5 out of 5 Pitchforks

Rated: PG-13

Released: May 4

After much anticipation and speculation, “The Avengers” opens nationwide Friday. Picking up, more or less, from where “Thor” and “Captain America: The First Avenger” left off – both released last year – “The Avengers” proves that an ensemble cast of super heroes can do more than merely just attract a crowd of comic book fanatics in costume.

Unlike the wasted “X-Men” series or the abysmal “Fantastic Four,” Director Joss Whedon delivers an epic film from start to finish. Whether you’ve seen all (even any) of the previous Marvel movies (or have read any of the comics) that are directly related to “The Avengers” or not, the film easily puts everything into context: the Avengers are assembled to save the world.

Without wasting any time, Whedon presents the crux of it all, the Tesseract. Introduced in “Captain America: The First Avenger,” the Tesseract holds the key to potentially endless renewable and sustainable energy – a hot commodity on Earth for sure, certainly beyond.

Other uses yet discovered are bound to exist within this beautiful blue-cube, as it is triggered to open a wormhole of sorts, allowing none-other than Loki (Hiddleston), Thor’s (Hemsworth) adopted brother to emerge before Nick Fury (Jackson) and company in the heart of S.H.I.E.L.D.’s underground base of operations. In no time flat, Loki has the Tesseract, and the call is out for the Avengers to assemble for the first (hopefully not last) time.

One by one each of the seven key members of the Avengers are called upon to join in on the capturing and stopping of Loki before it’s too late. As is the case with any group facing world annihilation, these “super” personalities, attitudes and tempers flare as they try to make sense of it all. Naturally, as both the preverbal and figurative muck hits both the preverbal and figurative fan, the Avengers look to one another to get the job done as a team.

While standard action movies seem to be losing ground to comic-book, science-fiction – even fantasy-action movies – “The Avengers” puts them all to shame. Each character, be them good or bad, is given their fair share of time on screen. Picking a favorite is hard to do, though the third-time seemed to be the charm for the Hulk (Ruffalo). Unlike the “Transformers” series that Michael Bay ruined, watching the none-stop action (in 3D or not) isn’t lost in sloppy CGI.

There is already talk of several future Marvel productions, and like many of the previous films to “The Avengers,” there is a little extra at the end of the film – both before and after the credits roll – not to mention the official release of the new “The Dark Knight Rises” trailer at the beginning. All of this lines up perfectly with Free Comic Book Day which is May 5th.

Clearly audiences are embracing these films for a variety of reasons: the rugged good looks of the performers, what they stand for and how the stories are being told – and shown. In spite of these trying times, and the seemingly vapid absence of actual heroes today, “The Avengers” message of collective partnership for the greater good rings loud and clear.

With great power does come great responsibility, and if you truly wish to be the change in this world for the better, don your cape and mask and assemble.

Reach the reporter at jbfortne@asu.edu

Performed at the ASU Gammage, the story itself is a simplification of frustrated, yet far from naïve young men who take out their vexations by committing themselves to deeds that transcend what people would expect.

Johnny (Van Hughes) leaves suburbia, succumbs to the lure of heroin and becomes infatuated with a girl referred to as “Whats-her-name” (Gabrielle McClinton)- creatively portrayed as both a character and the closing number of the show.

Tunny (Scott J. Campbell) enlists in the army after the rough realization that not even the urban life is enthralling enough to pacify him. He is wounded leading him to the hospital where he meets an “Extraordinary Girl” (Nicci Claspell) with whom he floats around in the air hanging by wire, one of the more memorable and artistic scenes.

Lastly, there’s Will (Jake Epstein) who transitions from adolescence to manhood when he gives up the urban ideal to stay with his pregnant girlfriend, Heather (Leslie McDonel). This character follows a seemingly dry plot line until he sings Green Day’s famous ballad, “Wake Me Up When September Ends.” The song was both an emotional shock and testament that the simplest musical numbers leave a lasting tune.

“American Idiot” director Michael Mayer brought the musical to Broadway and continues along the journey with the show’s national tour. The storyline was worth watching, the lights were dazzling (and also won a Tony Award for Best Lighting Design), but it’s the music transformed into a musical that is the captivating feature.

Green Day vocalist and guitarist, Billie Joe Armstrong, composed both the book and lyrics for “American Idiot”- the person most worthy of the job. Bassist Mike Dirnt and drummer Tré Cool complete the punk rock scene of the band.

