EP Review - Gallows : Death Is Birth (2011)

I am sure that a high percentage of Gallows fans thought that the band would be dead in the water following the sudden and shocking departure of enigmatic frontman Frank Carter back in the summer. But true to spirited form, the band soldiered on, and following the timely breakup of Alexisonfire, Wade MacNeil (guitarist of said band) joined up with Gallows, becoming the band’s new singer. It was a decision that split the fans, some believing that without Frank, Gallows would just not work, and others keeping the faith despite the obvious big changes that would have to happen.

MacNeil was a controversial choice, given his Canadian nationality, as Gallows are considered one of the best hardcore punk acts of the UK, partly because they are so quintessentially British. Gone would be the accented growls of Carter, replaced by something far more ‘mainstream’ and ‘generic’, some would argue. But the band have done all they can to break the mould, refusing to straight up imitate the band they were on debut album ‘Orchestra of Wolves’ and the phenomenal follow up ‘Grey Britain’. Whatever they released next, with or without Carter, they would have to throw out the rulebook and move onto something entirely fresh, which is exactly what the band have done with their brand new EP, ‘Death Is Birth’. They are, of course, the same old band, just with somebody different holding the microphone. How much of a difference can that make?

Just a couple of weeks after MacNeil joined the band, a 37 second teaser track entitled ‘True Colours’ was released, showing the exact intentions of Gallows to play something heavier than they ever have before with an emphasis on back-to-basics hardcore paired with their familiar ‘take no prisoners’ attitude. Following the AP tour in the US with the likes of Four Year Strong and Sharks (which allowed the band to gel as a live act and work out any kinks) the EP dropped in early December with a bang. The 4 tracks show that Gallows have grown as a band in the short time since Frank Carter’s departure and that MacNeil has stood up to be counted as a suitable replacement. That is the last time the ghost of Carter will be mentioned, because this is the new Gallows and this is ‘Death Is Birth’.

The EP is a frantic affair, clocking in at less than 8 minutes, and it’s a considerable ear bashing. ‘Mondo Chaos’ is our first taste of what the intentions the new inclination of Gallows have to offer, and the song (released one week before the EP as a single) is the most accessible of the four, introducing Wade’s raw and passionate vocals, which tear across the polished and effective heavy riffs. The track flows from each destructive and aggressive part to the next, with the anarchic chants of ‘Fuck the world!’ just begging to be yelled along to. This is a song that is sure to get the crowds involved at future live shows, with the final repeated statement of ‘What you gunna do about it?’ repeating until the last rip-roaring chorus. It’s 2 and a half minutes of pure Gallows fun.

‘True Colours’ has been re-recorded following its release as a teaser, and it’s quite confusing as to why. The original release was a short burst of unashamed thrash punk and this version takes away much of that brutality. Additional guitars (including some screeching feedback) and gang vocals make the track feel slightly overdone and perhaps overthought. It still packs a punch but the reasoning behind a re-recording is not clear, especially after the rousing hype the original created.

‘Hate! Hate! Hate!’ is in the same vein as the previous two tracks, a showcase of musical violence with an undercurrent of untapped aggression that bubbles beneath the thunderous drums and battering guitars like the bubbles of boiling water. Before the EP gets the chance to break into a real stride, the last track (which is also the title track, ‘Death Is Birth’) leaves a lasting impression as a relentless barrage of heavy punk that breaks free of everything that could hold it back, existing as a self-sufficient beast that feels so original that this EP could have come from a brand new band entirely. The constant screams of ‘Death is birth!’ feel like a commentary on the last few months for the band, which could be disconcerting as a musical theme but doesn’t once feel like that.

‘Death Is Birth’ is an accomplished group of songs from a band in transition, the sound they have to their name skilled and flawless due to 4/5 of the band having played together for years and the final piece of the puzzle being a vocalist who has just as much talent as he does desire. If a new full length album from Gallows is to land in 2012, then punk rock fans better clean out their ears and get ready for another furious attack, because I get the impression that this band are just getting back into the swing of things.

What I've Been Watching (October / November 2011)

Another couple of months where I've got behind with the 'What I've Been Watching' reviews, so here are the movies/TV shows with their rating but without a review. They'll return to normal for December.

