What I've Been Watching (January 2012)

SOME SPOILERS AHEAD

For me, it’s January was a slow month for movies and for that reason I haven’t yet been to the cinema in 2012 (despite there being several releases I wouldn’t mind seeing, I have had neither the time or money to indulge). But I did manage to catch one of last year’s most critically acclaimed, Brit thriller ‘Kill List’ as well as all episodes of a UK show that passed me by, ‘Sherlock’. Throw in a couple of classics and this is ‘What I’ve Been Watching’ in January 2012.

The Prestige (2006)

Despite being a huge fan of the works of Christopher Nolan, I’ve somehow managed to avoid The Prestige up until now, and boy am I happy I finally got around to it. The movie, which stars Hugh Jackman and Christian Bale as rival magicians and their attempts to sabotage each others acts after a tragedy that effects them both, is a master class in direction, cinematography and screenwriting. The plot kept me guessing right up until the end and the non-linear storytelling added to the majesty of the movie. It’s my MOVIE OF THE MONTH with an impressive 9 / 10.

I Love You, Man (2009)

Another feel-good Paul Rudd comedy from the last few years that I am a huge fan of is I Love You, Man. The ultimate ‘bromance’ movie, Rudd stars as a newly engaged man who has one big problem in the lead up to his big day – he has no friends. No friends means no best man, so he sets out on a mission to make pals and stumbles across Jason Segel’s slacker, and the two of them soon become the best of buds. It’s a lot of fun, and the clearly improvised elements in certain scenes make for the most hilarious moments. Good times! 7.5 / 10.

Serenity (2005)

It’s been several years since I watched the brilliant cult phenomenon that was Firefly, an epic sci-fi show that broke the mould and pushed the boundaries for what modern sci-fi meant to both fans of the genre and outsiders. Serenity is a feature length version of that show, not really pushing much in terms of special effects and story-telling in comparison to the show. It’s for that reason that much of the movie is disappointing, feeling like a middle of the road episode that just happens to last longer than the TV show. It’s a nice bonus for fans, but didn’t feel necessary to me. 5.5 / 10.

Hunger (2008)

Steve McQueen’s first collaboration with one of my favourite modern actors, Michael Fassbender, before this year’s Shame, is Hunger, a bleak and hard hitting drama set in a Northern Irish prison, following a man’s plans and final execution of an IRA hunger strike. The pacing of the film lets it down, as otherwise it’s a great story with some excellent performances and wonderful cinematography for what is essentially a very claustrophobic film. It’s just too slow, and the hunger strike the whole thing is centred on is reduced to the last 30 minutes or so, which is quite disappointing. 6 / 10.

Kill List (2011)

Brit thriller Kill List was easily the most baffling movie experience I have had in a long time, and although at the time I wasn’t sure whether that was good or bad, I am now convinced that I witnessed one of the most dazzlingly original and mind-warping films of recent times. Ben Wheatley has constructed a labyrinth of ideas beneath a primitive and violent plot, which allows the movie to swing back and forth between genres with ease. I’ve never seen anything quite like this, so I won’t be spoiling the ride with any details here. The ending leaves a sour taste, but on reflection, this is a finely crafted film that cannot be compared to much, and rarely do we see that in filmmaking any more. 8/5 / 10.

Hesher (2010)

Joseph Gordon-Levitt can’t seem to do much wrong, in both my eyes and the eyes of the average adorning moviegoer, and in Hesher, where Gordon-Levitt steps out of the box to play a sociopathic loner who befriends a young boy who is mourning the death of his mother. The movie is chaotic, strictly in the vein of a quirky indie drama, but with enough in substance and message to make it thoroughly enjoyable. Plus, there are numerous Metallica songs on the soundtrack, which makes it at least 20% cooler in my book. 8 / 10.