The show brings to life the genius idea to take a popular Grammy award-winning record and craft it into a melodic production that combines and shares both the beauties of recorded music and live theatre.

Students who are looking to save money can participate in the lottery drawing held each day two and a half hours prior to show time.  Arrive at the ASU Gammage Box Office for a chance to win orchestra seats for a discounted price of $25, cash only. “American Idiot” runs from April 24-29.

Reach the reporter at mkthomp5@asu.edu

Friday night, the Orpheum Theatre filled with a menagerie of gaming buffs whose average ages ranged from 16 to 30 and dressed in Zelda cosplay, fanfare and business-like apparel. The first item witnessed upon setting foot in the auditorium was a large screen above the stage displaying the logo of “The Legend of Zelda: Skyward Sword” against a slate-colored, cracked stone background. As the performance began, this screen showed footage from each game the music highlighted.

The four-movement symphony began with thunderous applause as the conductor, Susie Seiter, cued the musically diverse orchestra and its wordless choir. When the crowd mellowed, the show began with a crescendo melodized overture featuring themes of “The Legend of Zelda,” “Ganon,” “Princess Zelda,” “Twilight Princess” and “Skyward Sword.”

Instantly recognizable gameplay footage flashed on the above screen and excellently harmonized with the music performed. As the scenes changed, so did the beautiful score. The combined auditory and visual stimulations brought about a powerful, cathartic experience and mesmerized the audience witnessing Link’s adventures. For a few people, it appeared to be their first taste of Zelda’s musical ensemble, but they too wore a smile during the entire two-hour show.

The stage’s lighting also changed depending on what the screen showed. When Ganon first appeared on screen during the kidnapping cut scene of “Ocarina of Time,” a dark blue hue fell over the stage. Contrarily, while Link explored Twilight Princess’s Hyrule, the stage became bathed in an earthly green light. These simple ambient decisions were a nice touch that pleasantly added to the atmosphere.

From the overture, the performance moved into featuring classic dungeons from “A Link to the Past,” “Link’s Awakening,” “Zelda II: The Adventure of Link” and “The Legend of Zelda.” The crowd then visited Kakariko Village and its hypnotically catchy tunes. After reminding the audience of countless hours trying to plot their way through expansive dungeons and the numerous characters from Link’s hometown, the concert transitioned into a prelude featuring the introduction of Hyrule’s creators, Zelda’s three goddesses first seen in “Ocarina of Time:” Din, Nayru and Farore.

Afterwards, the symphony’s four movements began. They showcased “Ocarina of Time,” “Wind Waker,” “Twilight Princess” and “A Link to the Past.” Hearing the invigorated orchestra gorgeously produced an array of nostalgic music from each game combined with numerous in-game cinematics felt like reliving the adventures for the first time.

The entire experience seemed more akin to a Comic-Con convention showcase than a traditional symphony. Gameplay footage of infuriated Cuccos trying to kill Link for his abuse caused widespread laughter, and cheers during certain scenes were commonplace. The audience clapped at every piece’s completion and praised the orchestra for a three-song encore. The performance’s designer, Jason Michael Paul Productions, Inc., anticipated the rambunctiousness and included ample downtime between movements and songs.

The lack of an overarching theme proved to be the concert’s biggest drawback. Instead of having an inclusive story, the show visited different well-known stages of Link’s adventures, but given a narrative movement through gameplay scenes, the symphony could have transformed into a spectacular movie-like scenario. Although the orchestra was remarkable and the displayed footage was fun to watch, after walking out of the concert hall the epic feeling bestowed by the songs quickly faded.

Friday’s performance ended with booming applause and a well-earned outstanding ovation. After the three encore songs “Ballad of the Wind Fish,” “Gerudo Valley” and “Suite from Majora’s Mask,” the audience’s approval became deafening and claps lasted for well over two minutes.

Largely, the symphony is an enticing adventure all Zelda fans should embark on during its tour, which will be running until Sept. 22. The performed music accurately and elegantly captures the melodies fans have come to love, all while expanding on themes when appropriate. The symphony is assuredly a worthy inclusion into Zelda’s rich history.

Reach the reporter at tdmcknig@asu.edu

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Courtesy of Downtown Records

Pitchforks: 4.5/5

Record Label:  Downtown Records

Soul and funk are back. In contrast to muffled and technologically unenhanced 1960s-era sound, Electric Guest brings a modern feel to such renditions. Its debut album “Mondo” features songs that move and sway and are guaranteed to make listeners do the same.