 

Attack The Block (2011)

6  

Rescue Dawn (2006)

6.5

Batman – Mask of the Phantasm (1993)

6  

Horrible Bosses (2011)

7

Submarine (2010)

8

A Night At The Roxbury (1998)

5

Kicking Screaming (2005)

5

Deadgirl (2008)

6

Semi-Pro (2008)

6

The Lion King (1994)

8

Van Helsing (2004)

5.5

Talladega Nights – The Ballad of Ricky Bobby (2006)

5

Crazy Stupid Love (2011)

6

Batman – Year One (2011)

8

Superman & Batman – Apocalypse (2010)

6

Darkman (1990)

4

Top Boy (2011)

7.5

Harry Brown (2009)

8

The Rum Diary (2011)

7

The Human Centipede II – Full Sequence (2011)

2

The Change-Up (2011)

6.5

Cowboys & Aliens (2011)

5

The Thing (2011) 

7

Love & Other Drugs (2010)

5

Bored to Death – Season 3 (2011)

7

Album Review - Langur : Deadfacing (2011)

One of Bristol’s hardest working bands, Langur, release the album ‘Deadfacing’, the third record in their 6-year plus career. For somebody who has been a fan from the very beginning, watching and listening to the band evolve has been a superb experience, and ‘Deadfacing’ (named after a band in-joke regarding corpselike face pulling) is the best thing they have released to date. Previous releases ‘Jokes I Don’t Get’ and ‘Long’ helped the band become regulars on the local Bristol scene, and now with passionate lothario Dave Thomas (of DIY label ArtScare Records) backing them, it’s only a matter of time before the band move on to bigger things. Made up of Andy Pickett on guitar and lead vocals, Kate Mizen on bass and Anthony Palmer on drums, Langur’s album is a personal affair, which the majority of the recording done by the band themselves, giving the tracks a raw yet polish notably refined sound.

The album begins on a sombre note, with a drone of dread, before quickly shifting into the energetic driving force that is ‘Uncanny Valley,’ pushed along with electronic whirrs and noises. Juddering bass and bombastic drums provide a kinetic backdrop for Andy’s guitar wizardry, which can be like audible chemistry experiments. The vocals are understated, never overdone and always abundant with flair. The song’s funk-laden chorus builds with vigour, swinging effortlessly towards a summit with the introduction of backing vocals in the form of Ant’s distorted roars of ‘You’ve gone too far!’ The stop-start outro allows Langur’s band dynamic to shine through, ending abruptly with a final bellow from Andy.

A furious beat signals the beginning of ‘Knot In My Head’, the main riff tearing along at 500 miles per hour. Pacing is important in this track, with a modest chorus (that includes some great double-kick on the drums) and a fantastic triple threat of vocals from all band members. The lyrical content of this song, and the majority of the album, is a lot more cryptic and mysterious than on previous releases. The keen-eyed social commentaries are ever present but now the songs are littered with surreal subject matter and enigmatic metaphors. That said, the element of fun that surrounds Langur certainly doesn’t suffer. The song ends with everything unravelling in a similar vein to how Black Sabbath’s classic track ‘War Pigs’ draws to a close, but with a dash of Sonic Youth.

Bass thumps and guitars squeal for ‘Rust the Sky’ which channels rocking early 90s grunge. Pixies, Soundgarden and Smashing Pumpkins can all be heard here (despite the fact I wouldn’t list these bands as major Langur influences), but it’s never enough to overwhelm. The post-hardcore/punk edge of Fugazi is Langur’s number one authority (which was clearer on the other 2 albums than here) but the band have their own identity which is created by the fusion of 3 very different musical personalities. Inspirations from metal to classic rock to punk all filter through to the sound, a sound that the band know works well after years of playing together. Noise combines with high quality musicianship and the memorable elements are allowed free reign and 20 seconds of feedback is the perfect end to the first act.

‘Insects’, like its namesake, fizzes and flits with energy, before settling into a jolty and oddly satisfying verse riff. Doom fuelled bass and picked guitar push on a pre-chorus before another ‘yell along’ chorus, which seems to be commonplace on this album. This song is often bleak and theatrical, the distorted guitars and big drums again bringing forward memories of early Black Sabbath, when metal was young and this kind of sound was new (again, not sure if Sabbath are a Langur influence, but the band can be heard in snippets here and there). Another prolonged chunk of feedback before the final timed note of the song is followed by a brief interlude of sorts, with mellow bass and jazzy drums.

The liveliness of Fugazi and the bass imagination of Primus comes out on ‘N2’, which has great lyrics (‘Noxious gases overhead, Green idol lurches tall like death’) and includes another belter of a chorus. Bass pushes the tempo at the halfway point and the drums never cease, building tension until a crazed solo sweeps in, which screeches, bends and shreds. Grunge notes end the song on a melodramatic note, showing that a lot of different ideas in one song can work well when pulled together correctly.

