News International, the parent company of News of the World and The Sun yesterday accused the Culture, Media and Sport Committee, who are investigating the NOTW phone tapping scandal of "innuendo, unwanted inference and exaggeration". Oh, the irony!
It's worrying that Andy Coulson ("I don't know"), the editor of NOTW when all this was happening, is now the Director of Communications & Planning for the Tories. Cameron's obviously not too bothered by invasions of privacy then.
25.2.10
23.2.10
A whole load of stuff II
So, I was planning on reviewing the new Massive Attack record 'Heligoland', but after listening to it over and over again,Ii think the review would of consisted of one, not even a word really 'meh' it's alright, a few good songs on there but...well...meh...it's a bit dull. I'm not angry, I'm just disappointed.
Further music related stuff...off to see the Grizz at the Sage in Gateshead on 8th March, which will be nothing short of spectacular, then Idlewild at Fibbers on 16th April (12 years since their last gig there!) which I'm rather excited about, then the day after is Record Store Day which I'm also rather looking forward to, a number of yet unconfirmed acts are recording/releasing limited edition singles and/or ep's, which are only available in certain indie record shops, so...we're off to Leeds to visit Crash and Jumbo, and well, have a jolly nice day really. The following Sunday will no doubt have me indulging my burgeoning love for Vinyl further, as the Duchess is holding a record fair, and then, to top it all off, a week later, Minus The Bear's new album 'OMNI' is released, excited doesn't even come close! A new Deftones album two weeks later and judging from yesterdays free download 'Rocket Skates' we're in for a treat.
2010 has been a pretty good year so far, TV wise, new, improved Heroes, the second, much darker series of Being Human, which, unfortunately, comes to an end next week. And Glee. Hmmm...Glee, the name's a bit misleading, well, a lot misleading, there's very little a cappella stuff, (and that 'very little' amounts entirely to the programs score, not the actually songs being performed) which is what glee clubs do, the production on the vast majority of the songs is so overdone it makes the new Biffy Clyro album sound like a Moldy Peaches record, the lip syncing, oh, christ the lip syncing....
And Matthew Morrison, is there a whiter man on the planet? Every time he performs one of those modern hipperty-hop numbers, i find myself hiding behind my hands, occasionally fanning out my fingers to see if it's finished, much like an England game which has gone to penalties. But I don't seem to be able to stop watching it, thanks, almost entirely to Jane Lynch, who plays coach Sue Sylvester. Evil to her very core, she softened a little in the last episode, thankfully though, by the end of the episode normal service was resumed, as she threatened to buy Morrison's character a kitten, and then punch him in the face. Nice.
And that's that. For now.
Further music related stuff...off to see the Grizz at the Sage in Gateshead on 8th March, which will be nothing short of spectacular, then Idlewild at Fibbers on 16th April (12 years since their last gig there!) which I'm rather excited about, then the day after is Record Store Day which I'm also rather looking forward to, a number of yet unconfirmed acts are recording/releasing limited edition singles and/or ep's, which are only available in certain indie record shops, so...we're off to Leeds to visit Crash and Jumbo, and well, have a jolly nice day really. The following Sunday will no doubt have me indulging my burgeoning love for Vinyl further, as the Duchess is holding a record fair, and then, to top it all off, a week later, Minus The Bear's new album 'OMNI' is released, excited doesn't even come close! A new Deftones album two weeks later and judging from yesterdays free download 'Rocket Skates' we're in for a treat.
2010 has been a pretty good year so far, TV wise, new, improved Heroes, the second, much darker series of Being Human, which, unfortunately, comes to an end next week. And Glee. Hmmm...Glee, the name's a bit misleading, well, a lot misleading, there's very little a cappella stuff, (and that 'very little' amounts entirely to the programs score, not the actually songs being performed) which is what glee clubs do, the production on the vast majority of the songs is so overdone it makes the new Biffy Clyro album sound like a Moldy Peaches record, the lip syncing, oh, christ the lip syncing....
And Matthew Morrison, is there a whiter man on the planet? Every time he performs one of those modern hipperty-hop numbers, i find myself hiding behind my hands, occasionally fanning out my fingers to see if it's finished, much like an England game which has gone to penalties. But I don't seem to be able to stop watching it, thanks, almost entirely to Jane Lynch, who plays coach Sue Sylvester. Evil to her very core, she softened a little in the last episode, thankfully though, by the end of the episode normal service was resumed, as she threatened to buy Morrison's character a kitten, and then punch him in the face. Nice.
And that's that. For now.
22.2.10
Can you get drunk by eating waffles?
MICMACS is a strange little film, but then what else would you expect from the director of Amélie, and uh, Alien Resurrection (understandable that they left that off the posters).
Bazil (played by French comic Dany Boon) is a young boy when his father is killed by a landmine in the Sahara. 20 or so years later working in a video store, a stray bullet from a gun fight outside the shop lodges itself in his brain. Doctors decide (with the aid of a coin toss) not to operate, as this would have left him in a vegetative state. Doing so however, means that Bazil could drop dead at any moment. After leaving the hospital, Bazil finds himself both homeless and jobless.
He eventually falls in with a group of scrap-merchants, who include a human-cannonball, a contortionist and a man who rarely talks in anything but clichés. When collecting scrap metal, Bazil happens across the offices of two arms manufacturers, one of whom made the landmine that killed his father, and the other, the bullet lodged in his brain. With the help of his new family, he decides to take them both down.