The Los Angeles duo consists of lead singer Asa Taccone and instrumentalist Matthew Compton. Though these names fail to strike any familiarities just yet, the production may convince a listener to give the album a chance.

Brian “Danger Mouse” Burton needs no introduction in independent music. The New York-born rapper/drummer/producer is known from such acts such as Gnarls Barkley, Broken Bells and The Black Keys. Nominated for 11 Grammys, Burton has taken home three, most recently as 2011 for Producer of the Year.

Taccone may best be known as the younger brother of former Saturday Night Live writer, Jorma Taccone. Asa began his foray into music by assisting his brother’s satirical outlet The Lonely Island. The California-bred voice behind Electric Guest met Burton through Jorma, and eventually moved into the producer’s former Los Angeles home.

After playing and recording alongside instrumentalist Compton in the in-house studio, the two began collaborating with Burton at a converted lawyer’s office to complete what would eventually become “Mondo.”

The album begins with synth hooks and the soft yet spirited voice of Taccone. Burton’s distinct style truly takes over in this track, as it does for most of the album.

However, the infectious single “This Head I Hold” wastes no time in picking up the pace and setting the tone with the twinkling piano and huge drum roll to start of the track. It only picks up from there, almost ensuring dance out of any listener. From there, the contagious song is placed on automatic repeat, as it is just way too fun not to listen to again and again.

Taccone’s smooth vocals, Compton’s innovative instrumentalism and Burton’s skillful compilations prove to be a winning combination as the album rolls on. Where one member falls off, another seemingly picks up. The only way to accurately describe equally contagious songs such as “Under the Gun,” “The Bait” and “Waves” is by using words most haven’t used in this generation: groovy, jazzy, far out.

The ability of the album as a whole to transcend the soul and funk of years past and develop it with today’s musical technology to create their own unique sound.

Taccone’s experience from assisting in the production in the famous “SNL Digital Shorts” gives him experience in developing the catchy songs that make “Mondo” so worthwhile.

According to a post about the band by Burton on his website, he originally showed reservations in performing the songs, Taccone’s live performance reveals the passion and energy behind the music.

Electric Guest uses its debut album to show how fun it could be to travel back and time and revisit the days of soda fountains and doo wops. They pay homage to soul and funk in such a modern way that has yet to be seen in music lately, and the cool and calculated approach makes the performance right on cue.

Burton takes the bulk of the praise in this album, as his trademark production is all over each song. Granted, Taccone’s vocals add the uniquely funked-up pop that makes “Mondo” so much fun.

Whether or not Electric Guest can succeed without its skillful production is a question for the future, but for now, the rookie band can sit back and watch listeners dance and smile their way through their debut.

Reach the reporter at mbobman@asu.edu

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Courtesy of Columbia

Pitchforks: 4/5

Record Label: Columbia

A tumultuous year for Jack White did not stop the artist from producing a solo rock album that will leave a ringing sound of truth in your ears. White announced his solo production almost one year to the day of The White Stripes split. Not only did The Stripes admit to failure, but so did White’s marriage to model Karen Elson. Needless to say, the musician had a rough 2011.

Jack White calls his solo effort “Blunderbuss.” The work begins with the track “Missing Pieces,” an easy-to-swallow horse pill of a rock song. In the lyrically painful but melodically cathartic track, White sings, “Sometimes someone controls everything about you/ when they tell you they can’t live without you/ they ain’t lying/ they’ll take pieces of you/ and stand above you/ and walk away.”

White makes the subtle transition into the album’s second single titled “Sixteen Saltines.” The most punk-rock influenced song on “Blunderbuss” reflects a part of White’s musical styling that listeners often hear in his project The Dead Weather.  The dangerous, sexy and wild “Sixteen Saltines” displays a side of White that is mysterious and carefree.

With songs like “Love Interruption” and “Hip (Eponymous) Boy,” on the other hand, White cares a little more than he typically likes to show. He echoes in “Love Interruption” the lines, “I won’t let love disrupt, corrupt or interrupt me anymore.” White’s as sick as dog with a strong case of the blues.

He obviously grieves over The White Stripes break up in “Hip (Eponymous) Boy” with the lines, “I’ll be using your name/ but they’ll be yelling at me/ ‘poor boy’/ ‘poor boy’” and “let the stripes unfurl” as Jack White took Meg White’s last name in their marriage and for the band name. It must have been liberating for White to finally be able to subtly expose his personal life in his music.

