Buy this new "Heart Attack" shirt and you'll receive an instant mp3 download of "Heart Attack" and will receive more!!!
Thursday, 29 March 2012
Tuesday, 27 March 2012
Heart Attack lyrics
BUY ON iTUNES
BUY ON AMAZON
Turn the lights on!
Ohhh wo-oh, Ohhh wo-oh
We share something so common
Still so rare, uncommon all
Never been here before
So high, we're still climbing
Even here inside these walls
Breaking each other's hearts
And we don't care cause we're so
In too deep, can't think about giving it up
But I never knew love would feel like a heart attack
It's killing me, swear I never cried so much
Cause I never knew love would hurt this f*ck*n' bad
The worst pain that I ever had
Ohhh wo-oh, never never never knew love (Ohhh wo-oh) would hurt this f*ck*n' bad
The worst pain that I ever had
Outta times when I know I should be smiling
Seems to be the time that I frown the most
Can't believe that we still suffering
Cause i'm slowly breaking down
Even when I hold you close
And if I lose you
I'm afraid I would lose who
I gave my love to
That's the reason I stay around
Even though I fell way
In too deep, can't think about giving it up
But I never knew love would feel like a heart attack
It's killing me, swear I never cried so much
Cause I never knew love would hurt this f*ck*n' bad
The worst pain that I ever had
Ohhh wo-oh, never never never knew love (Ohhh wo-oh) would hurt this f*ck*n' bad
The worst pain that I ever had
And it hurts,
Cause I wanna leave, and you wanna leave
But the loves keeps us together
And if I lose you
I'm afraid I would lose who
I gave my love to
That's the reason I stay around
Even though I fell way
In too deep, can't think about giving it up
But I never knew love would feel like a heart attack
It's killing me, swear I never cried so much
Cause I never knew love would hurt this f*ck*n' bad
The worst pain that I ever had
Ohhh wo-oh, never never never knew love (Ohhh wo-oh) would hurt this f*ck*n' bad
The worst pain that I ever had
BUY ON iTUNES
BUY ON AMAZON
BUY ON AMAZON
Turn the lights on!
Ohhh wo-oh, Ohhh wo-oh
We share something so common
Still so rare, uncommon all
Never been here before
So high, we're still climbing
Even here inside these walls
Breaking each other's hearts
And we don't care cause we're so
In too deep, can't think about giving it up
But I never knew love would feel like a heart attack
It's killing me, swear I never cried so much
Cause I never knew love would hurt this f*ck*n' bad
The worst pain that I ever had
Ohhh wo-oh, never never never knew love (Ohhh wo-oh) would hurt this f*ck*n' bad
The worst pain that I ever had
Outta times when I know I should be smiling
Seems to be the time that I frown the most
Can't believe that we still suffering
Cause i'm slowly breaking down
Even when I hold you close
And if I lose you
I'm afraid I would lose who
I gave my love to
That's the reason I stay around
Even though I fell way
In too deep, can't think about giving it up
But I never knew love would feel like a heart attack
It's killing me, swear I never cried so much
Cause I never knew love would hurt this f*ck*n' bad
The worst pain that I ever had
Ohhh wo-oh, never never never knew love (Ohhh wo-oh) would hurt this f*ck*n' bad
The worst pain that I ever had
And it hurts,
Cause I wanna leave, and you wanna leave
But the loves keeps us together
And if I lose you
I'm afraid I would lose who
I gave my love to
That's the reason I stay around
Even though I fell way
In too deep, can't think about giving it up
But I never knew love would feel like a heart attack
It's killing me, swear I never cried so much
Cause I never knew love would hurt this f*ck*n' bad
The worst pain that I ever had
Ohhh wo-oh, never never never knew love (Ohhh wo-oh) would hurt this f*ck*n' bad
The worst pain that I ever had
BUY ON iTUNES
BUY ON AMAZON
"Heart Attack" #1 on iTunes R&B Singles Chart!!!!