It’s rare that I find myself out of bed, let alone out of the house at 10am on a Sunday, but the preview screening of this managed to get me out of both, despite the rather inclement weather and a stonking headache. It’s an immensely enjoyable, inventive and beautifully shot film, not quite as good as Amélie, but then Jean-Pierre Jeunet set the bar pretty high with that film. I think I may well be casting my eye over his previous work again soon.
Bazil (played by French comic Dany Boon) is a young boy when his father is killed by a landmine in the Sahara. 20 or so years later working in a video store, a stray bullet from a gun fight outside the shop lodges itself in his brain. Doctors decide (with the aid of a coin toss) not to operate, as this would have left him in a vegetative state. Doing so however, means that Bazil could drop dead at any moment. After leaving the hospital, Bazil finds himself both homeless and jobless.
He eventually falls in with a group of scrap-merchants, who include a human-cannonball, a contortionist and a man who rarely talks in anything but clichés. When collecting scrap metal, Bazil happens across the offices of two arms manufacturers, one of whom made the landmine that killed his father, and the other, the bullet lodged in his brain. With the help of his new family, he decides to take them both down.
It’s rare that I find myself out of bed, let alone out of the house at 10am on a Sunday, but the preview screening of this managed to get me out of both, despite the rather inclement weather and a stonking headache. It’s an immensely enjoyable, inventive and beautifully shot film, not quite as good as Amélie, but then Jean-Pierre Jeunet set the bar pretty high with that film. I think I may well be casting my eye over his previous work again soon.
9.2.10
Midlake – The Courage of Others
Four years and an albums worth of scrapped material after ‘The Trials of Van Occupanther’, Midlake return with their third album ‘The Courage of Others’.
After hearing that the band had been brushing up on British folk during the intervening years I approached this record with some trepidation, as I have somewhat of an aversion to traditional British folk, and after all, would another album of Crosby, Stills, Nash and Young/Fleetwood Mac informed rock have been such a bad thing?
As it turns out, such trepidation was misplaced, rather than traditional folk, ‘The Courage of Others’ recalls bands such as Fairport Convention, and at times Jethro Tull. A kind of transatlantic cousin to its predecessor.
After hearing that the band had been brushing up on British folk during the intervening years I approached this record with some trepidation, as I have somewhat of an aversion to traditional British folk, and after all, would another album of Crosby, Stills, Nash and Young/Fleetwood Mac informed rock have been such a bad thing?
As it turns out, such trepidation was misplaced, rather than traditional folk, ‘The Courage of Others’ recalls bands such as Fairport Convention, and at times Jethro Tull. A kind of transatlantic cousin to its predecessor.
The first thing that struck me about this record, was how utterly morose it is, almost exclusively a minor key affair, it’s a grey cloud that never lifts, to quote guitarist Eric Pulido; “If someone thought that Van Occupanther was melancholy, than they’re gonna think this is the saddest record ever”.
There’s something about that sadness that brings to mind Radiohead, front man Tim Smith’s vocals play no small part in this, and without exception, when I hear ‘Bring Down’ I cannot help but think of ‘Exit Music (For a Film)’ from ‘Ok Computer’.
It’s only after a few listens that this record really begins to reveal itself, ‘…Van Occupanther’ was far from instantly accessible, ‘The Courage of Others’ even less so. It’s an album that begs to be listened to as just that, an album. When listened to individually, the majority of tracks here seem to lack some substance, but when put in context, they flow in and out of each other perfectly.
‘The Courage of Others’ is certainly a grower, I’ve been listening to it incessantly since it’s release, and am still discovering it, a sign of an excellent record if ever there was one.
There’s something about that sadness that brings to mind Radiohead, front man Tim Smith’s vocals play no small part in this, and without exception, when I hear ‘Bring Down’ I cannot help but think of ‘Exit Music (For a Film)’ from ‘Ok Computer’.
It’s only after a few listens that this record really begins to reveal itself, ‘…Van Occupanther’ was far from instantly accessible, ‘The Courage of Others’ even less so. It’s an album that begs to be listened to as just that, an album. When listened to individually, the majority of tracks here seem to lack some substance, but when put in context, they flow in and out of each other perfectly.
‘The Courage of Others’ is certainly a grower, I’ve been listening to it incessantly since it’s release, and am still discovering it, a sign of an excellent record if ever there was one.
3.2.10
Eels - End Times
“I’ve been through some stuff” (an early contender for understatement of the year?) sings Mark Oliver Everett, perhaps better and certainly more succinctly known as ‘E’, on ‘In My Younger Days’ and he’s not kidding.
The death of both of his parents, and his sister were well chronicled on ‘Electro-Shock Blues’ considered by many to be Eels defining record. Both musically and lyrically, ‘End Times’ is closer to this record than any other their others. This, Eels eighth studio album, follows a mere six months after ‘Hombre Lobo’ and is centered on Everett’s divorce.
This record was largely recorded by ‘E’, alone in his basement, and it shows. Not just in terms of production, but also the disarming honesty and fragility in his voice throughout.
‘In My Younger Days’ is one of the most open and revealing songs Eels have recorded;
“I’m not going to be ruled by hate, but it’s strong, and it’s filling up my days”
“I don’t need anymore misery to teach me what I should be, I just need you back.”
Conversely, on ‘Paradise Blues’, ‘E’ muses “at least I’m not dead”, well, that’s something to hold onto I suppose. ‘Paradise Blues’ is one of the less morose songs here, during which Mr Everett takes it upon himself to give…himself a good talking to;
“Your contempt and your sarcasm, it’s all so transparent, why don’t you give up the act now kid, and let some love in”.