‘Mice’ has great contrasts, from the jangly verses to vigorous choruses. It is oddball garage rock with a funky edge and proves that Andy has an abundant vocal range. The song doesn’t stand up with much of what has been heard so far, but things get exciting with the final couple of tracks.

‘Stingee Bee’ idolises Les Claypool and promotes musical insanity, with many technically efficient layers and a funk-soul drenched main riff. It’s the longest song on the album, but Langur excel with these longer pieces (think of ‘Symes Avenue’ from ‘Jokes I Don’t Get’), proving that they’re not just a band to be digested in short, 3 minute mouthfuls. Stop-start bass signals a riot at the halfway point, before the song descends into chaos with what sounds like an outrageous version of ‘Flight of the Bumblebee’.

Album closer ‘Fence’ is probably the highlight of the record, mainly for its animal/visceral style, which includes blood-curdling screams and roars (a Bristolian tribute to The Locust). Kate’s vocals are particularly terrifying here, combined with the screams of ‘Fence!’ from Andy and Ant. This song was a fantastic experience live and the recording doesn’t disappoint. It shows off the chemistry of the band, who have clearly developed a strong enough understanding of each other’s abilities. Few on the Bristol scene probably rival their musical rapport, proved here with seamless transitions and an addictive hook. Repeated shouts of ‘Take it out on the fence!’ then build to an onslaught of force and venom. The album also ends with a bonus moment for toilet humour enthusiasts (‘That one was real’).

Langur have clearly grown since the days of first album ‘Jokes I Don’t Get’, which is where they found their sound. Now they are just elaborating on it, injecting darker themes and pulling off bigger tricks, which is an encouraging sign, especially when the climate of modern music (especially for unsigned bands) can often enforce an ‘adapt or die’ ethic. ‘Deadfacing’ is the most polished of Langur’s albums, capturing the live energy they have perfectly on record. Catch them performing in Bristol whenever you can, because you won’t regret it.

You can listen to and buy the album here :
 
http://langurmusic.bandcamp.com/album/deadfacing

 

Album Review - Wasted Sinners : Unleashed & Dangerous (2011)

Self-proclaimed ‘high octane rock ‘n rollers’ Wasted Sinners debut album ‘Unleashed & Dangerous’ arrives with not so much of a growl, but more of a whimper, delivering a frankly underwhelming brand of ‘classic rock’ that aspires be to everything Guns N Roses and Mötley Crüe once were at the height of their popularity, but ends up being a weak tribute when it could have been a nostalgic throwback. The latter mentioned influence has been oddly spelt ‘Motley Crew’ on much of Wasted Sinners’ press, which suggests to me that they aren’t so much die-hard fans of the genre they hold a candle for, but more a group of wannabes riding the coattails of modern day glam-rock/metal virtuosos Steel Panther, throwing in buzzwords where appropriate to appear genuinely ‘unleashed and dangerous’. Let this band out of their cage and fortunately the only injury they’ll be able to cause is a mild skin abrasion, because without wanting to beat around the bush, they’re about as dangerous as a newborn baby would be with a pair of nun-chucks.

With the members sporting personas such as ‘Roxx Hydi’, ‘Gary Dainty’, ‘Dude Rock’ and Pete Sin’, I just can’t take them seriously in this day and age (unless they’re some sort of parody act, which unfortunately they’re not). Call me narrow minded, but I am of the opinion that unless your band are legendary and/or technically astounding (which Wasted Sinners are neither of), you do not have the right to have a made-up onstage persona, particularly something as ridiculously obvious as ‘Dude Rock’. I mean, seriously?

The album opens with the ironically named ‘Fakeness’, beginning with a flurry of drums and a marching verse with, the chords being used quite easily fitting into the classic rock groove. Think Deep Purple or Thin Lizzy, but strip away the personality and this is what you are left with. The jams are decently executed (to an extent) but are lacking something that really would make them stand out. Guitars sweep and vocals screech, but the lyrics are mere shadows of the exciting social commentaries produced by the bands that have clearly inspired them. Most of the time I can barely make out what Roxx Hydi is singing about, but when I can, it seems to be something bland and generic, not really delivering a message or provoking any sort of thought. Lazy song-writing is the easiest thing to call it, but it’s probably just lack of imagination.