Trey's new single "Heart Attack" hit the #1 spot on the iTunes R&B singles chart in 24 hours! Make sure you download your copy on iTunes NOW! AND CANADA!And is still jumping on iTunes single chart from #23 to #19!!!
UPDATE: "Heart Attack" is jumping on iTunes US 4 positions to #15!!!! And is up on iTunes Canada to #60!! And is #14 on Amazon MP3 R&B Top 100 Songs!! And "Sex ain´t better than love" back to the Top 200 at #153!!! #IamASongerz
Trey gets sensitive in "Heart Attack"
“I never knew love would feel like a heart attack, it’s killing me, swear I never cried so much, cuz I never knew love would hurt this f**kin’ bad,” sings a brokenhearted Trey Songz on his new ballad “Heart Attack.”Produced by Rico Love and Benny Blanco, the song is the first single off his upcoming album, Chapter V.
This song is a departure from Trey’s typical steal-yo-girl-then-sex-her-down formula. Fans will be presently surprised at his Drake like vulnerability (read: sensitivity).
Source: Centric TV
Monday, 26 March 2012
"Heart Attack" Top 40 on iTunes!!!
Trey´s new album Chapter V first single, Heart Attack was released today and now is at #40 on iTunes Top 200 US.
UPDATE: "Heart Attack" jumps to #32!
UPDATE2: "Heart Attack" jumps to #23!! is Top 25!!! and still up
UPDATE: "Heart Attack" jumps to #32!
UPDATE2: "Heart Attack" jumps to #23!! is Top 25!!! and still up
Sunday, 25 March 2012
EXCLUSIVE: SNIPPET OF "HEART ATTACK"
OMG!!! I LOVE IT!!!! CANT WAIT TO TOMORROW LISTEN COMPLETE!!! REMEMBER TOMORROW YOU CAN DOWNLOAD ON ITUNES THE COMPLETE SONGZ!!!
Friday, 23 March 2012
Thursday, 22 March 2012
BREAKING NEWS: "HEART ATTACK" FIRST SINGLEOFF CHAPTER V!!!!!!
"I go to a new space that people might not be familiar with, I’m inspired by Kings of Leon, Maroon 5. I listen to so much music and this album will definitely show you my inspiration," Songz states about the upcoming effort via UB. "I look at life differently in a lot of ways. Something that may be a passing thought for a lot of people may be a thought that stays in my mind as a song concept."
'Chapter V' is expected to arrive this summer (2012) with a rumored feature from T.I. thus far.
"I'm definitely trying to leap forward with every album, and with this album, I think it's a leap forward and a leap into the past," Songz previously told Billboard. "I want to embody in this album -- this fifth album, which is very monumental for me -- what I am, where I came from and where I'm going. I… just think it's going to be very fluent, very diverse yet very cohesive album."
Are you ready for Trey's new Album?
Sunday, 18 March 2012
21 Jump Street And Rondo Reminder
21 Jump Street has to be the most over sold movie of the young year, with Prometheus waiting in the wings to usurp its title come June. That's not to say it isn't without the occasional laugh. It just isn't anywhere near the gut buster I came to expect from the fawning accolades it's been showered with. To be honest, most of the solid bits were in the trailer and every story beat is as predictable as it could possibly be. Hill and Tatum were extremely likable though and had wonderful chemistry. I had a problem with how unearned and lazy any attempt to create subplots was though. Characters would crop up and have a promising beginning, only to disappear until a rushed call back at the end. Maybe I just don't appreciate the D-bag brand of larfs being dispensed here. It's definitely related to the Todd Phillips he-man-woman-hater-kegstand-dickhead-fratboy-template of comedy. I'm more into the Tim and Eric, Will Ferrel, Sacha Baron Cohen absurdist provacateur approach.I also could have done without the customarily awful Rob Riggle performance. That guy sucks the life out of every scene he's ever been a part of with his breathless mugging and attention staved histrionics. Ice Cube does some nice, albeit obvious work and there is a genuine movie star cameo that was far and away my favorite part of the film and likely the only thing I'll remember about it in a months time. It was a perfectly forgettable 5$ matinee for me and the wife, even though neither of us laughed or liked it all that much. I guess I'm a bit out of touch with the hip kids who apparently had tears streaming down their face while doubled over in the grips of some cathartic, orgasmic fit of squealing laughter.