The few moments of humour on ‘End Times’ are typically wry, and as you’d expect, tinged with sadness;
“She’s locked herself in the bathroom again” sings ‘E’ on ‘Line in the Dirt’ “so I am pissing in the yard”
During the title track there’s something of a disagreement with a feline neighbour;
“Outside my window there’s a cat in heat, shut up cat, and leave me alone, there ain’t no heat ‘round here”
Musically, ‘End Times’ is rather a simple affair, and to a certain extent, that’s what makes it such a devastating listen, at least first time round (listening to it fairly heavily since it came out has somewhat diminished this, I think it’s an album that is best listened to fairly occasionally). There is little to detract from the sound of a man bearing his soul for all to see (or hear, more accurately).
‘Little Bird’, the album’s first single has already become one of my favourite Eels songs, unmistakably Eels, more so than anything else here, and just as sad;
“Little bird…right now you’re the only friend I have in the world, and…goddamn I miss that girl.”
‘On My Feet’ ends things neither on a positive note nor a negative one, but with a thought that things might just get better;
“I’m pretty sure I’ve been through worse…I’ve Just got to get back on my feet”.
Here’s hoping he does.
14.1.10
Gigs what i saw in 2009
This year saw somewhat of a dip in the number of gigs I went to, but the one’s I did, they weren’t too bad I suppose…
Mastodon’s ‘Crack the Skye’ was one of my favourite albums of last year, so understandably, on hearing that they would be playing it in it’s entirety , I was filled with girlish glee., getting the tickets as a birthday present (which was the day before) was the icing on the cake. Stood outside Sheffield Corporation in the pouring rain (Sheffield, in June, of course it was going to rain…), I could still feel the skin round my first tattoo (which was done on the aforementioned birthday) burning from being shaved, I was eager to get inside, get me coat off have a couple of bottles of Newky Brown and let my ear drums be pummelled. Mastodon did indeed play all of ‘Crack the Skye’ along with another ten or so tracks from their back catalogue. I left, however, feeling a tad deflated, they were good, but by their high standards, slightly disappointing. The new material lacked the bite, live, of their older stuff, and didn’t come across as well as I’d hoped. I don’t think the sound did them any favours either, from where we were at least, everything was mixed into a big muddy mess, lacking any real clarity. A shame, but at least I got an awesome poster!
Clutch at Leeds Cockpit provided me with some short lived tinnitus…which has to be a good thing… supported by the dreadfully named, but actually pretty damn good And So I Watch You From Afar, and, well, themselves essentially (in the form of The Bakerton Group, an instrumental side project), the headliners certainly did not disappoint, riff after riff, they just kept on giving. It’s a wonder how, returning for the encore, they managed to play at all, looking thoroughly mashed!
August 8th was my first trip to Farndale since I was a nipper, my grandparents would often rent the cottage directly opposite The Band Room during the summer, and I have a lot of fond memories of visiting them there. The trip there was great, taking the scenic route, we stopped a few times just to take in the views. We stopped by a couple of pubs, where my dad had a conversation with a chicken, and then headed on to the venue. It was rather a low key affair, matching Woodpigeon’s music, a kind of wistful Canadicana. Despite having already having released two albums, and having another two almost in the bag, they seemed to struggle for material. Any feeling of an anticlimax was dispelled by the trip there though. I’ve not listened to them much since, in hindsight I think they’re probably just a bit too fey, even for me.
I got to go to my favourite venue twice this year, Manchester Apollo, to me, is the perfect place to experience live music, I’ve seen many of my favourite bands there, and if I were to compile a list the best gigs I’ve been too, the Apollo would feature heavily. (you’re welcome, Carling.)
First up (more on my second visit later) was Fleet Foxes, supported by Blitzen Trapper. Have not heard much of the Trapper’s material beforehand, I was pleasantly surprised by their Neil Young inspired folk-rock (with added synth…surprisingly, it works), the guys from Fleet Foxes joined them on stage, their drummer Josh Tillman (who’s album Vacilando Territory Blues was one of my favourite’s of last year, incidentally, I bought it the day of this gig… fascinating, I know!) playing some stealth cowbell.
I was a little unsure of how Fleet Foxes’ trademark harmonies would sound live, as it turned out, I had no need to be, they were just as gorgeous as on record. The snippets of new material that were played sounded very interesting, the only downside of this gig was that, despite joking about and starting to play it, there was no full version of ‘Free Bird’, ah well.
We stayed in a budget hotel in the city centre, just off of Oldham Street, which is, for want of two better words; freakin’ awesome, a few indie record shops, comic book shops and the rather wonderful Night and Day café/venue always make gigs in Manchester with Miss Mac something to really look forward to.
My second visit to Manchester Apollo was to see Massive Attack, as my mum and dad had originally planned to go together, but the former was nursing a migraine. It’s a bloody good thing she decided to stay at home too, as from the get go Massive were crushingly heavy. The LED wall behind them just added to the atmosphere, projecting various quotes, and News footage amongst other things, at times it made it hard to concentrate on the music. And we only got a little bit lost on the way there!
The only gig I went to in York this year was And So I Watch You From Afar at the revamped, and now slightly dull, Fibbers. Impressive during their support slot for Clutch, I thought it would be rude not to. Intricate and heavy in equal measure, think early Pelican, this is a band deserving of a much bigger audience. Go here to read my good friend Paul’s review.
Grizzly Bear at Leeds. See review. Best.Gig.Ever (well this year anyway)
Megafaun. Here’s me review So much fun!