Fright Night (2011)

Colin Farrell loves a remake at the moment! With Total Recall getting the modern treatment and due for release later this year, I managed to catch the Irishman in the retelling of 1985’s horror shlock, Fright Night. The movie was fun for the running time, but failed to evoke any of the eerie qualities of the original, with Farrell in heartthrob mode more often than terrifying villain with his portrayal of a vampire who moves into a sleepy suburban town. Worth a watch, but won’t change the world. 5.5 / 10.

Sherlock – Season One (2010)

The modern day adaptation of the world’s most famous detective passed me by when it first hit UK screens, but based on many positive reviews I decided to give it a shot. I’m really glad I did, because the new twist on the classic Sir Arthur Conan Doyle stories is imaginatively written and excitingly vibrant. Benedict Cumberbatch takes the title role, slipping into the character of Sherlock with ease, his snappy acting style suiting each carefully piece together plot perfectly. Martin Freeman provides the support as Dr Watson, but the entire cast are just as good, making each episode in the three part series a thrilling ride from start to finish. There are spectacular moments that have been reworked in wonderful fashion from the source material and this kept me on the edge of my seat. I wish there were more than three episodes per series, as when the big reveal of the camp yet sinister Moriarty arrives, things end all too abruptly. 8 / 10.

Sherlock – Season Two (2012)

To compare this series to Guy Ritchie’s recent movies isn’t fair, because they are entirely different beasts. But for the record, I love this show far more (and I didn’t hate the Sherlock Holmes movie, although I haven’t seen the sequel). The second run of Sherlock was superior to the first, but only just. Perhaps it was because it included an episode of the Holmes story I am most familiar with, ‘The Hound of the Baskervilles’, but I think it was because of the way the whole built up situation ended in tense and remarkable style in ‘The Reichenbach Fall’. Moriarty is without doubt a dastardly villain, a fitting match for Sherlock, but for him to seemingly force the great detective to commit suicide was fantastic. Series three has been commissioned, so we can finally get the answers as to how Holmes popped up alive at the climax of the episode. A truly great British show. 8.5 / 10.

Bad Boys (1995)

Back in the days when Michael Bay wasn’t bombarding us with 120 minutes of robot porn every 2 years or so, he was making movies like this. And boy, is Bad Boys a riot. It may be because it’s drenched in nostalgia, cheesy one-liners and over-the-top explosive action, but each of those ingredients adds something special to this classic blockbuster from the mid-nineties. It’s amusing to see how differently the careers of leading men Will Smith and Martin Lawrence have faired, but doesn’t take away from the simple enjoyable nature of Bad Boys. 7.5 /10.

Flags of Our Fathers (2006)

I don’t know what it was about the Clint Eastwood directed Flags of Our Fathers that I didn’t like, but I just couldn’t get into it at all. It moved at a snail’s pace and seemed to evoke all of the clichéd narratives that the worst of the World War II movies do. Perhaps it is because the last few years have included a repeat viewing of Band of Brothers and the brilliant The Pacific for me, but this movie just went nowhere and provided some of the worst performances of actors portraying battle worn soldiers I’ve seen in a long time. I lost interest about halfway through, but persevered as I always do. I love Clint’s directorial work, but this was just bad. It has to be my SHIT MOVIE OF THE MONTH with 4 / 10.

Five of the Best - Alternative Valentine's Day Songs

Not neccesarily an 'anti' valentine's day playlist, more an idea of something a bit different to listen to when you're fed up of playing 'Lady in Red' on repeat while crying into an empty tub of Ben & Jerry's. Happy Valentine's you soppy fuckers!

1) Parkway Drive - Romance is Dead

Bitter? Nah. Angry? Maybe. Perfect for the 'brutal in love' types.



2) Gallows - Orchestra of Wolves

The ultimate tale of a man with more interest in spreading his seed than settling down. The lyrics are more gentlemanly than you might think.



3) TRC - London's Greatest Love Story

TRC's best song to date with some well written and insightful lyrics. Yes.



