acting of the evening, played the part of Joe, quite possibly the most dominating character in the play. He pulled off a classic New York accent without making it cheesy or overbearing, and managed to create an  extremely realistic romantic energy between himself and Edna, played by actress Annie Capobianco ‘11. 

Michael Adolph Dichello ‘10 also gave one of the highlighting performances of the evening, portraying the character of Harry Fatt so well, that he was actually an intimidating presence. Alongside him was Ben McLaughlin ‘09 as the Gunman, who completely embodied the violent force and questionable intelligence of the character, acting as an allegory to the period’s law enforcers. 

The performance was marked by an invested director. Josh Perlstein, an associate professor of theatre at CCSU, showed us through Waiting for Lefty that CCSU has a very worthwhile Theatre Department.

The vignette where Fayette and Miller argue the morality of producing poisonous gases for biological warfare was moving and powerful, capturing Miller’s symbolic step towards communism, as well as symbolically regaining his deceased brother by the scene’s end.

Perlstein’s ability to navigate his actors towards these waters encourages the idea that even at a college with a little known theatre department, the stage can be used to sufficiently display heavy themes and major commentaries about society. 

The present day’s weak economy and financial crunch made this tale of the working class hit closer to home than other plays the department could’ve chosen. You don’t need to be an underprivileged cab driver of the 1930s to relate to the episodes of human injustice depicted in this play, you don’t need to be a communist to appreciate it.

Fortunately, due to a great cast, director, and fantastic costume design thanks to Lani Johnson, this production of Waiting for Lefty proves that the often times overlooked CCSU Theatre Department is one of the university’s true hidden gems. 

Foreign Languages Celebration to Take Place Thursday

Ashley Foy / Special to The Recorder

The Celebration of Modern Languages will take place in Founder’s Hall on Thursday, May 7 from 9:30 a.m. to 2:20 p.m.

The Caribbean Center, Diversity Office and modern language department have put this event together to present the great opportunities CCSU has to offer in foreign languages.  

Breakfast and music with Centro Cultural Imbabura (music of Ecuador) will begin the day’s events, in addition to opening words from Dr. Lillian Uribe, chair of the modern languages department.

The next sessions will then focus on Spanish, beginning with a short presentation spotlighting the course abroad to Barcelona. From 9:45-9:50 a.m., an introductory Spanish class will present a poem from a children’s book, followed by original poems by students from the SPAN 375 class.

Switching gears to French, the FR 126 class will briefly present Francophone Regions, followed by the SPAN 226 class, who will switch into role-plaing shortly after.

 After the first round of presentations, music by Centro Cultural Imbabura will be played, accompanying the guests’ option to visit tables and projects presented by the students until 11 a.m. 

The short period will be followed by entertainment provided by an intermediate Italian class.

From 11:05 a.m. to 11:40 a.m. guests will hear information on a course abroad in China, a Spanish class that will perform interviews on stage, a newspaper presentation and more presentations before lunch.

Lunch and music with Centero Cultural Imbabura will allow guests a 25-minute break. During lunch, guests may roam the poster displays of student presentations and French students will take the stage for a 5-minute French Caribbean Dance.

The Spanish 304 class will then peform a 10-minute acting presentation, followed by the final presentation, a video project by the Ger 126 class to stretch beyond 1 p.m.

Music by Centro Cultural Imbabura will follow while guests may visit individual group tables and extended presentations.

Class Project Awards will be distributed for modern languages 200, Spanish 126/128, Spanish 191/291 and German 226/336, beginning at 2 p.m.

Individual student awards will be rewarded following the project awards.

A Landmark for Turkey, Three Monkeys Is a Stunning Work of Art

Michael Walsh / The Recorder

I often think that the absolute best films, aesthetics aside, are ones that are able to challenge its viewers morally. Three Monkeys, a crime drama out of Turkey, is one of the latest champions at being able to make a lot out of a rather simple but serious predicament. 

Three Monkeys is the much talked about film that won director Nuri Bilge Ceylan a very well deserved best director award at the 2008 Cannes Film Festival.