‘One Night’ starts fast and furious, but quickly strays in mediocrity. It’s discount, bargain-basement glam-rock which really is a poor attempt at bringing a wonderful genre to a modern audience. There’s just no place for music like this in the current musical climate. Sure, the band is probably having fun playing it and I’m positive they have a loyal fan-base, but it really isn’t going to make waves big enough to rock the boat.

‘Questions’ is mish-mash of ideas and a bizarre attempt at a ballad. It gets lost almost thirty seconds in, before peaking too soon (and that peak certainly isn’t dizzy heights). The remainder of the song drags along like a wounded animal, which coincidentally is also what the lead vocals often sound like. The solo finally cuts them off, and the lick is a surprising highlight which definitely doesn’t last long enough. I hope the song is titled ‘Questions’ for the sole reason that the chorus is constant questioning, because that would prove that this band are extremely narrow-minded and must expect their target audience to have massively low IQs, because nobody else could enjoy this simple rubbish.

‘I Want More’ is the only song on the album with a hook, but even that can’t save another travesty. It attempts to have swagger, but it’s misplaced and the promiscuous edge oozes about as much  sexuality as Susan Boyle. ‘I’m Falling’ has some personality and feeling, probably making it the best song on the record. However, the lyrics are clunky and odd, restricting the flow of the song and halting any enjoyment.

The final track on the album is titled ‘Drugs & Angels’ and I wouldn’t have expected anything less. It’s an awkwardly obvious title for an awkwardly obvious song. The yet more awkward woo from the vocalist brings in the song, which I swear uses the same chords as the opener. There’s a lot of bad Axl Rose impersonation going on here, including the awful clichéd moment that I cannot stand in music of any shape or form, a shout of ‘guitar!’ as a solo kicks in.

Glam-rock/metal hasn’t yet had its day, because modern bands that inject originality and fun can pull it off with ease. However, this release from Wasted Sinners is bland, void of style and above all, stagnant. The songs are poorly written and they leave nothing but a bad taste. I hope to hear nothing more of this band, because another release like this may cause me to vomit up my Jack & Coke.

Five of the Best - Mondo Posters

1) Blade Runner

2) An American Werewolf In London

3) Jurassic Park







































4) The Evil Dead

5) Kill Bill - The Whole Bloody Affair

Find more from Mondo at www.mondoarchive.com

Album Review - Huron : Mary Celeste (2011)

The second album from Plymouth’s metal maestros, Huron, will probably gain as many fans for the music it contains as it does lose potential listeners for the cover artwork alone, which is equal parts death-metal and pirate-metal. That perhaps filled me with slight dread as I began my listening experience (yes, a fairly close-minded approach), but I wasn’t disappointed by what I heard, which is a band with a sound that has a distinct groove, one that has drawn comparisons to Pantera, a comparison that shouldn’t be taken lightly by any group of musicians.  But for me, the band has a thicker and dirtier sound, which is a positive in terms of stepping away from such a looming shadow of comparison. It’s a sound which is much more similar to Phil Anselmo’s Down, who are a band that have the bare bones of Pantera’s groove but nothing like the raw aggression and energy that made Dimebag’s band legendary.

Anyway, I’m perhaps falling off topic, because this is Huron’s review and they are a unique band in their own right. They are a talented bunch of musicians who know how to write a thumping metal tune, and as the album begins with a slow pounding that with descends into a thunderous beast with ‘Branded’, I know I’m in for an intense ride. It’s a back-to-basics, no messing around kind of approach, which is both refreshing and easy to listen to. Title track ‘Mary Celeste’ picks up the pace and delivers something that is both aggressive and raw, and it’s a perfect song for the album to be named after.

Huron rarely let up after such an explosive introduction, and other highlights on this record include the ferocious ‘Disperse Or We Fire’, the vigorous ‘Blood In Blood Out’ and a track that showcases the musical talent of the band in a completely different way, with ‘Eternal Sea Part 1’. The latter song is a calm moment, which showcases the vocals and provides a soothing break from the onslaught, which continues once the track comes to an end.

The album is great, with a decent combination of clean and screamed vocals, some relentless riffing and a real eye for detail. It’s broken into two acts, which stops the music becoming repetitive and stagnant, allowing the songs to breath and exist in their own unique way. Brutal throughout (except for the one track), which will please fans of both modern metal and everything that has come before it, from Black Sabbath to Pantera and into the 21^st century. Huron are on the up and this album proves it.
 