4) Heart in Hand - Only Memories

No regrets, only memories. That is all.





5) Heights - Forget

One of the best songs from my current favourite album. Top tune.

Album Review - Burn the Sunset : Home (2012)

I’m not sure what the scene for Scottish melodic hardcore is like, but if this release from Burn the Sunset is anything to go by, then it’s an untapped resource for some of the best British music and needs to be thrust further into the limelight. That’s because this album, ‘Home’, is seriously good. It’s a short record but that doesn’t mean that it isn’t an experience that will leave you literally breathless and in complete awe of a band that are fantastic at their craft. It’s brutal, genuine and raw, which is a great combination that creates some finely fashioned songs.

‘Home’ opens with an instrumental piece entitled ‘Home Pt. 1’, and it’s a fitting beginning to the heavy and hardcore experience, with melodic picking driving on a stop-start chugging riff, while big rhythms fill in the blanks and thicken the sound. There is a switch as ‘Moving On’ comes in, starting with purposeful guitars and throat burning screams. It’s a furious track, and the influences on Burn the Sunset’s sound are clear here. They cite Your Demise, Bury Your Head and Heights as inspiration but it’s really the latter that you can hear the most. The new UK hardcore mob are making waves and already impelling young artists like this band to carry the torch. But despite the obvious comparisons, Burn the Sunset have their own sound. The huge drops, furious riffs and enormous choruses are relentless. ‘Lonely & Defeated’ shows off the technically efficient vocals and spews fire as the song is bashed out at a terrifying pace. The song stays in one gear but melody is injected at the right moments to make it stand head and shoulders about much of the melodic hardcore out there, which can feel generic and bland in comparison to the best of the genre.

‘The Changing of Times’ blares along at 100mph and doesn’t ever seem like slowing down. The riffing is top notch and the vocals tear and roar. If the band can recreate the power and fury in these songs for their live show (which they most probably can, but I have yet to witness) then it really would be an amazing gigging experience. Other modern hardcore bands can be heard, including Bastions and Feed the Rhino, but it’s mostly Heights that seem to have crafted Burn the Sunset’s rise. The band pay homage but never steal, which is both refreshing and admirable.

There are no breaks as ‘Insincere’ hits, continuing the awesome combinations of instruments and showing off the polished sound. The guitars are low and thick, which is perfect. It shakes your skull and grates your teeth, each thunderous bass drum juddering your heart. The short songs make ‘Home’ an exciting listening experience and the melodic edge on this track sets it apart from the norm, more so than anything else on this record. That sound is elaborated on more with ‘Moving Up’, which has wonderfully layered guitars, beautiful and uplifting strains and progressive rhythms. This instrumental provides an interlude to the callousness. The track builds with a purpose to ‘Memories’, which is my album highlight. It pairs the withstanding aggression with a fervent authority, the machine-gun spat vocals tearing through the song with venom. The low, growling guitars hammer into a forceful chorus, which gives the track a different dimension that is executed flawlessly.

Album closer ‘Home Pt. 2’ takes all of the ideas that have been explored so far and revisits them. It’s an extended look at what the band are capable of after this release, and it leaves me feeling positive for Burn the Sunset’s future. It’s a joy to behold and most definitely not for the faint of heart. It’s a dynamic group of songs and a release that will do wonders for Burn the Sunset’s career from here on in.

Album Review - Lana Del Rey : Born to Die (2012)

Lana Del Rey has been hailed as pop’s brand new saviour as often as she has been criticized since the arrival of last year’s doting and delicate ‘Video Games’, and now with the arrival of debut full-length ‘Born to Die’, we finally get a chance to see what she is capable of and if her songs can push the boundaries further than the themes of damaged adoration we have heard from her so far.