After wealthy businessman Servet (Ercan Kesal), who is entering a political race, strikes and kills a pedestrian on a dark night, he calls his driver Eyüp (Yavuz Bingol) and asks him to take the blame for him. Eyüp’s agreeing to help Servet out of his trouble is only the beginning of the problems his family is set to deal with.

Ceylan’s film opens as morose and dark as the rest of the film’s theme continues to be. At the center of Three Monkeys is a noir-based melodramatic story of a family’s inability to cope with internal struggles. The true exploding point of the film’s moral-challenging story is when Ismail (Rifat Sungar), Eyüp’s son, finds that his mother Hacer (Hatice Aslan) is potentially having an affair with Servet, the man who Eyüp is so graciously taking the fall for.

The film carries an extremely somber mood all the way throughout the film not only due to the serious nature of the family’s problems, but also because of the extremely dark palette of colors Ceylan chose to use when filming. The image of Servet’s disappearing car in the film’s intro is only the beginning of striking and stunning imagery used by Ceylan over and over again. With his unique and creative eye for visuals, Ceylan turns this film into a dreary painting of motion. It all speaks volumes to the levels of hell these characters are freefalling through.

To be applauded over and over again is Ceylan’s absolutely poetic style of unfolding everything through the camera lens. This is one of the most brilliantly photographed films I’ve seen in the past few years. There are many long takes, intimate close-ups to expose character grief and creative ways of portraying character quarrels, such as the camera being distant from the two characters that are actively in conflict. Ceylan, who also co-wrote the film, can be seen as a true visionary of the art that cinema can sometimes be. With cinematography to be remembered, this is quite possibly the most artistic a noir-bred story has ever been portrayed.

The small but stellar cast is additional help to perfecting Ceylan’s vision. Kesal, Bingol, Aslan and Sungar give the four key performances that give the film the emotional push so necessary to the subject nature. As the film progresses and conflict and confrontation heat up, the performances of Bingol and Aslan as the married couple are two to keep a particular eye on. They are the extreme focus of the second half of the film and for good reason. This film is purely plot and character driven. The actual actions that bring bad fortune to the characters are offscreen, leaving this film at the hands of its strong performances, deep character development and coherent narrative.

I will agree with anyone who criticizes the film for moving slow. What I won’t do is agree with that being a suitable criticism. I’ve found that life moves at a slow pace. It isn’t simply a rapid progression of events and ever-changing emotions and feelings. I absolutely loved the way the narrative seemed to drag. For me it only increased the tension the characters faced. When you learn, in brilliant visual style, that the family is not only dealing with its current problems, but is also haunted by demons from the past, it all hits so much harder.

I also must note that what only adds to the unique nature of this film is that I found it to be more about the way this family plays to all of its problems in a deaf, dumb and blind way. The film is not so much about the multitude of problems the family is dealing with, but rather the problem they have as acting like a coherent and communicative family.

Tension increasing narrative with sparse dialogue and glimpses of action from time to time might be seen as slow to some, but patience and a willingness to want to be challenged by Ceylan’s questions of morality result in Three Monkeys ending as a brooding masterpiece of the mise-en-scene pent up with undeniable character rage.

Disney Says, ‘This is your world, and you ruined it.’

Charles Desrochers / The Recorder

Before anyone goes to see Disney’s Earth just know that you have seen it before.

I don’t mean this in a “seen one nature film, seen them all,” kind of a way. I mean that Disney’s Earth is literally footage from BBC’s epic series “Planet Earth” with James Earle Jones’ voice over. 

The main body of the movie focuses on what was the migration section of “Planet Earth”. Other more popular scenes are the birds of paradise and the flying sharks from South Africa.  

But in their original form these scenes were amongst a grander piece of work that provided flow to the context and information. Disney’s Earth money shots are put in because they look cool. 

A perfect example of this is when the South African Great White Sharks are shown. They are given as an example of the predators that face a hump back whale and her cub on their journey from Alaska to Antarctica. 

Look at a map. Is South Africa on the way from Alaska to Antarctica? 

To be fair I didn’t like Disney’s Earth as soon as I figured out what it really was. I’m sure the idea of seeing “Planet Earth” on digital projections and James Earle Jones instead of Sigourney Weaver sounds like a dream comes true, but I felt deceived. 