Mastodon’s ‘Crack the Skye’ was one of my favourite albums of last year, so understandably, on hearing that they would be playing it in it’s entirety , I was filled with girlish glee., getting the tickets as a birthday present (which was the day before) was the icing on the cake. Stood outside Sheffield Corporation in the pouring rain (Sheffield, in June, of course it was going to rain…), I could still feel the skin round my first tattoo (which was done on the aforementioned birthday) burning from being shaved, I was eager to get inside, get me coat off have a couple of bottles of Newky Brown and let my ear drums be pummelled. Mastodon did indeed play all of ‘Crack the Skye’ along with another ten or so tracks from their back catalogue. I left, however, feeling a tad deflated, they were good, but by their high standards, slightly disappointing. The new material lacked the bite, live, of their older stuff, and didn’t come across as well as I’d hoped. I don’t think the sound did them any favours either, from where we were at least, everything was mixed into a big muddy mess, lacking any real clarity. A shame, but at least I got an awesome poster!
Clutch at Leeds Cockpit provided me with some short lived tinnitus…which has to be a good thing… supported by the dreadfully named, but actually pretty damn good And So I Watch You From Afar, and, well, themselves essentially (in the form of The Bakerton Group, an instrumental side project), the headliners certainly did not disappoint, riff after riff, they just kept on giving. It’s a wonder how, returning for the encore, they managed to play at all, looking thoroughly mashed!
August 8th was my first trip to Farndale since I was a nipper, my grandparents would often rent the cottage directly opposite The Band Room during the summer, and I have a lot of fond memories of visiting them there. The trip there was great, taking the scenic route, we stopped a few times just to take in the views. We stopped by a couple of pubs, where my dad had a conversation with a chicken, and then headed on to the venue. It was rather a low key affair, matching Woodpigeon’s music, a kind of wistful Canadicana. Despite having already having released two albums, and having another two almost in the bag, they seemed to struggle for material. Any feeling of an anticlimax was dispelled by the trip there though. I’ve not listened to them much since, in hindsight I think they’re probably just a bit too fey, even for me.
I got to go to my favourite venue twice this year, Manchester Apollo, to me, is the perfect place to experience live music, I’ve seen many of my favourite bands there, and if I were to compile a list the best gigs I’ve been too, the Apollo would feature heavily. (you’re welcome, Carling.)
First up (more on my second visit later) was Fleet Foxes, supported by Blitzen Trapper. Have not heard much of the Trapper’s material beforehand, I was pleasantly surprised by their Neil Young inspired folk-rock (with added synth…surprisingly, it works), the guys from Fleet Foxes joined them on stage, their drummer Josh Tillman (who’s album Vacilando Territory Blues was one of my favourite’s of last year, incidentally, I bought it the day of this gig… fascinating, I know!) playing some stealth cowbell.
I was a little unsure of how Fleet Foxes’ trademark harmonies would sound live, as it turned out, I had no need to be, they were just as gorgeous as on record. The snippets of new material that were played sounded very interesting, the only downside of this gig was that, despite joking about and starting to play it, there was no full version of ‘Free Bird’, ah well.
We stayed in a budget hotel in the city centre, just off of Oldham Street, which is, for want of two better words; freakin’ awesome, a few indie record shops, comic book shops and the rather wonderful Night and Day café/venue always make gigs in Manchester with Miss Mac something to really look forward to.
My second visit to Manchester Apollo was to see Massive Attack, as my mum and dad had originally planned to go together, but the former was nursing a migraine. It’s a bloody good thing she decided to stay at home too, as from the get go Massive were crushingly heavy. The LED wall behind them just added to the atmosphere, projecting various quotes, and News footage amongst other things, at times it made it hard to concentrate on the music. And we only got a little bit lost on the way there!
The only gig I went to in York this year was And So I Watch You From Afar at the revamped, and now slightly dull, Fibbers. Impressive during their support slot for Clutch, I thought it would be rude not to. Intricate and heavy in equal measure, think early Pelican, this is a band deserving of a much bigger audience. Go here to read my good friend Paul’s review.
Grizzly Bear at Leeds. See review. Best.Gig.Ever (well this year anyway)
Megafaun. Here’s me review So much fun!
8.1.10
Films what I seen last year
No More lists, one’s enough methinks, however, over the next week or so I’ll be posting a fair bit about the past year and a little about the year to come…first, as the title of this post may have suggested…films.
Ah, Orange Wednesdays, Ah, City Screen Membership, how I love you so.
We’ve seen some absolutely wonderful films this year, where to begin….
‘(500) Days Of Summer’ is probably as good a place as any…starring Joseph Gordon Levitt as Tom and Zooey Deschanel as the eponymous Summer, it’s a rom-com Jim, but not as we know it. The narrative jumps back and forth before, during and after the couple’s relationship. It even features a choreographed dance to Halls & Oates' ‘You Make My Dreams' . It’s sweet, tender and very very funny in places.
I’ve already written a little about ‘An Education’, so I won’t repeat myself. I’m very much looking forward to getting this little gem on DVD; hopefully it’ll be as good the second time.
Sam Mendes’ ‘Away We Go’, is a rather lovely film. Burt (hehe) and Verona (who is heavily pregnant) are moving so they can raise their child near Burt’s parents. Who, oh dear, are moving to Antwerp for two years. So begins a road trip, the couple trying to find the perfect place to bring up their unborn child. Suffice to say, after visiting various friends and ex work colleagues, they do find that perfect place and a very happy, but not at all mawkish ending.