In other news, this is the last month to vote for the Rondo awards! I would be extraordinarily appreciative if you cast a vote for Shloggs Horror Blog for Best Blog of 2011 (category #18) and Profondo Cinema for Best Horror Multimedia Audio or Podcast (category #23). I've been getting a ton of excellent feedback and kind words from folks about my writing and occasional appearances on the Profondo Cinema podcast. Please take some time to check out PC, they're my favorite podcast going and it's been such a pleasure to get to know them and be a part of the show in my small way.
Saturday, 17 March 2012
Understanding Human Centipede 2: Full Sequence
I have been less shocked by the boundary demolishing extremity of movies like HC2 and A Serbian Film than I have been with the repulsion and outrage they have engendered with critics in general and horror fans in particular. The sort of witch hunt rhetoric levied toward HC2 writer/director Tom Six is to be expected from an ill informed public, but coming from seasoned genre fans and battle hardened film critics borders on inexcusable. It has become an echo chamber of prurient hand wringing and misguided moralizing, all the more frustrating considering that Human Centipede 2 is the most effective and original horror film since perhaps The Exorcist and Dawn of The Dead.I understand how that might come off as some sort of quasi, Armond White style provocation, but think about it for a second. What horror films have made a serious impact over the last 35 years? The slashers were more important for the successful business model they incorporated than for any stylistic or thematic contribution to the genre. The goopy 80's rubber reality stuff was a blast back in the day, but thrives more in nostalgic corners of the brain than in an honest, analytic one. The Thing, Videodrome, From Beyond and Re-Animator could be argued as monumentally important, I suppose (cut me some slack, I'm trying to play devil's advocate here!). Save for Candyman and more mainstream psychological thrillers, the 90's were a wash. As soft a spot as I hold for my beloved Saw series, it is admittedly a dim witted and shoddy franchise regardless of how attuned to the zeitgeist it was. The recent spate of remakes have been intermittently entertaining and drenched in post 9/11 angst, but by virtue of being remakes, are ultimately doomed to a dead end repetition of their forbears most salient points. I'm not saying there haven't been great horror films since the death of disco, hell, I could list you 50 off the top of my head, I'm just saying there haven't been any as structurally and thematically innovative in both presentation and intent.
Having now seen the unrated directors cut of Human Centipede 2 a total of three times on bluray, I feel I must speak up and make an impassioned defense and celebratory heralding. The central conceit of HC2 is that it takes place in a world where the original Human Centipede exists as a film and serves as the main characters horrifying inspiration. I have thought long and hard about this and have been unable to think of a single previous instance where this exact scenario has occurred. It is an ingenious set up, all the more so for its simplicity. It's the sort of thing where I'm sure people have thought of it before, but decided something so narratively brazen wouldn't be tolerated by your average audience. Some people say why, and much like Mickey Knox from Natural Born Killers, Tom Six says why bother. From here on out, spoilers abound, so consider yourself warned.
The thing that elevates Six's work from the dated, watery deconstruction of self referential movies like Scream, is that he uses his films self awareness for something other than winking and nodding. Like Haneke, except with balls and not totally boring, Six holds the mirror up to those who would search out such entertainment and invites us to join him in a 90 minute belly laugh at our shared psychological reflection. The lead character Martin is a mute, rotund, mentally retarded mommas boy, obsessed with his favorite horror movie, keeping a lovingly constructed scrapbook of it under his bed like an illicit nudie mag. Fetishizing and fantasizing about having the power to inflict unspeakable cruelty on all who bully him or make him feel inferior. Sounds an awful lot like a pimply, 14 year old Friday the 13th fan to me. Six takes that gag to gag inducing extremes. This film is the cinematic equivalent of the Aristocrats routine, taking a one note joke so far beyond the realm of acceptability, it eventually winds its way back to being funny again.