The only production they added was to the soundtrack. Some scores were the same while others were newer. I’m not counting one or two stupid songs that played while the drunkish monkeys were foraging water. Honestly I can’t tell the difference between one grandiose orchestra and the other.  

I would like to comment on the composition of this film but I can’t because I’m too bitter.  

“Planet Earth” took five years to make with some cameramen spending months on location for shots like musk ox fighting. Two thousand days of shooting and Disney just swoops in with a bench saw and bastardizes the whole thing. 

Then Disney has Darth Vader/Mufasa guilt the audience for drinking bottled water by talking about Polar Bears dying. This is seems like the pot calling the kettle black when you consider that Disney’s resorts gave out 244,814 metric tons (CO2 eq) of water. That’s almost as much as the country of Turkey.  

That may be why they put out this movie. They reduced, reused and recycled BBC’s “Planet Earth”.

Wolverine Pulls Off Comic Book Edge, Ferocity

Sean Fenwick / The Recorder 

After X-Men 3 few people had any hopes for there being another X-Men movie. Likewise, many viewed Fox as the devil for destroying what the previous two films set up. X-Men Origins: Wolverine tells us who Logan was before his memory was taken from him.  

The recent trend in comic-book movies is realism. The Dark Knight showed everyone how realistic the super hero world can be, X-Men Origins: Wolverine does not. This movie is over the top from beginning to end, there is seldom a moment when you stop and ponder if that could really happen. Sitting through this movie is like reading a comic book, there are explosions every few seconds and tough guys jumping out of helicopters. 

Fox spared no expense in putting as many mutants they could in Wolverine. Hugh Jackman returns to the roll as Wolverine – no big surprise there. The real surprise was Liev Schreiber as Sabretooth/Victor Creed.

Schreiber exploded with feral rage every second he was on the screen. The character of Sabretooth was always an animal and this film decided to go a different route. We see an intelligent killing machine that as vicious as he is smart.

Another actor who shined in his role was Danny Huston as William Stryker. The X2 Stryker was an old man with a vendetta for all mutants. Huston shows us a completely sane human being who slowly loses his mind and becomes the typical mad scientist bent on destruction.

Ryan Reynolds shines as the merc with the mouth Wade Wilson/Deadpool.

As for the rest of the cast everyone is a spot on embodiment of all their mutant characters.

Directed by Gavin Hood (famous for his award winning Tsoti) X-Men Origins’ plot moves along pretty fast but doesn’t feel rushed in anyway. Besides a few moneymaker shots that we all saw in the trailers and TV spots (Wolverine rising from the tank looking extremely pissed) this isn’t exactly a break through for Hood. 

The action in X-Men Origins is over the top. Mutant powers are used in full force and look great. The fights between Wolverine and Sabretooth are nothing short of epic and relentless. It may sound like I think this movie is perfect but that’s not the case.

One of the biggest problems in this movie was the bad computer-generated imagery. That’s right, a big budget action movie with a star studded cast and Hugh Jackman has bad CGI.

For some reason the simplest scenes had the worst effects. There is a scene where Logan is getting used to his new claws and it is obvious that the claws aren’t there. It astounds me that the first X-Men movie, that was made almost a decade ago, had better computer effects then this one.

As a huge X-Men fan my only concern was that this movie was better than X3, and it is. Perhaps not the best comic book movie ever made, but the best movie that looks and feels like a comic book.

Gomorra Paints a Daunting, Realistic Picture of Modern Italian Crime

Michael Walsh / The Recorder

When the writer of the book a film is based on needs a permanent police escort because the details he exposed were worthy of death threats, you know the film has a chance to be good. This is exactly what happened to Italian writer and journalist Roberto Saviano after the publishing of his bestselling book Gomorra.

Gomorra paints the stark reality of organized Italian crime in the modern era. The film tells five separate stories of different people all touched by crime in some way, shape or form. There’s a timid middleman, a 13-year-old caught up in a world of crime, a graduate who can’t live with the dirty life of crime, a tailor who takes a night job working for the Chinese competition and two young Tony Montana wannabe gangsters whose cocky attitude puts them in a bad spot.