Lana is a curious artist, both her look and stage presence speaking volumes of rich-girl beauty, heartbroken drama queen and broken soul. It’s a persona that is executed so brilliantly that it’s hard to see beyond it, with each song she sings tugging on the heartstrings and exploring bleak subject matter.  Despite much of ‘Born to Die’ being drenched in black, Del Rey never strays from charming and charismatic, every word coming from her lips pondered over a thousand times, producing erotic, breathy tones that are as addictive as they are intimate.

‘Born to Die’ is a submissive album, exposing Lana’s inner demons and depending on glamorizing misery to get by, but it’s that which makes this debut release so unique and polarizing. While some people will love Lana’s self-confessed ‘gangster Nancy Sinatra’, others will no doubt find it self-righteous. The opening (and title) track from our doll-eyed virtuoso is haunting, the polished instrumentals allowing Lana’s vocals to explore the territory of doomed love and the danger of falling into it (“You and I, we were born to die”). It’s a heartfelt song, which isn’t afraid of being over-the-top. The material is dark; a gothic pop song with hooks aplenty and tears behind the gentle lyrics (“Sometimes love is not enough, and the road gets tough, I don’t know why”). A bit more fun is had with the next song, ‘Off to the Races’, which infuses a driving hip-hop beat with machine gun spat lyrics, all of which suggest another complicated love affair with Lana taking the role of an unhinged party girl with a love for money and a ‘bad man’ (“He loves me with every beat of his cocaine heart”). It’s a passionate and self-destructive piece and paints Lana as the ‘harlot starlet’ she claims to be. It strays into R&B at times, which shows that she can drift from melancholy ballad to something more suggestible with ease. As the track draws to a close there are echoes of Bonnie & Clyde or Sid & Nancy, with switchblade romance being centre stage (“Kiss me on my open mouth”).

 

‘Blue Jean’s’ gushes with cowboy blues and whimsical guitars, an undercurrent of samples and husky gasps building to a romantic chorus where Lana almost begs to get what she wants (“Promise you’ll remember that you’re mine”). The sexy vocals are really shown off here, honouring and celebrating love but accepting that the rough comes with the smooth. Love isn’t fair, and Lana knows this, and that’s why ‘Blue Jeans’ is the album highlight so far. Next up is ‘Video Games’, the breakout hit from last year, is magical and mysterious in equal measure, a dark and pained ballad that tells of a love lost, layered with both frustration and hope. The beautiful keys and strings provide a backdrop for Lana to explore her memories of trivial matters (“Kissing in the blue dark, playing pool and wild darts, video games”) that mean a lot in hindsight, spoken of with great fondness. There is no bitterness here, and it’s a wonderful thing to experience. It’s macabre yet sombre, creating a diverse landscape that shows of the style with which the song has been pieced together.

‘Diet Mountain Dew’ is another song about the mentioned bad boy’ (“You’re no good for me, but baby I want you”) which has a bouncing beat, stimulating bass and dancing keys as Lana recites a diary of old, a time when she lived for one man and cared about next to nothing else. It has catchy elements and a polished edge that wasn’t evident in the previous demo of this song. It claims she enjoys excitement over a humdrum life of domesticity (“Maybe I like this rollercoaster, maybe it keeps me high”). ‘National Anthem’ is a track that puts the love to one side in exchange for a commentary on money and consumerism (“Money is the reason we exist, everybody knows it, it’s a fact, kiss kiss”). It isn’t a protest song at all, quite the opposite actually, with rich girl glitz, diamonds and cars being renowned. It’s hard to tell if this song is autobiographical or piece rooted in fiction, but either way it’s seedy and self-righteous and that is an addictive mix.

