1.) Everything Now by Arcade Fire
Nothing I've heard this year is as epic as that piano kicking in at 0.45. For me, 2017's song of the summer, geared towards big stadiums and crowds singing along. The lyric is about our generation's opportunity to consume everything)
2.) We Got The Power (feat. Jehnny Beth) by Gorillaz
(While the album is uneven, the best track is an empowering, catchy pop anthem. Anyone could relate to the lyrics)
3.) Ran by Future Islands
(Doesn't quite top 2014's synthpop classic Seasons Waiting on You, but it's close. Ran has motion as its theme and would be ideal for an exercise playlist. The video fits well with the music, and I love the bass)
4.) Ballad of the Dying Man by Father John Misty
(A beautiful retro melody, and an amusing yet telling commentary on the absurd self-importance of man in the internet age when everyone has an opinion. You could say singer-songwriter Josh Tillman is preachy about the many failings of humanity, but his sense of proportion stood out for me on the album, how we are minor in the grand scheme of things. He has a point that contemporary news is becoming like entertainment with the likes of The Daily Show etc, and I think he's right to question that)
5.) Fear by Kendrick Lamar
(Album highlight, a smooth beat, sampling 1973's Poverty's Paradise by The 24-Carat Black. A Lamar track that I'm pleased to say keeps it relatively simple, on an album I've otherwise struggled to connect with. For further reading, Noisey dedicated an entire article to Fear)
What do you think? As always comments are welcome
6.) Real Death by Mount Eerie
(Perhaps we don't need another album about death/mortality, in the last 18-20 months David Bowie, Leonard Cohen and Nick Cave gave us their take on the matter. Yet I still consider Real Death to be the most heartbreaking song of the year so far. In 2016, songwriter Phil Elverum tragically lost his wife, illustrator and musician Geneviève Castrée, to cancer, and put into words his emotional turmoil)
7.) Next Time by Laura Marling
(I find her albums a struggle, but I can usually bank on Laura Marling to deliver a great song on each new release. Has a timeless quality)
8.) Sweet Arcadia by Saint Etienne
I'd probably enjoy Sarah Cracknell narrating audiobooks. A proggy-electronic spoken-word train journey through southern England, referencing the sweet shop of the same name. The flute-assisted section starting at 3.14 might be the most beautiful moment on the album)
9.) A Trick of the Light by Chilly Gonzales & Jarvis Cocker
(Addresses television and what it does to us. The album's longest and for me best)
10.) Friend Zone by Thundercat
(I may have been too harsh on Thundercat's Drunk earlier in the year, this track has grown on me. The lyrics are about being stuck in the friend zone)
What do you think? As always, comments are welcome. Check back for my top 5 in a few days!
Nominated for 6 Oscars. Gone Girl for the 80s. Also with shades of 70s horror Black Christmas, the phone calls are ominous. The eerie, minimal score adds to the sense of dread. Without any need for bells and whistles, the straightforward story grabbed me, and though a few events are easy to predict, it’s an effective thriller.
My only issue is the film could make audiences more afraid of mental illness, Glenn Close’s character is one in a thousand and not the norm.
A film that held my attention throughout, there was never a dull moment. Probably one of the most entertaining and realistic high school movies I’ve seen.
The awkward teenage situations have aged well despite the film released 35 years ago. Also quite hilarious in places, such as Led Zeppelin in the car, and the small people sitting in restaurant with big menus. Many future stars can be seen in supporting roles, Sean Penn has some of the most quotable lines.
Highlights on the soundtrack include We Got The Beat by The Go-Go’s (from the opening), Sleeping Angel by Stevie Nicks played when they are trying to solve a problem that arises, and Moving in Stereo by the Cars when Brad (Judge Reinhold) is fantasizing about Linda (Phoebe Cates) in the red swimsuit.
Based on a manga, the story follows cyber-cop Major Motoko Kusanagi (Scarlett Johansson in the 2017 remake) as she tracks down the mysterious Puppet Master. Kusanagi struggles to deal with her part-human, part-machine identity.
Set in 2029, an interesting futuristic premise about the advancement in technology, cyberspace expanding into human reality. A brain-computer interface, our “ghost” able to travel, relaying thoughts to other networked brains, a new tool for government surveillance and control. A hi-tech society when one or more body parts have been replaced by robotics, and they face issues such as brain hacking, maintenance of self, false memories, invisibility, and the evolution of the human body.