I suppose I’ll get the negatives out of the way. Because the film features a plethora of characters across five unique and different stories, not everything is as tightly wrapped in the narrative as one would probably want it to be. A lot is left unexplained and up to the viewer’s surmise. Those who haven’t read the book or are unfamiliar with the organized crime of the Italians (which, face it, is probably all of us) might find themselves wondering what the motivation behind certain characters is for certain actions of theirs. Understanding the lives these people live is quite the thinking process, and director and co-writer of the film Matteo Garrone doesn’t exactly do too much to help outsiders understand. At 135 minutes, I wouldn’t have been opposed to expanding the length of this one.

Now, with that out of the way, let the good points flow. And there are lots of them. Gomorra is choreographed to such perfection that it’s almost scary. Garrone follows with a style that feels much like a documentary all the way through the film. This releases off a feeling of legitimacy and realism to the project that would be hard to best. It would be hard to argue that another method would have worked better for Garrone than this one did.

It seems odd to mention how well a film is scripted and choreographed before other things such as the acting or cinematography, but in many ways my doing should only give strength to how good this film exactly is.

The cast of Gomorra does indeed have something to do with the strengths of this film. While Garrone might be the mind behind how realistically the film plays out and how perfectly everything just happens to work out, the film wouldn’t be without its tremendous actors. I particularly was impressed by the performances of Nicola Manta as Toto, the 13-year-old delivery boy taken in by a gang and Salvatore Cantulup as Pasquale, the tailor for celebrities. This is not to slight any one of the other worthy performances, but there was something special about the way these two actors, young and old, let the emotion of their respective characters exude their shells. 

Garrone ties his perfect choreographing and great cast together in to one tremendous film with his super visionary effort. There are quite a few moments where simply the camerawork pulled off by Garrone and his team makes you stop and think about how impressive and creative the technique was. Garrone is also able to exact some of the poverty stricken urban land and bring it right to the forefront of the audience, adding to the film’s all too believable feel.

When a film overcomes a problem such as an unwound and loose narrative like Gomorra did, you have to give complete respects to everyone involved. There are certain aspects of films that keep them from becoming absolutely incoherent to the viewer. Luckily for Garrone, the lack of having one simple narrative and the challenge of trying to keep the viewer updated on five different narrative stories didn’t prove to be too much trouble for him and everyone else involved. The Godfather this ain’t. Gomorra manages to detail an uncompromising portrait of the modern organized crime in certain parts of Italy.

Album Review: Hurt’s ‘Goodbye to the Machine’

Michael Walsh / The Recorder

Finding quality hard or alternative rock bands in America these days is quite challenging.

It’s a brooding and heavy style of music that has gone wayward with the revolution of the music television channels and corporate radio stations. More image, less quality seems to be the motto.

Because of this, decent bands have the opportunity to look brilliant in my eyes. And that’s just what the band Hurt did when I saw them play a live show while I was awaiting a headline act.

Lead singer J. Loren puts an awful lot of emotion, anguish and energy into his act and it’s absolutely gripping.

With Goodbye to the Machine, Hurt has now released five studio albums. And here’s the thing. By no stretch is this album bad. The problem for me is that it doesn’t quite resonate to me like their 2006 release Vol. 1 did. After seeing Hurt live and hearing Vol. 1, I was hooked and had their record spinning constantly. I trouble myself in trying to find the right word for what their latest album doesn’t have that their previous efforts had, but it’s one of those unspeakable sort of things that doesn’t allow for the music to leave your memory. The new album lacks that strong hook.

What Goodbye to the Machine doesn’t lack is effort and emotion. The energy is sincere and the talent is prevalent. Hurt has always centered their songs around the construction of their emotions, and the newest album is no different. 

t’s absolutely refreshing to hear some meaningful and honest words these days. The group absolutely knows how to construct a song and with J. Loren’s unique addition of violin (he uses it during live shows as well) the band has something that sets them apart from the pool of lookalike bands. 

Not every album from a band can be golden, and I understand this. The group is still fairly young in its development and with the talent, energy, drive and ability these men have, the band can go a long ways in establishing itself as a premiere group of the heavy/alternative rock genre.

Until then, I’ll keep giving this album a try. It’s worth a listen or two, that’s for sure. If it doesn’t work out in the end, I’ll just keep replaying their past brilliance and wait around until their next album.