Make no mistake, this film will take you into the gaping maw of hell for that punchline. In all my imaginings and all the cinematic approximations of eternal torment and punishment, this is now the standard bearer. The last 40 minutes of Human Centipede 2 are so unremittingly bleak, so punishingly grim, one feels even the very notion of their soul being erased while watching it. Human Centipede 2 makes Salo look like White Christmas. The seemingly endless sequence of Martin removing his victims teeth with a hammer, cutting their tendons and staple gunning their lips around each others rectums is so apocalyptically awful to behold, it simply becomes hilarious. It concludes in his exultant rapture with his completed creation, taking a bow for the imagined cheap seats (really for us, the audience) in his underwear and blood stained lab coat. A moment so adorably psychotic, you can't help but applaud the end result of his vomitous tenacity.
In baffling fashion, after all this, the atrocities keep escalating until you either quit watching out of revulsion or are doubled over guffawing at their sickening invention. His centipede eventually breaks apart in grueling detail, and in a rage, Martin storms from one person to the next, systematically executing each segment. This is where the film becomes so terrifyingly unwholesome, it feels as if it were ready to burst into hellfire and disintegrate, noxious ash spilling out of the bluray tray. Then, it cuts to where we the film began, Martin watching the original Human centipede, clearly having just played out in his head how HE would have done it. The preceding film apparently the sick imaginings of a mind warped by scummy movies and sexual abuse. In the distance, we hear a lone wailing infant. A call back to what we thought were imaginary crimes, or perhaps the internal howl of his scourged inner child? Either way, this film cuts down to the core of why we watch violent entertainment in a deeply unsettling manner, illuminating the darkest recesses of mankind's hidden malevolent heart.
Other than the transgressive, heady aspect of it, the black and white photography is stunning. Somehow finding the beauty in pools of black blood and the poetry in flickering fluorescent lights. Lawrence Harvey turns in a towering performance as Martin. When I first heard of a sequel, I was certain it wouldn't succeed without Dieter Laser returning as Dr. Heiter. Harvey's Martin transcends that iconic performance, making the series his own. Without uttering a single intelligible line of dialog, he dominates the film. He's terrifying, he's grotesque, he's a comic genius, yet also so pitiable it's heart breaking. I put his performance up against any other character study film out there. Not since Joe Spinnell in Maniac or Michael Rooker in Henry have I seen bottomless depravity and boundless cruelty so convincingly essayed.
I feel that people are watching this film with the wrong kind of eyes. This is Tim and Eric by way of David Lynch. A truly post everything kind of a film. End of the line type stuff. Something to watch as the earth tilts off its axis, spilling cities and seas into the void. Pedestrian complaints about pacing and plot do not apply here. People were revolted by Psycho and Peeping Tom once upon a time as well. Give this a few decades and we'll see how the worm turns.
Thursday, 15 March 2012
Fuse: The Anticipation 2our special behind the scenes
According to Atlantic, the network will premiere a special, showcasing everything that goes on before the big show.
"The special will give you a behind the scenes look at what it’s like for Trey and Big Sean as they handle the business meetings, interviews, and studio sessions that lead up to their performance," reports Atlantic. "The special will also show the final hours before they hit the stage as Trey and Sean meet and greet fans, prepare in their dressing rooms, soundcheck, as well as live footage of the performance."
Fuse will premiere Hip Hop Shop: Anticipation 2our Wednesday, March 14 at 11pm.