The film is ambitious, unsettling and influential, having inspired The Wachowski's The Matrix. Visually impressive in its detail of the city, sometimes I found myself forgetting I was watching animation. Her jump from the top of a building is iconic and was recreated in the remake.
Not as good as M. Night Shyamalan's best films. A minor horror/thriller that is too eager to reveal what is wrong with James McAvoy’s character, those revelations in the first half kill some of the tension. But there are sporadically thrilling moments concerning the girls and does capture a sense of claustrophobia. McAvoy’s performance is noteworthy, though the film is overlong, and I often found my mind wandering due to boredom. SPOILER WARNING: The last 10-15 mins are surprising, but tonally completely different to what the story is about. Or maybe the ending does make sense on a certain level, could it be a commentary on not being able to get rid of him (from your mind), no matter how hard you try.
On a side note, Natascha Kampusch’s powerful autobiography 3096 Days goes deeper into the psychology of victim and perpetrator.
What made the original stand out were the inventive visuals and soundtrack. Neither of these aspects are as impactful or unique in the sequel, although I do like the new songs by High Contrast and Wolf Alice.
What we get are a number of homages, reunions, and watching 40 somethings misbehaving. Begbie (Robert Carlyle) is as funny and crazy as he was in the 90s, even when he isn’t aware of it. There are reminders the group are getting older, such as a decline in physical health and family obligations. I mostly felt pity for them.
Especially the improvised song and the chase in the multi-storey car park stood out. The updated choose life speech has depth, but the scene feels scripted and unnatural in its presentation. T2 has glimpses of urgency, but lacks the unrelenting energy that kept me glued to the screen of Trainspotting. I agree with another reviewer who says it “wallows a little too much in cinematic nostalgia for the 1996 original.”
A quotable comedy, which popularized the ‘Happy Gilmore’ hockey/golf swing. Funny moments such as the alligator and the ball "go home" scenes, though the punch lines often are offensive by centering around violence. Not many women would date Happy, having witnessed his short fuse and anger management problems. The love interest aspects had warmth, but are not totally realistic. Happy (Adam Sandler) is only mildly likeable, because he is up against arrogant Shooter McGavin (Christopher McDonald).
Based on the life of Roy L. "Rocky" Dennis, strong acting and a number of sweet moments. I remember watching parts of the film years ago and was freaked out by the main character's deformed face. Now, I can see past that and appreciate the story. A coming of age drama about struggling to fit in due to being different, and also focuses on the relationships he has to family/friends.
What made the 80s different to today's cinema were the life lessons sprinkled into the screenplays, and there are a few of those here. Like John Hurt in 1980's The Elephant Man, Eric Stoltz is unrecognizable in the lead role. These type of films sometimes depict the deformed character as an angel, but I think it works here by juxtapositioning the teenage son with his troubled mother (Cher). I cared about these people and it's one of those films that stays with you.
Wrote about the film here. Watched because of recent Grenfell Tower disaster and an inner sense of duty to find solutions to high-rise fires.
So far, season 3 lacks the sense of community of the classic original. But instead of yearning for what Twin Peaks used to be, I’m trying to take the revival for what it is. Dougie and his family I feel a connection to because they keep returning, and is some of the funniest stuff Lynch has ever done. Kyle MacLachlan delivers maybe a career best performance.
The scope of S3 is ambitious, but feels choppy when jumping from one location to the next. It’s intriguing, imaginative, often weird, though I will say many characters are not given enough screen time for us to care.
Short summaries of Episode 5-8 (spoilers):
Episode 5: Set-up, presenting a number of threads and details. The Kyle MacLachlan scenes are the most entertaining and amusing, craving coffee in the elevator, desperate for the toilet, the phone call that causes a disturbance. There’s also some violence at the casino.
Episode 6: Again, the Dougie scenes I liked most, him standing in front of a staircase is a laugh out loud moment, and sitting with his son has warmth. There’s a surprising event in Twin Peaks involving a mother and son which is powerful, yet I can’t see how it has any relevance to the series. There’s also the most bizarre coin-toss I’ve ever witnessed. Diane (who Dale Cooper recorded audio messages for in the original) is revealed in a brief cameo. Naomi Watts is given a moment to shine as the Tough Dame in the delivery scene.
