Its DARK out there... and we seem to like it.

After going to a Maroon 5 / Counting Crows concert in Camden, NJ and watching The Dark Knight over the weekend - its seems that the world has definitely grown a liking for things dark: dark lyrics, dark themes.

Somewhere along the way we lost our innocence.

Here's a brief bio of Maroon5

Capturing their first of two Grammys as Best New Artist of 2005, and going on to sell more than ten million albums worldwide, Maroon 5 won plaudits with the hybrid rock/R&B sound they introduced on their debut album Songs About Jane. On May 22nd 2007, after four years and live shows alongside the likes of The Rolling Stones and Stevie Wonder, the quintet released their much-anticipated second album, It Won’t Be Soon Before Long (A&M/Octone Records) to rave reviews. Listeners can expect this sophomore outing to be “sexier,” “stronger” and even “lyrically darker” than Jane, according to vocalist/guitarist Adam Levine, who affirms that “it’s rooted in what we’ve always been, which is different.”

Adam Levine has incredible vocal range... and is fearless when wielding it.

The album, recorded in their home town of Los Angeles, was guided by producers Mike Elizondo (Fiona Apple, Eminem), Mark “Spike” Stent (Gwen Stefani, Bjork, Keane, Marilyn Manson), Mark Endert (Madonna, Fiona Apple) and Eric Valentine (Queens of the Stone Age, Nickel Creek). It also reflects the contributions of new drummer Matt Flynn, whose harder beats complement the evolved sound of Levine, guitarist James Valentine, bassist Mickey Madden and keyboardist Jesse Carmichael. “We’re all really happy with the finished product,” says Levine, crediting the label for welcoming new sounds and textures. “With Jane you could pick out our influences pretty easily, but now it sounds more like Maroon 5,” says Levine. “We’re becoming our own band, and I think this album will help change perceptions of who we really are.”

From first single, “Makes Me Wonder,” it is clear that Maroon 5 has once again captured all of the elements that create a universally popular pop rock song. The song segues from a bass heavy intro to an infectiously catchy melody that soon belies the sentiment, “Give me something to believe in because I don’t believe in you anymore.” Beneath the surface, it also incorporates what Adam Levine calls “an increasing dissatisfaction with the direction of the world” and its leaders, imparting a new layer of meaning to an otherwise upbeat breakup song. “If I Never See Your Face” offers brash honesty in the wake of a fling, its spare guitar over a steady beat tipping its hat to Quincy Jones. A burst of electronica opens “Wake Up Call,” whose hip-hop sensibility guides a dark story exploring the depths of betrayal and rage.

It Won’t Be Soon Before Long mines its share of hopefulness as well. In the hyperkinetic rock meets hip-hop of “A Little of Your Time” (which Levine calls “the most unique track on this album, with some of the best lyrics we’ve ever written”), a relationship must overcome the challenge of distrust and miscommunication to persevere, and the bass-pulsing “Won’t Go Home Without You” asks plaintively for “one more chance to make it right.”

High school mates in West L.A., Levine, Carmichael and Madden, first achieved recognition under the moniker Kara’s Flowers. Although the world seemed to open oyster-like for them – recording their first album with legendary producer Rob Cavallo (Green Day, Goo Goo Dolls) – their debut, The Fourth World, proved a commercial disappointment. Kara’s Flowers was given a release from the label, and its members mulled their collective future. College became the intermediate answer, and while Madden stayed in Los Angeles to study at UCLA, Levine and Carmichael headed east to State University of New York.

The SUNY dorms yielded an epiphany. “The halls were blasting gospel music and people were listening to stuff we’d never actually listened to, like Biggie Smalls, Missy Elliot and Jay-Z,” recalls Levine. “The Aaliyah record had come out around then, and we were just blown away.” Until then, his songwriting influences had been The Beatles, Bob Dylan, Simon & Garfunkel and other artists he’d grown up with. But now his musical landscape had experienced a tectonic shift. Levine began to actively listen to Stevie Wonder and embraced a new singing style. Carmichael started playing keyboards. And the future suddenly looked bright again, in a very different light.
When the duo hooked back up with Madden in L.A., they were reinvigorated by adding an R&B, groove-based tint to their explosive rock & roll. With the new musical frame of mind came a new name, Maroon 5, and a fifth member, guitarist James Valentine. “James came along right as we were deciding on the name,” says Levine. “We clearly weren’t Kara’s Flowers anymore, with the addition of James and an entirely new approach to music.”

Fortified with a new attitude, a new sound and a new name, Maroon 5 quickly attracted attention from labels. Octone Records, then a new indie label based in New York, signed the group, and in 2001 Maroon 5 entered the studio with producer Matt Wallace (The Replacements, Faith No More). Melding their rock roots with their newfound love of R&B, the result was Songs About Jane. Released in June 2002, it featured pop rhythms and classic soul melodies co-habiting with searing guitars and a powerful rock undercurrent. On top of it all, Levine’s expressive voice belted out tale after tale of an ex-girlfriend.