I laughed quite a lot, and very nearly cried…
‘District 9’ is set in Jo’burg, South Africa where an alien ship hangs ominously in the skyline, it follows the plan to move the aliens, referred to as ‘Prawns’ from District 9, a shanty town for all intents and purposes, to District 10, essentially a concentration camp. This film could have only been set in South Africa. I’ll leave it at that, no spoilers. I don’t like spoilers. It was nice to see a non-hollywood Sci-Fi film seemingly come out of nowhere and achieve such success. Despite how much I enjoyed it, I do hope there’s no sequel.
What did I learn from this film? That saying “F*ck” over and ever again in a South African accent is very very funny indeed.
Based on a novel, by Swedish author John Ajvide Lindqvist, ‘Let the Right One In’ is a story of friendship first, a story about vampires second, which is perhaps why it was so utterly engrossing, and probably the best film I saw last year. An American remake is due out later in 2010, which doesn’t bode well, but considering who’s directing it (Matt Reeves, Cloverfield) and who is playing the young boy (Kodi Smit-McPhee, 'The Road') and girl (Chloe Mortez '(500) Days of Summer' ) it might not be complete and utter horse sh*t
I only watched the original ‘Star Trek’ series occasionally as a child (I don’t think, prior to seeing the film, I’d seen an episode in 10-15 years), and thought the more recent incarnations of the franchise were a bit….meh. It was the involvement of JJ Abrahams, Zachary Quinto and Simon Pegg that got me interested…thank a fictional deity they did. From start to finish, ‘Star Trek’ is an absolute blast, Quinto and Chris Pine getting the young Spock and Kirk spot on, Leonard Nimoy looking surprisingly sprightly for his age, Pegg and Anton Yelchin as Scotty and Chekov offering light relief, and Eric Bana as a pesky womulan, there’s not a weak performance amongst them.
It’s made me reassess my position on ‘Star Trek’ all together, and now I cannot wait for no.2
I Didn’t see ‘Avatar’ until the third day of this year, but it came out last year, so what the hell. I enjoyed it, Sam Worthington is incredibly wooden, the story was a little…predictable, a harmless enough piece of Sci-Fi fluff…BUT MY GOD… James Cameron’s many years working on his 3D technology has really paid off, I found myself ducking and flinching time and time again. Even in the scenes where nothing really happens, it almost feels like you’re there. I can only imagine how stunning this would look on an IMAX screen. This is a film that HAS to be seen in a cinema.
A real life Spinal Tap. The drummer’s called Rob Reiner for crying out loud. ‘Anvil! The Story of Anvil’ is a feel-good film if ever I saw one…just watch it…for the love of all things metal…just watch it.
Ah, Orange Wednesdays, Ah, City Screen Membership, how I love you so.
We’ve seen some absolutely wonderful films this year, where to begin….
‘(500) Days Of Summer’ is probably as good a place as any…starring Joseph Gordon Levitt as Tom and Zooey Deschanel as the eponymous Summer, it’s a rom-com Jim, but not as we know it. The narrative jumps back and forth before, during and after the couple’s relationship. It even features a choreographed dance to Halls & Oates' ‘You Make My Dreams' . It’s sweet, tender and very very funny in places.
I’ve already written a little about ‘An Education’, so I won’t repeat myself. I’m very much looking forward to getting this little gem on DVD; hopefully it’ll be as good the second time.
Sam Mendes’ ‘Away We Go’, is a rather lovely film. Burt (hehe) and Verona (who is heavily pregnant) are moving so they can raise their child near Burt’s parents. Who, oh dear, are moving to Antwerp for two years. So begins a road trip, the couple trying to find the perfect place to bring up their unborn child. Suffice to say, after visiting various friends and ex work colleagues, they do find that perfect place and a very happy, but not at all mawkish ending.
I laughed quite a lot, and very nearly cried…
‘District 9’ is set in Jo’burg, South Africa where an alien ship hangs ominously in the skyline, it follows the plan to move the aliens, referred to as ‘Prawns’ from District 9, a shanty town for all intents and purposes, to District 10, essentially a concentration camp. This film could have only been set in South Africa. I’ll leave it at that, no spoilers. I don’t like spoilers. It was nice to see a non-hollywood Sci-Fi film seemingly come out of nowhere and achieve such success. Despite how much I enjoyed it, I do hope there’s no sequel.
What did I learn from this film? That saying “F*ck” over and ever again in a South African accent is very very funny indeed.
Based on a novel, by Swedish author John Ajvide Lindqvist, ‘Let the Right One In’ is a story of friendship first, a story about vampires second, which is perhaps why it was so utterly engrossing, and probably the best film I saw last year. An American remake is due out later in 2010, which doesn’t bode well, but considering who’s directing it (Matt Reeves, Cloverfield) and who is playing the young boy (Kodi Smit-McPhee, 'The Road') and girl (Chloe Mortez '(500) Days of Summer' ) it might not be complete and utter horse sh*t
I only watched the original ‘Star Trek’ series occasionally as a child (I don’t think, prior to seeing the film, I’d seen an episode in 10-15 years), and thought the more recent incarnations of the franchise were a bit….meh. It was the involvement of JJ Abrahams, Zachary Quinto and Simon Pegg that got me interested…thank a fictional deity they did. From start to finish, ‘Star Trek’ is an absolute blast, Quinto and Chris Pine getting the young Spock and Kirk spot on, Leonard Nimoy looking surprisingly sprightly for his age, Pegg and Anton Yelchin as Scotty and Chekov offering light relief, and Eric Bana as a pesky womulan, there’s not a weak performance amongst them.