Episode 7: Diane meets evil Cooper and thinks something is off with him. There’s a noise in the walls at Twin Peaks hotel. A mysterious man covered in black oil walks the hall way. Dougie Cooper’s car was stolen and the police confirm this. The dwarf tries to murder Dougie Cooper. Evil Cooper convinces the prison to let him go in exchange for information.
Episode 8: Filmed in black and white, and set in the past. The strangest episode so far, almost wordless visual storytelling. An impressive atomic bomb sequence that would look good on the big screen. A silent horror of sorts, the “gotta light” character is creepy, his scenes are not suitable for kids. We are not given much context so have to piece it together ourselves.
What do you think? As always, comments are welcome
Disappointing and overpraised third album. The vocal is distinctive, but the melodies are inaccessible and unmemorable. Goes in a progressive-folk/jazzy direction. ”Naiads Cassadies” and ”On Another Ocean” are quite beautiful. Maybe it's a grower.
Room 29 by Jarvis Cocker & Chilly Gonzales (2017)
Recommended by Rol at My Top Ten. Jarvis Cocker (of Pulp fame in the 90s) has a way with words that conjures images in your mind, such as the opener Room 29 and its lyric:
”The kind of lie that has the entire Western world agog.
Cos no one ever got turned on
By the Whole Earth Catalog”.
A verse that could be interpreted as negligence over pollution of the planet.
Tracks like Room 29, Salomé, The Other Side, and A Trick of the Light address television and what it does to us. The latter is the album's longest and my personal favorite. There are also a number of references to the Golden Age of Hollywood though I didn't figure out why.
Probably the most memorable of these lounge/piano tunes is Tearjearker, which hints at a soullessness and un-lived-in-ness of hotels: ”These surfaces are shiny. Anything wipes off them. These surfaces are hard. Nothing seems to mark them”. Yet you could also imagine the surfaces he speaks of are about the human condition, how hard our exterior is to outside influences.
Some listeners may feel the album at times is bordering on boring and non-music, with its spoken-word and minimal instrumentals. I look at it as a welcome change of direction, Jarvis’ vocal suits this low-key collaboration well.
Home Counties by Saint Etienne (2017)
There are good songs, but very patchy as an album experience. The first six tracks I found dull, thankfully there are 19 to choose from and does get better. Take It All In has a pleasing retro 60s sound that fits their style. Out Of My Mind, with its nostalgic 80s-era vibe, runs out of steam due to a repetitive lyric. After Hebden is my favorite vocal performance on the record. Heather wants to be moody yet misses the mark with the vocal. Train Drivers in Eyeliner suits Sarah Cracknell's voice much better.
Unopened Fan Mail is worth your time for the melody alone. Sweet Arcadia (a reference to the Arcadia Sweet Shop in Bedford) takes the listener on an intriguing spoken-word trip, reminiscent of album highlight Over the Border from their previous LP, but darker.
There’s an audience for Saint Etienne, otherwise they wouldn’t keep making albums. I couldn’t wholeheartedly get into it, the vocal is often lacking emotional resonance. The wittiness and message was not immediately obvious and maybe takes time to unpack. The group have said the album is about “the love/hate relationship people have with ‘home’ ", which in their case is the UK.
A Crow Looked at Me by Mount Eerie (2017)
The melodies are unremarkable and samey, but scores points for lyrically and vocally depicting the emotional turmoil of loss. The album has a timelessness and honesty.
On a day-to-day basis, it isn't something I would reach for, expect when dealing with the passing of family/friend.
Ti Amo by Phoenix (2017)
A light, summer pop album with Italian disco influences. I've listened a couple of times and plenty of replay potential, containing many pleasant moments. Best songs: Role Model, Goodbye Soleil, J-Boy, Via Veneto, Telefono.
To celebrate the release of the new album, check out a retrospective on their discography and my top 10 Phoenix songs.
Between Darkness & Wonder by Lamb (2003)
Atmospheric and melancholy. Electronic sounds mixed with orchestral instrumentation. I'm surprised Between Darkness & Wonder is among Lamb's lowest rated on RYM. A personal favorite with hardly any weak tracks.
Stronger is an empowering anthem, Angelica a beautiful instrumental. Till the Clouds Clear taps into not being able to let go of thoughts. I wouldn't listen often, but when I'm in the right mood this album hits the spot.