What I've Been Watching (September 2011)

SPOILERS AHEAD


Animal Kingdom (2010)

Animal Kingdom is a solid Australian crime thriller, which is both perfectly paced and astoundingly acted. It tells the story of teenager 'J' Cody moving in with his Melbourne based extended family after the death of his mother, a family up to their necks in trouble after their involvement in everything from armed robbery to drug pushing. It's J's Grandmother (played by Jackie Weaver) and his Uncles who provide much of the drama in this dark and sizzling movie, with a fantastic turn from Guy Pearce as a detective investigating the family's dealings. It's violent, but those moments are used sparingly to keep us on our toes. James Frecheville, who plays J, is a revelation, who delivers an accomplished performance despite this being his feature film debut. Animal Kingdom is critically acclaimed, and for good reason. It's tense in places, which is often hard to bear, and a compelling watch. 8 / 10.

Tangled (2010)

The second occasion of my regular movie night with my 4 year old sister, Scarlett, had us watching Tangled, a Disney movie that ticks all of the boxes for a classic, princess themed animation (songs, romance, etc). Having grown up with Disney, it's safe to say that this movie is an attempt to recreate the atmosphere of old, but it just didn't work for me. I'd much prefer to re-watch The Little Mermaid, perhaps for nostalgic value. Maybe I'm being stubborn, but I just couldn't get into Tangled. It was refreshing to see Disney putting something out that wasn't a collaboration with Pixar, because I still feel like there is a place in the industry for these cutesy movies that are mainly aimed at the young ladies. Scarlett seemed to enjoy it though, especially the musical moments, which bumps up my score to 6 / 10

Scott Pilgrim Vs The World (2010)

Edgar Wright has directed two movies that are without a doubt up there with my favourite British films of the past 10 years, the impeccable Shaun of the Dead and the hilarious Hot Fuzz. His latest outing, Scott Pilgrim Vs The World, is a comic book adaptation that channels geekery in a way nothing else has, interweaving many comic book, movie, TV show, video game and pop culture references into a wacky love story where the titular character has to defeat the 7 evil exes of his new love interest Ramona before he can be with her. It's fun, with a lot of quirky additions that will satisfy fan boys (the Universal logo and theme at the very beginning is in 8-bit) and an easy to follow story that will entertain even the most casual of moviegoer. The Blu-Ray edition I purchased shows off the movie in the best way possible, with everything from the spellbinding effects to the intense editing being put in the spotlight. Michael Cera is his usual self for the title role, but the supporting cast are good enough to not single out his performance as a negative. I loved it, and I hope for a follow up because the movie industry needs films like this. 8 / 10.

Blue Valentine (2010)

I'm not much of a fan of romance on film. I feel like much of the time it follows the fairy tale route. The happy ever after, soul mate, meant to be together, love is beautiful direction that's been done over and over but always seems like the easiest route for romantic comedies, serious romantic dramas or the like. Every once in a while comes a film that takes the more believable, and unfortunately for us, the more truthful version of love and tells a story that is both understandable and uncomfortable at times. In Blue Valentine, it's that latter feeling that comes from feeling like a voyeur as we watch the relationship between a young couple fluctuate from comfortable happiness to pettiness, paranoia and in the end, sheer hatred. The film jumps back and forth, showing these scenes in a jumbled order, but this doesn't take away from the story it is trying to tell. The interaction between the main actors, Ryan Gosling and Michelle Williams, is frank and sincere. I can't remember the last time I believed in an on screen relationship so much. Some may see this movie as miserable and over-dramatic, but it really isn't. If anything, it's just conformation that even when two people want to make things work and be happy, it doesn't always work out that way. An honest account of young love and the trials that face it, Blue Valentine should have won more awards than it did. 8.5 / 10.

Appropriate Adult (2011)

ITV1's 2 part adaptation of the true story of serial killers Fred and Rose West and how they were brought to justice was eerie, intense and told a different point of view on events to previous tellings I had seen. Instead of trying to give a view from the murderers themselves, or the victims, Appropriate Adult centres on Janet Leach, a woman brought by Gloucester Police during their interrogation of Fred to provide support for the accused. It's an exploration into the mind of a killer, but also explains the trials somebody like Janet, a volunteer as said 'appropriate adult' can go through when the grisly details and intensity of the situation gets too much for her to handle. Dominic West was believable and uncanny as Fred, certainly taking centre stage in the drama, driving each scene forwards with his unhinged and baffling attitude towards the girls he killed. Emily Watson's performance as Janet Leach was a bit wet, the same look rarely leaving her face, but I find that with much of her work. This made the second half of the second episode a bit of a bore, as Fred's death left Janet feeling lost and almost unable to go on with giving evidence in Rose's trial. It was intriguing enough and riveting in places, 6.5 / 10.