It’s made me reassess my position on ‘Star Trek’ all together, and now I cannot wait for no.2
I Didn’t see ‘Avatar’ until the third day of this year, but it came out last year, so what the hell. I enjoyed it, Sam Worthington is incredibly wooden, the story was a little…predictable, a harmless enough piece of Sci-Fi fluff…BUT MY GOD… James Cameron’s many years working on his 3D technology has really paid off, I found myself ducking and flinching time and time again. Even in the scenes where nothing really happens, it almost feels like you’re there. I can only imagine how stunning this would look on an IMAX screen. This is a film that HAS to be seen in a cinema.
A real life Spinal Tap. The drummer’s called Rob Reiner for crying out loud. ‘Anvil! The Story of Anvil’ is a feel-good film if ever I saw one…just watch it…for the love of all things metal…just watch it.
31.12.09
Albums of the Year
A bit late to the game with this, I know, but me and the Mrs did move house two weeks ago, so I think I’ve got a valid excuse. Anyway, without further ado, here are my top 10 albums (& EP) of the year that was 2009 (because the world needs someone else with a blog compiling a list like this, there just aren’t enough out there y’know…)
10. Death Cab For Cutie – The Open Door EP.
10. Death Cab For Cutie – The Open Door EP.
Recorded during the sessions for last year’s ‘Narrow Stairs’, this ep was released as a companion piece to that album. Both ‘Little Bribes’ and ‘I Was Once A Loyal Lover’ revealing a pomp that was hither to hidden from view, and the demo of ‘Talking Bird’ (just Ben Gibbard’s fragile voice and a gently strummed ukulele), in my humble opinion is superior to the version included on ‘Narrow Stairs’
9. Brand New – Daisy
Opening and closing with a gospel hymn, this album is more abrasive than their last, which seems to be the way with Brand New albums. The first time I listened to opener ‘Vices’, once the serene intro cuts out, well, , I very nearly had a toilet accident. Lyrically, the Smiths influence is as prominent as ever, musically, they’ve moved on from emo (as it used to be) to a kind of post-hardcore (as it used to be) cum grunge sound. It’s grown on me immeasurably since my first listen.
8. ISIS – Wavering Radiant
2006’s ‘In the Absence of Truth’ was somewhat of a departure for Isis, featuring much mellower moments than any of its predecessors. ‘Wavering Radiant’ however, see’s them return to a similar style as on ‘Panopticon’, Heavy as sin one second, hauntingly beautiful the next. There are a lot of bands doing the loud, quiet, REALLY FUCKING LOUD thing at the moment, but Isis are arguably the best at it, as this shows.
7. Mastodon – Crack The Skye.
Ridiculous. Completely bloody ridiculous.
Mastodon have flirted with prog before, but with Crack the Skye, they took it behind the bike shed and got it bloody pregnant. Rasputin, wormholes, astral projections, a paraplegic and his golden umbilical cord, It’d almost be too daft for Yes. Almost.
Much more accessible than anything that they have released previously, but not without the occasional bludgeoning riff, it’s best listened to when you can really take it all in. A veritable beast of a concept album.
6. Dark Was the Night
I nearly wet my pants (again…) with excitement when I first heard about this record, two discs of covers, original songs, and reworking of back catalogue stuff from artists such as Grizzly Bear, Bright Eyes, Arcade Fire, Iron & Wine, The National, Sufjan Stevens and Ben Gibbard. It doesn’t disappoint, and pointed me in the direction of some rather exciting new (to me anyway) music.
9. Brand New – Daisy
Opening and closing with a gospel hymn, this album is more abrasive than their last, which seems to be the way with Brand New albums. The first time I listened to opener ‘Vices’, once the serene intro cuts out, well, , I very nearly had a toilet accident. Lyrically, the Smiths influence is as prominent as ever, musically, they’ve moved on from emo (as it used to be) to a kind of post-hardcore (as it used to be) cum grunge sound. It’s grown on me immeasurably since my first listen.
8. ISIS – Wavering Radiant
2006’s ‘In the Absence of Truth’ was somewhat of a departure for Isis, featuring much mellower moments than any of its predecessors. ‘Wavering Radiant’ however, see’s them return to a similar style as on ‘Panopticon’, Heavy as sin one second, hauntingly beautiful the next. There are a lot of bands doing the loud, quiet, REALLY FUCKING LOUD thing at the moment, but Isis are arguably the best at it, as this shows.
7. Mastodon – Crack The Skye.
Ridiculous. Completely bloody ridiculous.
Mastodon have flirted with prog before, but with Crack the Skye, they took it behind the bike shed and got it bloody pregnant. Rasputin, wormholes, astral projections, a paraplegic and his golden umbilical cord, It’d almost be too daft for Yes. Almost.
Much more accessible than anything that they have released previously, but not without the occasional bludgeoning riff, it’s best listened to when you can really take it all in. A veritable beast of a concept album.
6. Dark Was the Night
I nearly wet my pants (again…) with excitement when I first heard about this record, two discs of covers, original songs, and reworking of back catalogue stuff from artists such as Grizzly Bear, Bright Eyes, Arcade Fire, Iron & Wine, The National, Sufjan Stevens and Ben Gibbard. It doesn’t disappoint, and pointed me in the direction of some rather exciting new (to me anyway) music.
[Edit] Silly me, how i managed to forget that this was released this year, i don't know...