White Blood Cells by The White Stripes (2001)
Garage Rock Revival. The White Stripes' third album and considered their breakthrough. If you want guitar riffs, this is a modern band to seek out. Includes mostly rock with the occasional twee ballad diversion.
Highlights include We're Going to Be Friends, Dead Leaves and the Dirty Ground, Hotel Yorba, and Offend in Every Way. The latter is about the pressures of stardom and expectation.
(What's the Story) Morning Glory? by Oasis (1995)
Arguably the pinnacle of the Britpop era. The run from tracks 2-5 (Roll With It, Wonderwall, Don't Look Back in Anger & Hey Now!) is incredible, and also has one of rock's best closing tracks in Champagne Supernova. The lyrics have aged well considering it's 22 years old now.
Ten by Pearl Jam (1991)
The group's most commercially successful LP. Includes Black, arguably one of Pearl Jam's most powerful songs, which surprisingly wasn't a single. Alive and Oceans are other stand outs from their debut. Jeremy I find overrated.
If I'm critical, it's sometimes difficult to hear Eddie Vedder's words, and the album is very loud.
A Kind of Magic by Queen (1986)
I love the intro of Who Wants to Live Forever, and One Vision & A Kind of Magic are also Queen classics. The album is well-produced, but there are some skippable tracks and the lyrics tend towards platitudes at times. Don't Lose Your Head is a lesser known highlight. The Highlander soundtrack, also from 1986, includes a number of overlaps.
Zenyattà Mondatta by The Police (1980)
Despite the Grammy attention and critical praise, I found the album a bit boring. Can't really compare with other Police albums. There are glimpses of experimentation, but mostly plays it safe by sticking to a pop structure. Canary in a Coalmine is a decent attempt at reggae, but I prefer proper reggae artists. The recognizable singles Don't Stand So Close to Me and De Do Do Do, De Da Da Da I was already familiar with.
The Wall by Pink Floyd (1979)
A thought-provoking work with a handful of classic songs. I love the writing on this LP. Considered among the best double albums. The only weakness I noticed was some repetition of the instrumental sections, but that is hardly a flaw, as it gives the album a cohesiveness. The Trial sounds like it belongs in a West End stage musical.
Best tracks: Another Brick in the Wall Part 2, Hey You, Comfortably Numb, Run Like Hell.
Ambient 1: Music for Airports by Brian Eno (1978)
A relaxing ambient album. Good as background music for studying. The piano-driven opener 1/1 is beautiful and very tranquil. Tracks 1-3 are too long and repetitive, though this is by design. I find the wordless vocals of 2/1 and 1/2 overly cold and melancholy. 2/2 is a great closer, going in a synth direction with a melody that is harder to pin down.
Another Green World by Brian Eno (1975)
Considered a transitional work that bridges his earlier rock with subsequent ambient direction. I like Brian Eno as a multi-instrumentalist, less as a singer/songwriter.
The lyric "And I'll come running to tie your shoe" becomes annoying, but it's forgivable on an otherwise fascinating album of textures and instrumentals, which is atmospheric and varied. St. Elmo's Fire is probably the most pop-friendly. The trio of songs Golden Hours, Becalmed & Zawinul / Lava are beautiful. An album with lots of detail to unearth.
A Night at the Opera by Queen (1975)
I respect their talent, just wasn't for me. Couldn't stomach the over-the-top-ness and campiness. Only a couple of the songs I connected with emotionally, the masterful single Bohemian Rhapsody and the minor classic You're My Best Friend. Overall I found the album rather uninvolving. My rating is based on enjoyment, not the quality of the music. I might prefer Queen in moderation, a full album is a bit much.
The two classics (Gimmie Shelter & You Can't Always Get What You Want) that bookend Let It Bleed don't fit that well with the blues rock which the bulk of the album consists of.
Still, an entertaining listen. There's a feeling tracks highlight a different instrument, the harmonica-driven Midnight Rambler I enjoyed. An album with a lasting value and worth many plays.
The Velvet Underground by The Velvet Underground (1969)
Expected a rockier album, surprisingly restrained and minimalistic. Half of the songs are classics (Candy Says, What Goes On, Pale Blue Eyes, Beginning to See the Light, After Hours), and the other half are good.