The album yielded a four chart-topping singles. One of them, “This Love,” earned Maroon 5 a Best New Artist Moon Man at the 2004 MTV Video Music Awards; went #1 at Top 40, VH1 and MTV simultaneously; and became the first song certified as a platinum download. The other, “She Will Be Loved,” scored a Grammy nomination for Best Pop Performance by a Duo or Group With Vocal. The other two singles from Jane, “Harder to Breathe” and “Sunday Morning,” reached the Billboard Top 20 and Top 40 respectively. The band also snagged a Grammy nomination for Best New Artist, which it went on to win. Between singles, Maroon 5 held serve for ten weeks in 2004, dominating the Modern Adult Contemporary, Hot AC and Adult Top 40 charts. To date Jane, has been certified quadruple platinum in the U.S. and has reached gold or platinum status in over 35 countries.

Maroon 5 toured alongside scores of artists, from The Rolling Stones to Stevie Wonder (at the close of Live 8 in Philadelphia). They performed on virtually every TV show that features musical guests, including “Saturday Night Live,” “The Late Show with David Letterman,” “The Tonight Show with Jay Leno,” “The Ellen DeGeneres Show,” “Jimmy Kimmel Live,” “The Today Show” and many others.Following up with Acoustic (2004), a collection of unplugged songs, and Live – Friday, the 13th (2005), Maroon 5 earned a second Grammy for Best Pop Performance by a Duo or Group with Vocal for the 2006 live recording of their international hit single “This Love.”

Also known for their commitment to the environment, Maroon 5 was honored at the 2006 Environmental Media Awards and recently pledged their time and energy toward Global Cool, a newly launched initiative to fight global warming by motivating a billion people worldwide to reduce their personal energy use. For more information, please visit www.maroon5.com.

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Here's a review of The Dark Knight

from nytimes.com
July 18, 2008
Showdown in Gotham Town
By MANOHLA DARGIS
Published: July 18, 2008

Dark as night and nearly as long, Christopher Nolan’s new Batman movie feels like a beginning and something of an end. Pitched at the divide between art and industry, poetry and entertainment, it goes darker and deeper than any Hollywood movie of its comic-book kind — including “Batman Begins,” Mr. Nolan’s 2005 pleasurably moody resurrection of the series — largely by embracing an ambivalence that at first glance might be mistaken for pessimism. But no work filled with such thrilling moments of pure cinema can be rightly branded pessimistic, even a postheroic superhero movie like “The Dark Knight.”

Apparently, truth, justice and the American way don’t cut it anymore. That may not fully explain why the last Superman took a nose dive (“Superman Returns,” if not for long), but I think it helps get at why, like other recent ambiguous American heroes, both supermen and super-spies, the new Batman soared. Talent played a considerable part in Mr. Nolan’s Bat restoration, naturally, as did his seriousness of purpose. He brought a gravitas to the superhero that wiped away the camp and kitsch that had shrouded Batman in cobwebs. It helped that Christian Bale, a reluctant smiler whose sharply planed face looks as if it had been carved with a chisel, slid into Bruce Wayne’s insouciance as easily as he did Batman’s suit.

The new Batman movie isn’t a radical overhaul like its predecessor, which is to be expected of a film with a large price tag (well north of $100 million) and major studio expectations (worldwide domination or bust). Instead, like other filmmakers who’ve successfully reworked genre staples, Mr. Nolan has found a way to make Batman relevant to his time — meaning, to ours — investing him with shadows that remind you of the character’s troubled beginning but without lingering mustiness. That’s nothing new, but what is surprising, actually startling, is that in “The Dark Knight,” which picks up the story after the first film ends, Mr. Nolan has turned Batman (again played by the sturdy, stoic Mr. Bale) into a villain’s sidekick.

That would be the Joker, of course, a demonic creation and three-ring circus of one wholly inhabited by Heath Ledger. Mr. Ledger died in January at age 28 from an accidental overdose, after principal photography ended, and his death might have cast a paralyzing pall over the film if the performance were not so alive. But his Joker is a creature of such ghastly life, and the performance is so visceral, creepy and insistently present that the characterization pulls you in almost at once. When the Joker enters one fray with a murderous flourish and that sawed-off smile, his morbid grin a mirror of the Black Dahlia’s ear-to-ear grimace, your nervous laughter will die in your throat.

A self-described agent of chaos, the Joker arrives in Gotham abruptly, as if he’d been hiding up someone’s sleeve. He quickly seizes control of the city’s crime syndicate and Batman’s attention with no rhyme and less reason. Mr. Ledger, his body tightly wound but limbs jangling, all but disappears under the character’s white mask and red leer. Licking and chewing his sloppy, smeared lips, his tongue darting in and out of his mouth like a jittery animal, he turns the Joker into a tease who taunts criminals (Eric Roberts’s bad guy, among them) and the police (Gary Oldman’s good cop), giggling while he-he-he (ha-ha-ha) tries to burn the world down. He isn’t fighting for anything or anyone. He isn’t a terrorist, just terrifying.