‘Dark Paradise’ is the most desolate of all the tracks on ‘Born to Die’, but it is also very real. It’s the tale of somebody refusing to let go of a lost love, no matter how high the odds are stacked against them. It wallows in misery yet the song is strangely uplifting, the pure and real lyrics striking a chord with those who have suffered at the hands of heartbreak. Sometimes it can feel too uninviting, this taste of gothica sodden in suicide and pills. It’s a dark tale of the frail nature of the human condition (“I wish I was dead”). Terror is an undercurrent that is hidden at times by Lana’s wails (“There’s no relief, I feel you in my dreams”) and the exploration of an unconditional love feels agonising. The following track ‘Radio’ is love-struck, poetic and positive, a sweet and refreshing song after the emotional bashing taken with the previous track. It’s either a story of the pursuit of fame or happiness (“American dreams came true somehow”), a neo-noir experience with a chaser of blues. It is devilish and delicious.

 

‘Carmen’ is cold and heartless, telling a cautionary tale with references to vice and working girls. (“Carmen, Carmen, staying up till morning. Only seventeen but she walks the streets so mean”). Coney Island is mentioned regularly and paints a retro picture. This bouncing dark ballad is another piece of dangerous fiction with a dreary fascination hanging over it. It strays into lullaby territory at times but not the kind of lullaby that you would want to help your baby fall asleep. ‘Million Dollar Man’ is intriguing and moody, another visceral love song with blues/jazz influences and a 1920s big band atmosphere. Another song exploring heartbreak at the hands of a true love, but for the first time it feels overdone and perhaps in need of a fresh take. The album isn’t losing momentum, but for the first time a song fades into the background.

‘Summertime Sadness’ explores and elaborates on the heartbreak in a better way, mentioning memorable moments of a happy relationship. The song is durable with beautiful imagery, lyrics that are sinful and direct, making it a true serenade of sadness. It’s a cool song and appeals to Lana’s delicate side without sacrificing the edge (“Got my bad baby by my heavenly side”). ‘This Is What Makes Us Girls’ is chiselled and progressive, the first nod of the album to powerful women (so far Lana has been fairly passive) with yet more glitz, glamour and alcohol (“Get us while we’re hot, come on take a shot”). It is sexy, sultry and exciting, a party anthem for hipster ladies and a drinking anthem for the rich bitch. Lana is in full flow diva mode here. ‘Without You’ is as materialistic as ‘Born to Die’ gets (“Everything I want I have. Money, notoriety and Rivieras”) but it’s a consumerist message lodged firmly in Lana’s soulful and spoilt character. Eventually it follows a similar lost and alone path, a pop icon basking in the sun, embracing her flaws and enjoying the dark venom of love (“Your love is deadly”).

 

‘Lolita’ is another song that has been given a makeover after doing the demo rounds. The song is playful, often drifting from a slow jam into a playground nightmare as her vocals sway. It’s the most forgetful song on the album, as it just doesn’t have enough to make it stand out. Album closer ‘Lucky Ones’ is much better, and it’s a fitting end to a painful journey. Lana rides into the sunset feeling finally satisfied, without regret and with no more longing to have somebody she can’t. Wordplay is key and although certain lyrical tricks are revisited (“I tried so hard to act nice like a lady, you taught me that it was good to be crazy”) it never feels like going over old ground.

‘Born to Die’ is an accomplished and unique album for the modern music scene to ponder over, and Lana Del Rey is different and enigmatic, performing her songs with charm and charisma is a ‘tortured soul’ kind of way. It is often morbid, but isn’t that where all great pop music is really rooted? The album has the storytelling prowess of David Bowie, the heartbreak of Adele and grim tragedy of acts like Kate Bush and Bjork. Lana Del Rey is no doubt destined for greatness in 2012 and this album should propel her towards the stardom she deserves. ‘Born to Die’ is a work of outrageous genius.

Album Review - Enter Shikari : A Flash Flood of Colour (2012)

The third album from Enter Shikari is sure to divide opinion. They aren’t exactly the followers of any trends or a band that would ever be pigeon-holed (their brand of electronica tinged punk metalcore is unlike anything else in modern music), but even for established fans of the group, ‘A Flash Flood of Colour’ really is something different. The quintet have progressed with their sound and clearly have no intention of slowing down the experimentation, as the songs on this release prove. The record is angry and passionate, driving a message at us without the need to water it down, which is refreshing to see and convinces us that Enter Shikari have staying power.