Moving by Peter, Paul and Mary (1963)
Peter, Paul and Mary by Peter, Paul and Mary (1962)
What do you think? As always, comments are welcome
11.) Evening Prayer by Jens Lekman
(A strangely upbeat song about a tumor. The lyrics are also about friendship and not knowing if you are close enough to care)
12.) You Can Never Go Back to New York by The Magnetic Fields
(Very catchy. I'm on the fence if I enjoy the vocal performance on 50 Song Memoir, reminds me of the goofy voice in the ukulele scene in Blue Valentine. Although clearly Stephin Merritt is a better singer than Gosling. Stupid Tears is a memorable song too even if the melody seems so familiar?)
13.) Shotgun Mouthwash by High Contrast
(T2 Trainspotting soundtrack. Works well in the treadmill intro scene. The lyrics are objectionable, deliberately so I'm guessing)
14.) Sugar for the Pill by Slowdive
(Got stuck in my head)
15.) The Flame by Johnny Jewel
(Soothing instrumental which features in new Twin Peaks as score music. My favorite part is at 2.20 when the saxophone kicks in)
Amar Pelos Dois by Salvador Sobral
(Portugese winner of the 2017 Eurovision Song Contest. Sometimes less is more)
What do you think? As always, comments are welcome. #10 - #6 coming soon!
I was sickened by the recent Grenfell Tower fire in London. Obviously everyone was shocked and angered this could happen. From what I understand the fire was caused by a fridge, which the firefighters claim to have put out, but by that time the fire had spread up the building.
I’ve been wondering how a disaster like this could potentially be avoided. Clearly authorities are working on changes so flammable panels and fire sprinklers meet safety standards. Apparently the UK government confirmed that councils estimate 600 high-rise buildings could have similar flammable exterior cladding to that used on Grenfell Tower.
In an interview with a solicitor, it saddens me the public enquiry doesn’t allow the victims to be heard, which an inquest would.
This is one of the richest boroughs who made £13m gross profit in 2016 and £12m in 2015, so you’d think they could afford to meet basic safety regulations.
Musician Lily Allen in a brave interview spoke of approx. 300 politicians with 72 of them landlords, a situation which conceivably might impact the voting for the passing of a law on fire safety.
Spoiler warning: The plot is a rescue operation, with Americans trapped in a burning skyscraper. A solution in the film (described in this clip) is allowing water tanks in the building to wash down over the flames. Perhaps wasn’t an option in London? Spoiler end.
a $1500 product that could save you in an inescapable highrise fire like Grenfell Tower. I'm not receiving a penny to promote this rescue device. I'm just trying to find ways to save lives.
I usually enjoy car journeys on the motorway, listening to music and without the stress of heavy traffic on smaller roads. Recently, I was going along as usual. Many others dangerously use the motorway as a high-speed race track and never seem to get a ticket. I was travelling at 80 km/h (50 miles/h), which is on the slow side, but with two lanes there is a chance to overtake, and I know cars with trailers HAVE to go max 80 km/h in our country. I didn’t have a trailer on but felt entitled to drive carefully, and it’s easier to listen to music at that speed, as there’s less engine noise. Then I find myself followed by a car. At first didn’t concern me, then went on for 30 minutes which is unusual as drivers usually lose patience and move past. When I reach my turn-off the car continues to follow and I’m feeling a bit uncomfortable. Are they going to follow me all the way home? I hope not.
A police car has been waiting by the turn, follows me for a while, then suddenly puts his lights/horn on. I’m wondering if he simply is busy and wants to overtake. Then he gestures for me to pull-over which I do at the next roundabout. Apparently someone had phoned the police to warn them I was coming. When I stopped, the policeman approached. I feared the worst, so said nothing. Asked for my driving license and if I owned the car. Apparently I was driving too slowly on the motorway and not in a straight line. The accuser had assumed I was driving slower because I was drunk, which I wasn’t. I was merely trying to save petrol as my 1,0 engine uses up almost twice as much if I go along at 70-80 miles/h. The motorway was very quiet.
Regarding the swerving from side to side, I didn’t mention to the police, but my car model is light-weight and the steering is the weakest aspect of the car. I’ve spoken to another person who owns the same model and with side wind and gusts it’s normal for a bit of turbulence, especially at higher speeds. Probably I should have explained this, but I didn’t want to make excuses. I just said I was sorry, wanted to save petrol, and wasn’t trying to bother anyone. It’s hardly my fault if a cheap car is not steady on the road. He still wanted me to blow into a breathalyser even though I said I hadn’t been drinking. I asked what the lowest speed you are allowed to drive is, the rules are murky as they can’t force you to go at a specific speed. He advised me to take the highway instead, if I want to go at that speed.