5. J.Tillman - Vacilando Territory Blues
Josh Tillman is nothing if not prolific, this being the first of two albums he released in 2009, and one of seven which has recorded over the past five years. His voice, despite the fact that I'd never heard it before buying this album, was somehow instantly recognisable. The laid back folk, and his incredibly warm voice make for the perfect lazy Sunday morning album.
4. Arctic Monkeys – Humbug
Selecting Josh Homme to produce this, their third album was never going to generate results that would appeal to the lad-rock section of their fan base. Lo-and-behold, ‘Humbug’ is a considerably darker beast that their previous two efforts. It’s also considerably heavier, not, however, without its tender moments; ‘Cornerstone’ is one of the best songs Alex Turner has written yet. ‘Humbug’ also contains one of the best lyrics of the past year…at least:
“What came first, the chicken or the dickhead?”
More Please.
3. The Flaming Lips – Embryonic
The Flaming Lips have never been afraid of weirdness; this is the band who released one album across four discs…to be listened to simultaneously.
Over the past decade, they have steadily become less willfully odd, and with 1999’s ‘The Soft Bulletin’, released one of the last classic albums of the last century. Embryonic isn’t weird as such, just different…different to its predecessors, different to anything else I’ve heard this year... A sprawling, squalling, freaked out (man), psychedelic jam from start to finish. It doesn’t even matter that Karen O features on two songs.
It’s THAT good!
2. Animal Collective – Merriwether Post Pavilion.
Well, d’uh.
Animal Collective’s eighth studio album was the soundtrack to my summer, utterly euphoric in places, the beach boys-esque harmonies, bleeps and laid back psychedelia made for a completely immersive listen, and it features, in ‘My Girls’ and ‘Brother Sport’ two of my favorite songs of the year.
1. Grizzly Bear – Veckatimest
There’s so much I could write about this record, it’s difficult to know precisely what to write… Merging 60’s pop, jazz, folk, psychedelia (again…) and classical influences, this album is an absolute gem. It took me quite some time to really appreciate it, but now I do, it’s an album I’m sure I’ll be returning to in five, ten years time.
Honourable mentions:
Cave In – ‘Planets of Old’
4. Arctic Monkeys – Humbug
Selecting Josh Homme to produce this, their third album was never going to generate results that would appeal to the lad-rock section of their fan base. Lo-and-behold, ‘Humbug’ is a considerably darker beast that their previous two efforts. It’s also considerably heavier, not, however, without its tender moments; ‘Cornerstone’ is one of the best songs Alex Turner has written yet. ‘Humbug’ also contains one of the best lyrics of the past year…at least:
“What came first, the chicken or the dickhead?”
More Please.
3. The Flaming Lips – Embryonic
The Flaming Lips have never been afraid of weirdness; this is the band who released one album across four discs…to be listened to simultaneously.
Over the past decade, they have steadily become less willfully odd, and with 1999’s ‘The Soft Bulletin’, released one of the last classic albums of the last century. Embryonic isn’t weird as such, just different…different to its predecessors, different to anything else I’ve heard this year... A sprawling, squalling, freaked out (man), psychedelic jam from start to finish. It doesn’t even matter that Karen O features on two songs.
It’s THAT good!
2. Animal Collective – Merriwether Post Pavilion.
Well, d’uh.
Animal Collective’s eighth studio album was the soundtrack to my summer, utterly euphoric in places, the beach boys-esque harmonies, bleeps and laid back psychedelia made for a completely immersive listen, and it features, in ‘My Girls’ and ‘Brother Sport’ two of my favorite songs of the year.
1. Grizzly Bear – Veckatimest
There’s so much I could write about this record, it’s difficult to know precisely what to write… Merging 60’s pop, jazz, folk, psychedelia (again…) and classical influences, this album is an absolute gem. It took me quite some time to really appreciate it, but now I do, it’s an album I’m sure I’ll be returning to in five, ten years time.
Honourable mentions:
Cave In – ‘Planets of Old’
Mariachi el Bronx - 'Mariachi el Bronx'
Monsters of Folk – ‘Monsters of Folk’
Pelican – ‘What We all Come To Need’
2009 has largely consisted of catching up on the stuff I missed out on in 2008, notably the Fleet Foxes EP & album, TV On The Radio’s ‘Dear Science’ and Elbow’s ‘The Seldom Seen Kid’. As a result, I’ve not bought as many of this year’s releases as I would have liked to, other records, on the strength of what I’ve heard, that may have made this list include: The Low Anthem’s wonderfully titled ‘Oh My God, Charlie Darwin’, the self titled debut from Telekinesis! & Mars Volta’s ‘Octahedron’ amongst many others. No doubt 2010 will consist of catching up on those… along with new albums by Midlake, Massive Attack, Eels and Broken Bells (The Shins’ James Mercer and Dangermouse – otherwise known as Brian Burton, one half of Gnarls Barkley) and that’s just the first three months of 2010 looks like I won’t be short of stuff to listen to!
Monsters of Folk – ‘Monsters of Folk’
Pelican – ‘What We all Come To Need’
2009 has largely consisted of catching up on the stuff I missed out on in 2008, notably the Fleet Foxes EP & album, TV On The Radio’s ‘Dear Science’ and Elbow’s ‘The Seldom Seen Kid’. As a result, I’ve not bought as many of this year’s releases as I would have liked to, other records, on the strength of what I’ve heard, that may have made this list include: The Low Anthem’s wonderfully titled ‘Oh My God, Charlie Darwin’, the self titled debut from Telekinesis! & Mars Volta’s ‘Octahedron’ amongst many others. No doubt 2010 will consist of catching up on those… along with new albums by Midlake, Massive Attack, Eels and Broken Bells (The Shins’ James Mercer and Dangermouse – otherwise known as Brian Burton, one half of Gnarls Barkley) and that’s just the first three months of 2010 looks like I won’t be short of stuff to listen to!