White’s cover of Little Willie John’s “I’m Shakin’” will steam up the hearts of listeners and remind them why White is one of the most influential artists of our time. His ability to take old sounds and make them brand new with an edgy twist credits him as a true musical innovator and leader.

White drops the red-white-and-black colors of his past and picks up shades of blue. “Blunderbuss” is an open diary — an intimate look into the heart of Jack White. The color blue — the color of truth and wisdom — is a fitting choice for the rock star.

Reach the reporter at jhgee@asu.edu

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Photo courtesy of Red Kryptonite

America’s much-awaited superheroes will return to the big screen this May in Marvel’s “The Avengers.” S.H.I.E.L.D director Nick Fury, the leader of a secret agency, is called to bring the superheroes together in a fight to save humanity.

Director for the film, Joss Whedon, shared some laughs and insight on his latest superhero creation and relationship to the film.

Question: What was your process in writing the film? Did you already have a directorial vision?

Joss Whedon: Half of writing a script is writing visually. The process, therefore, was pretty organic, particularly because we had such a tight schedule.

I was writing visual cues and action descriptions before I had finished structuring. It was very difficult structurally to figure out how to make it work.

Q: Is there something from your childhood experience with the Avengers that especially resonated with you?

JW: The fact that the Avengers are all really, really messed up people I think is a fine reflection of me [laughs]. I loved that it was, one, the comic books.

Marvel was known for its gritty realism, and even though the Avengers made their home in New York, they were so often out in that space and dealing with artificial intelligence, grand beings from another world, and gods and monsters. I love that element. That’s definitely a part of the film.

Q: How did you mentally prepare yourself to carry on the stories of all these established super heroes with an already fervent backing?

JW: I’ve done a lot of work for things that already exist. I’ve worked on the X-Men. I wrote an alien movie, not necessarily the best one. Working as a script doctor, you come in after things have been established.

Q: Why was Cleveland picked as a shooting location and what was it like shooting there?

JW: Cleveland had some financial advantages rebate wise. That’s always a big thing for Marvel. They also were very, very accommodating in terms of letting us blow up their city. It has so many locations that worked beautifully for so many different places without hardly any dressing.

Q: “The Avengers” is based on Nick Fury trying to unite heroes with extraordinary powers and egos. Did you feel like Nick Fury trying to bring the actors into a team concept, and how did you handle creative differences in this type of situation?

JW: I felt very much like Nick Fury. You do feel that responsibility that you’ve got to get all of these people to give their best. For him, it’s in battle and for me it’s when we’re rolling. So (I) definitely felt some of the pressure, but I can see out of my left eye.

Q: Did you have any particular combination of superheroes that you thought were the most interesting to see interact?

JW: I would say I love the Bruce Banner-Tony Stark relationship. Bruce Banner (is) the first guy Tony Stark comes across who operates on his level intellectually, who isn’t a villain. But I also love Tony and Steve (Rogers) and how much they can’t stand each other. I love them all. I hate this question.

Q: If you were going to insert yourself into a superhero movie, what powers would you have?

JW: I would have the power of invisibility, and then I wouldn’t have to show up for as many shooting days.

Q: College students have a lot of options this summer with movies to see during their summer break. Why should college students have it first on their list to see “The Avengers”?

JW: “The Avengers” is the kind of movie that I grew up wanting to make and thought (people) had stopped making. They’re not interested in a story. They’re interested in just barraging you with excitement and imagery and brand names.

Marvel doesn’t operate that way. They care about the people … This is an old-fashioned movie. It’s a little bit bigger than life, but it’s very human.

Reach the reporter at cstarboa@asu.edu

Courtesy of Castor and Pollux

While hybrid mash-ups of musical genres are nothing new from the rock/classical music experiments of the ‘60s and ‘70s to more recent fusions of jazz and hip-hop, Brazilian bossa nova and doom metal is certainly not a combination that most people would pair together.

However, that’s exactly what recent valley transplant Nathan Hubbard sets out to do with his new album, “This Middle Ground,” which he will be presenting in concert at the Lost Leaf on Wednesday.

“This Middle Ground” traverses a myriad of sonic landscapes and instrumentations as it describes a tale of lost love and its aftermath.

The album opens with a wash of ethereal vocals over synthesized chords that melt into a sultry bossa nova wishing farewell to a lover that will sound familiar to any aficionado of Brazilian composer Antônio Carlos Jobim.

After a few verses and some vocal improvisation, the low-key groove drifts into a breakbeat that fits naturally among the Brazilian rhythms as the acoustic instrumentation shifts to electronic, and an organ solo picks up where the vocals leave off.