Who is right in this situation? I can understand someone worried about a drink/driver, but I think it’s an excessive overreaction for a random person to follow me for so long and deliberately slow down. If they want to go faster, why drive behind me? I’m 99% sure it’s the follower who phoned in my number plate. The accuser also 'beefed up' his story by claiming I was travelling at 70km/h (43 miles/h) which is dishonest.
Part of me thinks they got some pleasure from seeing the police catch me, and the policemen had no choice but to follow procedure. A misunderstanding that I’d rather have avoided. I guess there are people who have nothing better to do than complain. I never imagined I’d say to a police man, ”I promise to go faster…” . Was almost absurd saying that sentence out loud. Obviously the experience isn't as shocking as Spielberg's Duel pictured above, though my incident has left some mental scares.
To celebrate the release of the new Phoenix album Ti Amo this June, below is a career retrospective. My thoughts on the albums and my top 10 Phoenix songs.
Thomas Mars has a distinctive vocal style, and Phoenix's debut sees the band finding their feet. There's a wide range of instruments and genre experimentation, although it all fits within a pop sound.
The opener "School's Rules" has an enjoyable guitar intro which sadly isn't a fully formed song. "Too Young" is a great single that has that fun-loving Phoenix-y sound and was included on Lost in Translation soundtrack. The blissful instrumental at the end of "Honeymoon" is beautiful. "If I Ever Feel Better" goes for fast spoken pop and is a bouncy, memorable track. "Embuscade" is a nice jazzy instrumental. "Summer Days" feels like a lesser variation of "Too Young". "Funky Squaredance" at almost 10 minutes might be the most ambitious track, opening with 3 min of vocal distortion, then becomes funky and Daft Punk-esque, and at about the 6 min mark there's a soaring guitar section. The closing track "Definitive Breaks" reprises Too Young, adding a saxophone.
Sporadically good, but a patchy follow-up to 2000's United. The melodies are often uninspired and the word repetition on choruses to "Run Run Run" and "If It's Not With You" are annoying. There aren't really any big stand outs, with "(You Can't Blame It On) Anybody" the most pleasing to the ears. "I'm an Actor" appears to be about addiction.
The track-by track order is lazy and hurts the listening experience. Why, for example, is "If It's Not With You" featuring the repeated lyric "together", followed by "Holdin' on Together", another song with "together" in the lyrics? Also, the instrumental "Congratulations" is too similar to the track that precedes it.
"Victim of the Crime" and the title track "Alphabetical" are more melancholy than anything on their debut, and seem to be about life as a pop star. Kudos for trying something different. "Alphabetical" works as a sad ballad, but the rest of the album plays it safe, presumably not wanting to alienate the fanbase.
Rockier third album, the melodies are unmemorable. I initially liked the single "Long Distance Call" but after a few plays the word repetition in the chorus becomes irritating.
Favorite lyric from the track "One Time Too Many": "Hard to tell you kindly that ain't what I'm like".
Their 2004 and 2006 albums were patchy. Wolfgang Amadeus Phoenix is a return to form and maintains its energy from beginning to end. Probably their most upbeat and well-produced since 2000’s United. Earned the band a Grammy Award for Best Alternative Music Album. On the playful album title referencing Mozart, Thomas Mars said: ”almost like a childish thing, like you’re unleashing a child into the museum and he draws a moustache on the Mona Lisa or something”
Best tracks: Lisztomania, Love Like a Sunset Part II, 1901, Rome, Armistice
Fifth full-length studio release, and arguably the group's most underrated. The sound was described as "a peachy, fun vibe", in keeping with the sleeve, and there appears to be an Asian influence. A couple of weaker moments are Drakkar Noir and S.O.S. in Bel Airhave, which have unconvincing lyrics. As another reviewer notes, perhaps the album tells a tale of the lonesome feelings of making it to the top and the conflicting emotions of stardom.
Best tracks: Bourgeois, Entertainment, Trying To Be Cool, Bankrupt!