Encores of the special will air Thursday, March 15 at 3am and 2pm
Source: singeroom
Wednesday, 14 March 2012
Silent House and Melancholia
I'm going to do for Silent House as I did previously with The Lorax, augment an entry on a perfunctory (or in this case, awful) film with thoughts on one more worthy of analysis. Let's get the rancid vegetables out of the way so we can indulge in the dessert, shall we? The trailer for Silent House intrigued me with its gimmicky single take premise and how it didn't spell out what the menace was. That trepidatious good will quickly evaporated as it became clear that my least favorite genre trope, walking around aimlessly in a dark house, would be the order of the day. But the warning signs were abundantly clear from the start. Awful acting by the men playing Olsen's father and brother made it impossible to believe for one second any of these people were related. The aesthetic was repetitively unappealing, the lighting scheme a chore to squint through and the sound design as predictable and jump scare heavy as I'd feared.The thing that takes Silent House from forgettable matinee time waster to callous and ugly exercise is the third act reveal that Olsen is the one who's been tormenting her father and uncle as revenge for their sexual abuse of her in her youth. Not only does this decimate the films internal logic, it uses a gravely serious issue to fashion a stupid, unearned twist for a boring, inconsequential movie. If you're going to take things to that nasty of a place, you better be ready to get your hands dirty and treat it with the gravity it calls for. A few blurry, strewn Polaroids and a pool of blood aren't enough to justify bringing your film to what is for some people, an extraordinarily sensitive place. Silent House's crimes are many. From the unnecessarily exploitative nature of it, to the High Tension style twist that doesn't hold up to the fact that once it's over, you realize you've been watching a woman hide from herself for the last 85 minutes. Garbage.
Thankfully, this week saw the bluray release of Lars Von Trier's Melancholia, a film I've been dying to see since I first heard of it, which feels like an eternity ago. It never came to a theater I would deem up to snuff in the audio visual department, so I patiently awaited the bluray and did my utmost to avoid spoilers. I enjoyed Dogville quite a bit, but thought Antichrist was a revelation. Melancholia did not disappoint, if anything, it exceeded my expectations. Far from being the nihilistic descent its story would suggest, Melancholia is a surprisingly compassionate and restrained look at the place of human life in the vast cosmos. It is as gorgeous and painterly as Antichrist, but nowhere near the punishing experience that film was. The first half is a slyly comic take down of human attachment to ridiculous rituals. An opulent limousine getting stuck in a winding driveway. A boring reception with innumerable speeches, each more uncomfortable and cringe inducing than the last. Tired guests waiting around endlessly to cut the cake or catch the bouquet.
Perhaps best of all is Kiefer Sutherland, who turns in a genuinely terrific performance as Dunst's shamefully wealthy brother in law, who can't stop complaining about how much things cost or how well appointed his manor and golf course is. Gainsbourg is equally magnificent as her more put together sibling who begins to lose her composure as earth's destruction becomes imminent. I think too much has been made about these sisters swapping identities with the encroaching apocalypse. I feel that both characters act as they would in reality. Claire has more to lose and acutely feels the panic of her beautiful life and family slipping away, whereas Justine's crippling depression makes it possible for her to face the obliteration of all life with detached stoicism. She's never ebullient about it though. This film is pure poetry, bathed in gold the first half, drenched in blue the second as looming Melancholia holds sway.
Like Antichrist, the film is cathartic, thought provoking and deeply archetypal. It is confrontational as well, but not as blunt. It's as if the edges were sanded down, the characters easier to relate to, the imagery more comforting. Even if people don't like what Von Trier has to say about the relative value of human life, there's nothing offensive about the film and its languid indifference toward existence. It's gorgeous to look at, honest about where it stands and respectful of emotional attachment, if not possessing it. It's an impressive achievement from a true auteur, a film that shows him growing as both human and artist.