Mr. Nolan is playing with fire here, but partly because he’s a showman. Even before the Joker goes wild, the director lets loose with some comic horror that owes something to Michael Mann’s “Heat,” something to Cirque de Soleil, and quickly sets a tense, coiled mood that he sustains for two fast-moving hours of freakish mischief, vigilante justice, philosophical asides and the usual trinkets and toys, before a final half-hour pileup of gunfire and explosions. This big-bang finish — which includes a topsy-turvy image that poignantly suggests the world has been turned on its axis for good — is sloppy, at times visually incoherent, yet touching. Mr. Nolan, you learn, likes to linger in the dark, but he doesn’t want to live there.

Though entranced by the Joker, Mr. Nolan, working from a script he wrote with his brother Jonathan Nolan, does make room for romance and tears and even an occasional (nonlethal) joke. There are several new characters, notably Harvey Dent (a charismatic Aaron Eckhart), a crusading district attorney and Bruce Wayne’s rival for the affection of his longtime friend, Rachel Dawes (Maggie Gyllenhaal, a happy improvement over Katie Holmes). Like almost every other character in the film, Batman and Bruce included, Harvey and Rachel live and work in (literal) glass houses. The Gotham they inhabit is shinier and brighter than the antiqued dystopia of “Batman Begins”: theirs is the emblematic modern megalopolis (in truth, a cleverly disguised Chicago), soulless, anonymous, a city of distorting and shattering mirrors.

From certain angles, the city the Joker threatens looks like New York, but it would be reductive to read the film too directly through the prism of 9/11 and its aftermath. You may flash on that day when a building collapses here in a cloud of dust, or when firemen douse some flames, but those resemblances belong more rightly to our memories than to what we see unfolding on screen. Like any number of small- and big-screen thrillers, the film’s engagement with 9/11 is diffuse, more a matter of inference and ideas (chaos, fear, death) than of direct assertion. Still, that a spectacle like this even glances in that direction confirms that American movies have entered a new era of ambivalence when it comes to their heroes — or maybe just superness.

In and out of his black carapace and on the restless move, Batman remains, perhaps not surprisingly then, a recessive, almost elusive figure. Part of this has to do with the costume, which has created complications for every actor who wears it. With his eyes dimmed and voice technologically obscured, Mr. Bale, who’s suited up from the start, doesn’t have access to an actor’s most expressive tools. (There are only so many ways to eyeball an enemy.) Mr. Nolan, having already told Batman’s origin story in the first film, initially doesn’t appear motivated to advance the character. Yet by giving him rivals in love and war, he has also shifted Batman’s demons from inside his head to the outside world.

That change in emphasis leaches the melodrama from Mr. Nolan’s original conception, but it gives the story tension and interest beyond one man’s personal struggle. This is a darker Batman, less obviously human, more strangely other. When he perches over Gotham on the edge of a skyscraper roof, he looks more like a gargoyle than a savior. There’s a touch of demon in his stealthy menace. During a crucial scene, one of the film’s saner characters asserts that this isn’t a time for heroes, the implication being that the moment belongs to villains and madmen. Which is why, when Batman takes flight in this film, his wings stretching across the sky like webbed hands, it’s as if he were trying to possess the world as much as save it.

In its grim intensity, “The Dark Knight” can feel closer to David Fincher’s “Zodiac” than Tim Burton’s playfully gothic “Batman,” which means it’s also closer to Bob Kane’s original comic and Frank Miller’s 1986 reinterpretation. That makes it heavy, at times almost pop-Wagnerian, but Mr. Ledger’s performance and the film’s visual beauty are transporting. (In Imax, it’s even more operatic.) No matter how cynical you feel about Hollywood, it is hard not to fall for a film that makes room for a shot of the Joker leaning out the window of a stolen police car and laughing into the wind, the city’s colored lights gleaming behind him like jewels. He’s just a clown in black velvet, but he’s also some kind of masterpiece.

“The Dark Knight” is rated PG-13 (Parents strongly cautioned). Consistently violent but not bloody.
THE DARK KNIGHT
Opens on Friday nationwide.
Directed by Christopher Nolan; written by Jonathan Nolan and Christopher Nolan, based on a story by Christopher Nolan and David S. Goyer; Batman character created by Bob Kane; Batman and other characters from the DC comic books; director of photography, Wally Pfister; edited by Lee Smith; music by Hans Zimmer and James Newton Howard; production designer, Nathan Crowley; produced by Charles Roven, Emma Thomas and Christopher Nolan; released by Warner Brothers Pictures. Running time: 2 hours 32 minutes.
WITH: Christian Bale (Bruce Wayne/Batman), Michael Caine (Alfred), Heath Ledger (the Joker), Gary Oldman (James Gordon), Aaron Eckhart (Harvey Dent), Maggie Gyllenhaal (Rachel Dawes) and Morgan Freeman (Lucius Fox).