Their latest released June 9. A light, summer pop album with Italian disco influences. I've listened a couple of times and plenty of replay potential, containing many pleasant moments. Best songs: Role Model, Goodbye Soleil, J-Boy, Via Veneto, Telefono
My top 10 Phoenix songs (in no particular order)
Too Young (Lost in Translation soundtrack)
If I Ever Feel Better
(You Can't Blame It On) Anybody
One Time Too Many
Love Like a Sunset Part II (Somewhere soundtrack)
Too Young (Lost in Translation soundtrack)
If I Ever Feel Better
(You Can't Blame It On) Anybody
One Time Too Many
Love Like a Sunset Part II (Somewhere soundtrack)
What do you think? As always, comments are welcome
E1-E4 of Twin Peaks S3 are slower than S1 and S2 from the 90s, but not as dark as the 1992 prequel Fire Walk With Me. As a fan of Lynch, a must-see return into this world, a fanservice revival ala Star Wars. The use of music is surprisingly sparse, keeping the original theme music in the intro, while relying on sound effects more so than score.
The guy in the building in NY watching the empty glass box looks like a young Agent Cooper, those scenes were an intriguing addition, Sam and Tracey have chemistry, and it works as a commentary on the passivity of TV. Another memorable part of E1+E2 takes place in Buckhorn South Dakota featuring Matthew Lillard, whom I usually hate, in a good performance as a man accused of murder. Maybe he is guilty, maybe not.
My main problem with the first few episodes is the characters are not given much time to hang out together and reveal their charm, which was part of the appeal of previous seasons. There’s no coffee-and-pie house they meet at. I want more than just cameos.
For the most part, the quirky dead-pan humor is effective, the funniest of them in E3 with the bizarre casino visit, chocolate bunny discussion. In E4, the comedy happens in the pancake scene, meeting with Denise Bryson, and Wally Brando’s poorly written yet ultimately amusing speech about his shadow.
Hopefully as S3 progresses, it will flow more naturally and provide reasons to care. It’s nice to see familiar faces again, though the former Twin Peaks cast are disconnected and don't yet have much to do compared to the eventful main story involving Agent Cooper.
The opening four episodes have many intriguing loose ends, sometimes sexy moments, and Lynchian weirdness, but also needlessly slow and sometimes lacking in warmth. The characterization and story is not as novelistic, intimate and dialogue-driven as Twin Peaks from the 90s. In Season 3, we don’t really get under the skin of what they are feeling, thinking and dreaming about.
Funnier than anything Lynch has done before, even if the revival is a David Lynch greatest hits of sorts. A flawed return, but good to have him back directing after a decade-long absence since Inland Empire.
Check out Laura Hudson's spoilery review for The Vulture, she makes several interesting observations.
Favorite quote: “I had enough dirt on you to fill the Grand Canyon”
New location, same formula. Travel, food, conversations. culture, & the worrys of middle age. Coogan and Brydon, blurring reality and fiction, drive from the north to the south of Spain, making stops at restaurants. I binge watched the 3 hour TV-version. I recommend the first two 30 minute episodes especially, which are the most entertaining. The last four parts are weaker and I began to tire of the impressions and repetition.
If they do bring the duo back for a fourth series, it needs reinventing, as the concept is becoming a bit stale. The two hour film adaptation is probably better by trimming the fat. With the recent passing of Roger Moore, the Moore impersonations now feel a little inappropriate. That's not Coogan's and Brydon's fault as the filming of the series took place months ago, it's just an unfortunate circumstance. The Trip to Spain feels like it was made for the fans and is sporadically brilliant, though they could be running out of impressions as a few are rehash.
A few notes on the six episodes:
Best impressions: John Hurt as The Elephant Man talking to Anthony Hopkins, Elvis Costello battle, Marlon Brando reciting Monty Python, Mick Jagger battle, Mick Jagger doing Shakespeare, McCartney/Lennon
Worst impressions, mostly in episode 3: David Bowie, Captain Kirk, and John Hurt
Most overused impressions: Roger Moore, Marlon Brando
“-There are few things in this life worse than a tomato with no flavour.
-Well, bombing in Syria? That might pip it at the post”.
"My name isn't Roger Muslim, it's Roger Moore!”
Films: City Slickers (bull fighting), Laurel and Hardy
Books: The Sun Also Rises by Ernest Hemingway (bull fighting), As I Walked Out One Midsummer Morning by Laurie Lee, Don Quixote by Miguel de Cervantes, Spanish writer Lopadero? who wrote 500 plays.