Album intro ‘System…’ is a metaphor laden and imaginative battle cry with thought provoking lyrics over synths and strings. It builds perfectly into ‘…Meltdown’ which pushes the tempo with urgent shouts (“This is gunna change everything”). The purpose of the album is clear from the get-go, the band have a message to deliver, and it ranges from their thoughts on the state of the economy, the world in general and their decision to ‘take no shit’ anymore. Electronic beatdowns, driving and jolty riffing and a sample soaked undercurrent provide a perfect canvas for the social commentaries (“Stand up, it’s not too late”).

‘SSSnakepit’ switches the album into overdrive, providing a bouncy dance intro that’s heavy on the bass that changes to thrash guitars and deadly screams. It’s fast and ferocious with a big sing-along chorus, and as soon as vocalist Rou Reynolds states “Yeah, yeah we’re nice guys… until we’re not!” a stripped back breakdown tears along before a final punchy chorus. ‘Search Party’ is a killer melodic and anthemic track, styled similarly to the more subtle songs Brit counterparts Architects have recently put their hand to. Vocal hooks and uplifting guitars are layered with elaborate ideas that shape into an effective track that explores powerful subject matter. The heavier parts fit well, providing a changing platform for the vocals.

‘Arguing With Thermometers’ is brutal, sweeping and snappy, putting the social commentaries centre stage with a relevant rant amongst the chaos. Enter Shikari aren’t happy with the stage of affairs in this country, and who can blame them? 2011 was a definitive year for it to be made clear that not all is well in UK society, and what better a way to vent fury that with this track? It touches on governmental problems, global warming and oil, without sounding like a series of moans arranged into a musical piece (“Yeah, we’re all addicted. Yeah, we’re all dependant”). ‘Stalemate’ is a drenched with politics, and it’s a softer take on a powerful message. Soaring vocals, delicate guitars and technically fantastic drums build into a towering chorus before a beautiful piano outro (“And I’ll live out this fantasy”).

‘Gandhi Mate, Gandhi’ contains more irate rants against the system combined with crazed dub beats, colourful riffing and frenetic rhythms. It’s a fun song that creates a wall of sound and contains some great quotable one liners (“Yabba dabba do one son”)! It’s the Shikari of old with a brand new twist. ‘Warm Smiles Do Not Make You Welcome Here’ starts with jaunty guitars and a jumping beat before falling into the standard mould of Shikari song that is catchy and straight forward. It isn’t the best track on the album by far, but the subtle messages, innovative changes in pace and shifting gears are enjoyable. ‘Pack of Thieves’ shows the unwavering creative spark of the band as the record refuses to slow down. It’s an exciting and intense song with a festival shout-along chorus. Imagine laser shows as the dazzling keys, sub drop breakdowns with a dubstep mix and rapid spat vocals come full force.

‘Hello Tyrannosaurus, Meet Tyrannicide’ delivers the message of ‘empires always fall’ with efficiency and a dastardly edge. There is belief behind the words and the riffs are darker. The electro parts and aggressive breakdown as the chant/scream of ‘empires always fall’ rings out is rousing. Macabre chords finish the extreme experience. ‘Album closer ‘Constellations’ is thoughtful, soothing and a definite call to arms after all of the madness, allowing the messages of the album to sink in and be put into context. Spoken words over an imaginatively built delicate instrumental (including layers of strings, keys and picked guitar) grow as vocals become yells. The positive message is clear, and it’s enriching and rewarding.

‘A Flash Flood of Colour’ is an accomplished release from a band in their prime, but it is a risk none the less. Some fans will see this as an attempt to be accepted entirely in the mainstream, while others will see it as an experimental and monumental achievement for a band that are getting bigger and better by the day.