Green Lantern (2011)

Green Lantern has the potential to be another great movie adaptation from DC, with a talented leading man in Ryan Reynolds and what appears to be a huge budget, but unfortunately it falls flat due to a bad script and a lack of risk taking. It was an enjoyable ride at times but never really went in the direction I wanted it too, and the threat from the main villain (a cloud of energy that eats planets or something, the Paralax) just felt a bit empty. The comedy elements were okay, as were the action sequences, but even the special effects (which were clearly what most of the budget went on) seemed slightly poor in comparison to much of the other superhero movies we've seen this summer (Thor, X-Men First Class, Captain America). I won't be calling out for a sequel! 6 / 10.

The Blair Witch Project (1999)

After some recent discussion with friends about our most memorable horror movie experiences, I had the urge to revisit a movie I haven't seen for a number of years, The Blair Witch Project. On its release, it rode a wave of notoriety due to the question marks surrounding the possible genuine nature of the footage, which showed 3 members of a documentary film crew lost in the woods and being terrorised by an unknown force. Since then it's been made clear that it is a work of fiction, but that doesn't take away from the real fear that grips you when you watch certain scenes. Sure, in a world populated by the manufactured scares of Paranormal Activity, the Saw series and the like, many people will find The Blair Witch Project unappealing, but I still really enjoy the atmosphere it creates, despite the fact that there is never a 'big reveal' or defining money shot. 7 / 10.
 

Grave Encounters (2011)

Talking of manufactured scares, Grave Encounters pulls off every cheap trick in the book to make the viewer terrified, from loud noises and spooky grainy images, which works on a basic level but doesn't strike me as something that will become a part of mainstream culture, like the previously mentioned Blair Witch. That's because it's all been done before. This is just another 'ghost hunting gone wrong' set up, with a documentary crew spending a night in a haunted abandoned mental institute before things take a sinister turn. Sure, I jumped out of my skin a few times, but mainly because the editing was done well enough (along with some soundtrack additions) to create the scares. The direction which the movie took was a simple route and ended up feeling very unoriginal. Enjoyable at the time (in places) but in hindsight, not very good at all, earning it the SHIT MOVIE OF THE MONTH award with a 4.5 / 10.  
 

Drive (2011)

I will be posting a separate blog post for my thoughts on Drive, including a deconstruction of the themes of the movie which is one of my favourites of 2011 so far. Keep an eye out for that, but for now my score for the movie is 9 / 10 and it is my MOVIE OF THE MONTH.

Album Review - Blink 182 : Neighbourhoods

Blink 182 grew up a long time ago with 2003's self-titled release, which was, as controversial as it may be to say it, my favourite album from the band. It was emotionally genuine, an honest look back on their career and struck me as the album the band always wanted to make. For me, it is the album they will never be able to beat, as much as they will continue to try. After a long hiatus, Blink are back with their new release, 'Neighbourhoods', which is an attempt to better what has come before. Unfortunately for them, and for Blink fans, the record falls flat, and I can't quite put my finger on why that is. The pop punkers stick to the heavy subject matter that the 2003 album addressed and don't return to the jokes and playful style of earlier albums, as perhaps many of us thought they would this time around. It just feels like a group of songs zapped of much of their energy, meaning the album feels at times like it isn't working as hard as it could be to get us to love it. As each track goes by, there is hope for something to make an impact, but it just doesn't arrive. There are flashes of the old brilliance but not enough of it to make any one track stand out as something that will become a future Blink 182 hit.

'Ghost on the Dance Floor' kicks off the album with keyboard ambience, buzz saw guitars, full throttle snares and brash bass. The three chord blasts promise something wonderful, but as we snap from the opener into 'Natives', already I can feel the doubt begin to set in. In places, it's a good track, with machine-gun drums and a melodramatic yet memorable chorus, but it all feels a bit shoved together. The first single from the album, 'Up All Night' is a bit better, but as it switches and progresses, it starts to get confused. More vocals from bass player Mark Hoppus here would have done well, as at many times the lead vocals of guitarist Tom DeLonge feel very much like whining (which was a big problem on both albums from his other project, Angels & Airwaves).