Happy New Year!
11.12.09
Megafaun, The Band Room, Farndale, 4.12.09
The Band Room is a very strange little venue, originally built for the valley of Farndale’s silver band; it is now used, between the occasional gigs, for jumble sales and children’s birthday parties.Megafaun are a hirsute trio hailing from North Carolina, consisting of brothers Phil & Brad Crook and drummer Joe Westerland. Their stock in trade is a kind of folky, bluegrassy, rootsy sound with an experimental streak a mile wide, which, on record can seem a little self indulgent at times. Live, however, this is certainly not the case, the more noodily sections acting as segues between songs.
It’s safe to say that I have never been to a gig where the setting and music were so perfectly matched. For the duration, I was transported to a barn somewhere in the backwoods of North Carolina.
During ‘Worried Mind’ from this year’s ‘Gather, Form & Fly’, the three of them left the tiny stage, and played unplugged, with the “Come ease your mind” refrain inspiring a mass sing-along amongst the small (the venue has a capacity of 100, but I struggle to see how that many people could fit in it!) and incredibly diverse crowd (from toddlers to OAP’s).
The song, and one of the most enjoyable gigs I have ever been to ended with Phil Crook lying prostrate in the middle of the crowd, thrashing at the strings of his banjo.
Perfect? By no means, but that’s what made it perfect.
They did play ‘The Longest Day’ (see album review). I didn’t cry. Because I’ve got balls.
2.12.09
Biffy Clyro - 'Only Revolutions'
A full fortnight (due to my ongoing feeling really really shittiness, and having left my notebook at work) after I planned to post this, here it is.‘Only Revolutions’ is the fifth album from the self proclaimed “best Scottish rock band from Ayrshire with twins in”, and probably the best band to possibly be named after a Cliff Richard pen.
Garth Richardson, producer of 2007’s ‘Puzzle’ (which spawned a total of six singles) returns, as does the sheen, which he gave said album.
This is evident from opener (and the third single to be released, before the album) ‘The Captain’, it starts promisingly, slightly reminiscent of ‘The Weapons are Concealed’ from 2004’s ‘Infinity Land’, it soon becomes clear, however, that this is the worst thing Biffy Clyro have committed to record, it’s empty anthemics, unfortunately, a fair indication of everything that is to follow.
The album’s second single ‘That Golden Rule’ is about as raucous as things get, incredibly predictable and with a hugely overblown string section, it’s hard to believe that this is the band that recorded ‘Toys Toys Toys Choke Toys Toys Toys’ .
The Josh Homme featuring ‘Bubbles’ is the first song that really grabs my attention, fun, and a little twiddly, it suffers due to the obligatory sing along “There’s a girl…” refrain, which sounds entirely out of place, the last 90 seconds or so go some way to remedying this, sounding as much like the Biffy of old as anything here.
Simon Neil’s lyrics, usually more hit than miss, verge into bad sixth form poetry on ‘God & Satan’:
“I savour hate as much as I crave love,
Because I’m just a twisted guy”
Having said that, the man does have a way with the ridiculous, as during 'Born on a Horse’
“I pronounce it “Aluminium”,
‘Cause there’s an “I” next to the “u” and “n”…
She’s got hooves,
Preposterous hooves.”
Quite.
‘Born on a Horse’ would not have sounded out of place on Neil’s other band, Marmaduke Duke’s last album ‘Duke Pandamonium’ that is until, as is par for the course throughout, a stadium sized guitar part, again utterly out of context.
From then on, there’s not a great deal else of note, more big, sing along chorus' (‘Mountains’, initially released as a stop gap, stand alone single), a couple of b-rate Foo Fighters’ b-sides (‘Shock Shock’, ‘Cloud of Stink’), an 80’s electric piano intro, which is, frankly, fucking cringe worthy (‘Know Your Quarry’) , more bad sixth form poetry (‘Many of Horror’, due to be the album’s fourth single)…
“When we collide, we come together,
If we don’t, we’ll always be apart”
…and a reasonably catchy put entirely unremarkable end (‘Whorses’).
Simon Neil continues to sing in a peculiar half Scottish, half American accent, which continues to grate. To quote the man himself “despite the accent, we’re Scottish” (Marmaduke Duke’s ‘Erotic Robotic’)
It would appear that Neil’s involvement with the aforementioned Duke has played no small part in making his day job more palatable to a mainstream audience, Marmaduke Duke, it seems, is where the stranger aspects of Biffy now reside.
Listening to ‘Only Revolutions’ was not as horrible an experience as I had already decided it would be. The production of ‘Puzzle’, though polished, was a little flat. ‘Only Revolutions’ however, has a much fuller sound, is unashamedly mainstream, and not entirely without it’s moments.
The album takes its name from a post-modern (read: fucking weird) novel by Mark Z Danielewski, sadly though, there is little of that kind of invention here.
A lengthy review I know, but I couldn’t help myself. For three or four years, I adored this band, and then they released ‘Puzzle’, which was a humungous disappointment, the first time this has happened with a band that I really really liked. Thanks G-G-Garth. D-D-Douche.
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