Tuesday, 13 March 2012
Monday, 12 March 2012
Sunday, 11 March 2012
John Carter
Dating back at least as far as Dune, I've had a soft spot for films judged to be catastrophic failures before even being released. There's something about studios spending outrageous sums of cash to produce sci-fi entertainment that really rankles the crabby wags who love to bitch and moan about movies. They act as if it were taxpayer money that funded these would be epics. John Carter has been deemed a flop for at least six months now with the bulk of critical ire aimed at the marketing campaign. I know they hate the marketing campaign because it has been brought up multiple times in every single article written about the film. I mean, I went and saw it, so it worked well enough for me, but what do I know? It's not like I write for a website that nerds compulsively visit to swear at the staff and each other in the talkback section, and I'm not one of the widely read online film critics who count Armond White as an esteemed member of their ranks. No, I'm just some asshole who loves movies enough to drive 45 minutes and pay 45 dollars to take my family to see a 250 million dollar piece of entertainment on the best screen available in my state.John Carter is as entertaining as it is flawed, its joys as simplistic as its failures over thought. It has a hell of a time getting going, that's for certain. It opens with an unwieldy pile of exposition that, while beautiful to look at, doesn't make a lick of sense to anyone who isn't a devotee of the century old series of books that provides its framework. After this bewildering opening segment, it seems to begin properly, then almost instantly, doubles back to begin again from the perspective of another character. Then this character begins reading from a journal, so after three false starts, it officially decides to commence with telling its tale. Thank god it did, because I was beyond frustrated and the sight of our hero wearing the worst fake beard since Hartnett in 30 Days of Night was doing little to alleviate my consternation. Then, remarkably, it hits its groove and becomes an engrossing piece of pulp adventure, transporting the viewer to a different world with bizarre cultures and creatures.
The approach of location shooting in the Utah deserts and using jaw dropping CGI to paint gorgeous embellishments onto it is inspired, creating a Mars that feels tangible as opposed to bored actors milling about in green screen warehouses. The acting is all over the map, ranging from the fantastic work of Lynn Collins and Willem Dafoe to the serviceable leading man/Villains work turned in by Taylor Kitsch, Mark Strong and Dominic West to the awful contributions of Ciaran Hinds (who I usually love) and James Purefoy. The most endearing character however, is the adorable speed demon turtle dog, Woola. It's cheap and easy to generate audience sympathy for a creature with such overt canine characteristics, but it's so well done here, you can't help but be won over. This loyal, lovable little creation should have been front and center in advertising as it will be a surefire hit with every demo.
There's nothing wrong with the effects really as this is a case where you can actually see all 250 million up on the screen. The action sequences are wonderful pieces of thrilling wish fulfillment, with John Carter leaping a hundred feet in the air and wielding incredible strength thanks to an Earth to Mars gravity differential. The problem is the plot, which gets bogged down after leaving the brutal Thark (the four armed, tusked green Martians) society and venturing into the ill defined civil war raging between the two humanoid species that are impossible to tell apart. Further and unnecessarily complicating things is a godlike race called Therns who seem entirely dispassionate and whose powers are so great that you can't stop reminding yourself they could kill our hero anytime they wish. This is meat and potatoes genre fare, you need to hate your bad guys and want your hero to get em' good. We didn't need these blue eyed, bald headed buzzkills poking holes in the plot with their detached omniscience. Simply make West's character an evil genocidal maniac Carter has to defeat, don't split the antagonist into two characters and dilute the menace.
Aside from the structural flaws though, it is a rip roaring good time at the movies. It's stunning to look at, has some nice comedic touches to keep it light and the leads do have some palpable romantic chemistry, which is something of a rarity in pictures like this nowadays. There is one standout sequence in which John Carter goes on a kill crazy rampage against a charging battalion of Tharks that is inter cut with images of the tragic past he left behind on earth. It's much more hard edged and seems somewhat out of place amidst the gee whiz naivete of the rest of the movie, but within this scene is contained the true heart of the film, or at least the film this could have been. A film more assured of the basic story it was trying to tell and less concerned with appeasing pedants or appealing to target markets. What we do have is a pleasant time at the movies, so long as you stow your cynicism.