This synthesis eventually dissolves into distorted chaos which suddenly evaporates, leaving another Latin groove centered around a snare drum pattern remaining — and all of this less than eight minutes into the album. The shades and colors continue to bleed into one another as they shift from horn arrangements to distorted electric guitar to vocal harmonies, and on.

As with any musical hybridization, listeners should not expect a pure representation of any genre in “This Middle Ground.” Hard-core bossa nova fans may not appreciate the album’s dissonance, just as those who closely follow doom metal may be disappointed by the album’s scarcity of “doom.”

However, those who seek interesting combinations and approach new ideas with an open mind will appreciate the clear undertones of both genres among this pastiche that at times borders on the epic and at others the psychedelic.

“This Middle Ground” is the fourth release by San Diego-based group Ogd_S(11) Translation Has Failed, following “If Memory Serves” (2007), “Bring Back the Gasmask” (2009) and “Volume III” (2011). Rather than performing with the band, which recorded the album, Hubbard will present the set in a series of collaborations featuring local Phoenix musicians.

Following the complete performance of “This Middle Ground,” local improvisatory ensemble The Scorpion Decides (featuring Nathan Hubbard again on drums) will debut a series of new compositions.

The Lost Leaf is located on 914 North 5th Street in downtown Phoenix. The performance begins at 9:30 p.m.

Reach the reporter at bscolaro@asu.edu

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Florence Welch performs at the Comerica Theatre, April 20, 2012. (Photo by Cheman Cuan)

Make no mistake about it: Florence Welch is a diva. Welch’s April 20 performance transcended beyond a musical set into an opera-esque drama.

Her emotions and movements swayed back and forth with the music as her genuine joy throughout the evening showed how truly happy she was to be onstage singing her self-written songs — all without ever putting shoes on.

Florence and the Machine stopped at Comerica Theatre Friday as part of a quick loop around the Southwest. After her headlining performance at Coachella last weekend, Welch and crew played several shows in the weeklong gap between both legs of the festival.

The British indie-pop band skyrocketed to fame in 2009 following its debut album “Lungs.” The critically acclaimed freshman performance earned them numerous accolades, including a Grammy nomination for Best New Artist.

Their sophomore album, “Ceremonials,” picked up where “Lungs” left off, solidifying the band’s stardom.

With Phoenix being Welch’s first stop in Arizona, the crowd was both excited and apprehensive about the performance. If the sold-out crowd of 5,500 was any indication, fans came out in droves to witness the British singer and songwriter.

The crowd consisted of couples and families of all ages dominating the venue. Welch must have brought out eccentric style in her fans, as the audience was certainly dressed to impress.

After opener Blood Orange started the evening off, the fashionable crowd cheered immensely once Welch arrived onstage. She started with “Only If For A Night,” immediately capturing the audience’s attention.

She took the stage wearing a cape-like gown, proceeding to twirl and dance along with the music for the first few songs before eventually taking it off.

As Welch explored the space, running back and forth, concertgoers by the stage reached out for her, showing how just a touch would be a defining experience.

The tragic beauty in her songs completely captivated the crowd. A single spotlight followed the redheaded frontwoman in the song “Cosmic Love” as her fragile and delicate voice silenced the audience.

Just as the crowd was left as vulnerable as the lyrics in her songs, she then showed her versatility in songs like “Spectrum,” firing up the masses with her strong and powerful presence.

To perform a set as well as Welch did is difficult, but to complete it in front of a large audience can provide a  tougher challenge. This clearly is not an obstacle for Welch after her experience headlining Coachella. She connected with the audience by persuading men to raise women on their shoulders for “Rabbit Heart (Raise It Up).”

Describing herself as an English vampire, Welch joked about her pale complexion in the Arizona sun.

After receiving a five-minute standing ovation and overwhelming applause following her set, Welch returned to the stage for an encore performance. Starting with their cover of  “You Got the Love,” her vocals served as a prime example of her ability to transition from soft to powerful throughout the evening.

Closing her 90-minute set with the single “No Light, No Light” proved to be one of her most skillfully performed songs of the night. Welch played a single drum with a fierce intensity before eventually taking over vocals and leaving the audience more than satisfied.

The final line of her last song went, “Tell me what you want me to say,” and Welch expressed more than anything the audience could have ever asked for Friday night, leaving her exhilarated concertgoers with chills.

Reach the reporter at

mbobman@asu.edu

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