As the album continues, many of the songs lack substance, especially 'After Midnight', which is an easy listen but not much more. It feels as if the band are just going through the motions, which is obvious with 'Snake Charmer' which doesn't feel like the best this band can produce. They should be at the top of their game, using their skill at including emotional narrative in well crafted songs, but much of what is heard on 'Neighbourhoods' crosses the line from fresh to 'heard it all before' way too often. 'Heart's All Gone', which includes a stripped down interlude, is a solid song which blends much of the band’s early career with the song-writing experience they have gained throughout the years.

‘Wishing Well’ has wonderful pop hooks, with DeLonge’s lyrics shining through due to the visuals they create. ‘Mh 4.18.2011’ is a garage rock song with pulsating beats and a soaring chorus, but as the album reaches its climax, much of the tracks stray back into the forgettable area. ‘Love Is Dangerous’ feel a lot like an Angels & Airwaves (Tom DeLonge’s other band during the Blink 182 hiatus), which really isn’t a good thing. The production values take over and make this song a badly executed and over-dramatic experience. The 2 tracks added for the Deluxe Version of the album are just as bad, although Travis Barker’s drums are enjoyable on ‘Fighting the Gravity’, but ‘Even If She Falls’ is a bore.

All in all, the album is mostly a failure, despite the odd moments of brilliance. I will give several of the tracks another listen but much of ‘Neighbourhoods’ is bland and forgettable, feeling rushed at times. It definitely isn’t a ‘we’re back!’ sort of album, which it really should be. Disappointing.

What I’ve Been Watching (August 2011)

Catching up with the reviews now, kicking off with August and soon to be followed by everything from September. This month includes several cinema visits as the blockbuster season gets up and running!

SPOILERS AHEAD

Captain America – The First Avenger (2011)

Captain America - The First Avenger is the last of the Marvel Studios movies that will set the scene for next year's superhero team-up extravaganza, The Avengers. Chris Evans stars as the title character in the summer blockbuster set in 1942, where weedy yet determined soldier Steve Rogers is selected to take part in a 'Super Soldier' program where he is experimented on with a body-enhancing serum, giving him increased speed, agility and strength. Hugo Weaving stars opposite Cap as the head of Nazi division HYDRA, a murderous and twisted individual named the Red Skull (for good reason). It's a good summer romp, a fun movie that is camp is places but it certainly knows its identity, so it doesn't feel ridiculous. Evans is solid as Cap, representing the courage and honesty of one of Marvel's most clean-cut and respectable heroes. There are times when the action sequences feel a little bit like heavily altered montages instead of choreographed and well-thought out scenes, but apart from that I had little problem with the whole affair. It proves, along with the likes of Thor which was released earlier this year, that Marvel Studios aren't just bashing out these movies in order to rush to the pay packet which The Avengers will undoubtedly bring. The short teaser for that mentioned movie at the end of The First Avenger really got me excited and I'll be sure maintain that excitement until the release date. Cap gets a 7.5 / 10.

Arthur (2011)

I am big fan of Russell Brand, but his first Hollywood vehicle in the shape of Arthur, a remake of the 1981 movie of the same name starring Dudley Moore, is disappointing and lacklustre. It doesn't channel everything that makes Russell Brand witty and hilarious, perhaps on purpose to some extent, and ultimately it's the movie's downfall. Brand's performance is odd and at times, a bit clunky, perhaps because he has calmed down his usual over the top self. I won't go into the plot, which is the tale of a rich and spoiled man come good, but I will highlight the performance of Helen Mirren as a saving grace for Arthur. Other than that, that's not much else to love. And unfortunately, because much of everything else I have seen this month has been better than this, it gets the SHIT MOVIE OF THE MONTH award with 4.5 / 10.
 

Rise of the Planet of the Apes (2011)

The summer blockbuster season carried on being one to remember (after a superb turn from Captain America) with Rise of the Planet of the Apes, a prequel of sorts to the original Apes movies charting the changes in society and turn of events that eventually lead to apes gaining increased intelligence and ultimately replacing humans as the dominant species. Much of the movie focuses on Caesar, a curious and smart ape, who is raised from birth by Dr Will Rodman (played by James Franco), a man who has dedicated much of his life to finding a cure for Alzheimer's disease. Experiments for this cause have lead to Caesar's increased brain power, and the movie begins a slow burn from the ape's young life to his tentative older years, as he begins to see the world for what it is and plans a better life for not just himself, but for other apes. It's a great movie, a thrill ride of sorts, with top performances (especially Andy Serkis, who delivers another motion-captured performance for Caesar) and fantastic special effects. 7.5 / 10.
 

Hanna (2011)

Hanna is the story of a 16-year-old girl (Saoirse Ronan) who was raised by her father (Eric Banna) in the wilderness to be the perfect assassin, and once her training is complete she is dispatched on a mission across Europe, but is tracked by a ruthless intelligence agent and her operatives. It's a coming of age story, charting Hanna's first experiences with people of her own age and her first forays into love and lust. The kick-ass style of ultra-violence and increased tension is just a back drop for the absorbing and often heart-wrenching tale, which is both brilliantly acted and beautifully shot, with some wonderful cinematography and an engaging soundtrack from The Chemical Brothers. It exudes cool and is definitely worth a watch, especially for fans of an edgy and visceral directorial style. 7 / 10.
 

Despicable Me (2010)

I have recently started a weekly movie night with my 4 year old sister, which gives me a good chance to see recently released and popular animated films and helps with the review process when I can assess her reaction to how good the movies are affective as entertainment for both kids and adults. We started off with Despicable Me, the Steve Carrell fronted tale of a criminal mastermind who uses a trio of orphan girls as pawns for a grand scheme, but soon finds out that their love is profoundly changing him for the better. It all sounds very similar to the recent Will Ferrell voiced Megamind, but it manages to stand apart from that due to its heart-warming core storyline and incredibly slapstick humour. Visually, it's colourful and explosive, which is a joy to watch. It didn't keep me as gripped as some Pixar animated pictures do, but it was fun none-the-less. 6 / 10.

The Inbetweeners Movie (2011)

The Inbetweeners has been on our screens for several years and three series, and due to its unrivalled popularity in the mainstream comedy world, warranted a movie release and unlike many shows on TV currently, had the legs to make it to the big screen. The Inbetweeners movie carries on where the TV show left off, with the 4 hapless and socially troubled teenage boys leaving school and going on a lads holiday to the Greek island of Malia. The crude and rude humour remains, but for me it didn't seem much more than a longer TV episode. I expected something bigger and bolder, with perhaps some money shots that made it appear more of a blockbuster than just a standard episode on a larger screen. But don't get me wrong, I found it hilarious and was sometimes in tears of laughter due to the situations the boys find themselves in, which all in all makes this movie a success, because all I really wanted it to do was make me laugh. Maybe I just kept expected it to kick into a higher gear and it never really did. Still, worth a watch for fans of the TV show and British comedy in general. 6.5 / 10.

Super 8 (2011)

The mysterious Super 8 has been creating buzz on the internet since the wonderful teaser trailer hit, and seeing it on the big screen was both a nostalgic and exciting experience. It was a throwback to the classic 80s movies of Steven Spielberg (who produces on this movie while J.J Abrams directs) and captured the magical and innocent feel those pictures created. After a group of kids making a movie witness a train crash, bizarre happenings begin to occur and the armed forces make their way into their hometown, leading the youngsters to begin to investigate the phenomenon themselves to find answers. It's very suspenseful and thrilling, despite not being very original in much of what it does. The performances are decent, especially from the kids, whose chemistry on screen is believable and amusing. I won't spoil anything here, because that will ruin much of what makes this movie great. But there is a big reveal, and from what I've heard from friends and online reviews, it isn't as amazing as expected, but for me, it was just right. You see just enough of what you want to see for the right amount of time. I, for one, was much more happy with this reveal than that of Cloverfield, which felt way too hyped. I really liked Super 8, possibly because it made me feel 10 years old again, but also because it proved that J.J Abrams is one of the best modern blockbuster directors out there. It’s a MOVIE OF THE MONTH winning 8 / 10.
 

Friends With Benefits (2011)

I have no idea what drew me in to watching Friends With Benefits, but I think it may have just been the inclusion of Mila Kunis as the leading lady. She stars alongside Justin Timberlake (whose acting credentials have gone up after a decent turn in The Social Network) as two recently dumped friends who decide to get involved with each other just for the sex, which ultimately leads to complications and the standard route a romantic comedy these days decides to follow. It kept shouting that it wanted to avoid those rom-com clichés, but in the end it felt a little bit like it was trying too hard to be something it evidently always would be. It had a few laughs in places, but it wasn't anything special, although it does include a wonderful turn from Woody Harrelson which was good fun. 6 / 10.