Music: Human beatbox song(a highlight of the series), Windmills of Your Mind, Toledo by Elvis Costello, SOS by ABBA
Recently deceased Roger Moore considered this his best performance, which was what prompted me to give it a look. About a man who can’t explain why there is a duplicate of himself. A thriller that does a good job of building suspense by not revealing the mystery. Like the audience, Moore’s character Harold Pelham is in the dark and trying to find answers. You can definitely see why he was picked for Bond a few years later, Pelham has a similar presence and humor to Moore’s 007. He is not the most versatile, and the bowler hats are a bit dated now, but a screen actor I enjoy watching. Nice score by award winning composer Michael J. Lewis.
Michael Caine, in a star making performance, plays a charming yet cold-hearted ladies man, who treats women as disposable objects he describes as “it” and “bird”. Not wanting to attach himself to anything serious, he moves from one affair to the next, whether the women are married or not.
In its time, the film was praised for its sexual frankness and persuasive rendering of Swinging London, although the situations seem mild by contemporary standards. You could be envious or disdainful of Alfie, maybe even both. While he beds a number of women, it is a sad film in which I shed a tear for his hollow life and temporary relationships. But he only has himself to blame. The song “Alfie,” by Burt Bacharach was Oscar nominated, and heightens the emotional impact of the last scene.
I will say though that the womanizing is overdone and overemphasizes its point. The bar fight and medical examination could have been trimmed.
An unlikely duo (Sam Neil, and newcomer Julian Dennison) venture into the wilderness. An adventure-comedy that has an 80s innocence and characters you care about. Pure fun without the need for making the story overly gimmicky. The two leads have good chemistry and further proof the New Zealand director is a talent to look out for. Also enjoyed Taika Waititi's previous film, vampire mockumentary What We Do in the Shadows (2014).
A timeless historical film about 17th-century Portuguese missionaries. Rodrigo Prieto’s cinematography is stunning, especially the landscapes. Most of the key scenes involve suffering and persecution, so I wouldn’t call it “enjoyable”.
I was interested to see how would play out, and was moved by the characters plight. But it’s a flawed epic, repetitive in its storytelling, and quite long-winded.
There’s something to be learned that even in the darkest times, Christianity will endure and give us hope and courage. Faith is so important that some people are willing to suffer for it. But why the Japanese villagers have put aside Buddhism and devoted themselves to Christianity I felt was unexplored? I couldn’t grasp their motivations. You could say their unwavering faith is admirable, but you have to be able to compromise to fit into the society you live, and they didn’t. The real issue is intolerance and the Japanese not accepting different beliefs.
The film showcases that the export of religion is dangerous in how it creates division. Spreading Christianity in Japan was not ideal, the Christian priests and Japanese villagers seemed naive to the conflict their steadfastness was causing. The title is about the silence or non-silence of God.
Was alluded to on What the Flick! review that you can regard the theme of ‘identity against the law’ as an allegory for all times, could be Jewishness, sexual orientation, or mental illness, where you have to decide how you are going to face society.
For me, the film is about not blindly following a certain path, and staying critical whatever life throws at you.
Follows the template of previous documentary 20,000 Days on Earth (2014), with music segments from the album in question, intertwined with moments of revelation and reflection. Like aforementioned doc, the studio sessions feel a bit like padding.
Details Cave’s decision to write non-narrative lyrics. Says this new direction allows his songs to have a prophetic nature like a dream can foretell situations, and he admits: “I don’t think life is a story, we all hope that it is” His interviewer begs to differ, that we all are born and gradually decay.
Cave ponders the creative process on his latest album. Wanting to write songs that connect with people and don’t alienate. Searching for a magical place with his friend Warren Ellis when the jamming isn’t to do with knowing where you’re going, but collaborating as a team.
Doesn’t directly discuss the trauma of his son’s death until 65 minutes into the film. The emotional state influenced the recordings, leading to a sense of helplessness and nakedness in the music. Cave and his wife bravely reveal their insecurities, grief and uncomfortableness about the interview situation, especially in the second half. He is right that somebody has got to “sing the pain”.
Quite affecting and sporadically interesting, but I didn’t feel the insights on loss are breaking new ground. There was nothing here that made me go, wow, I’ve never heard that before. A life changing event for the Cave family which I can empathize with, but not a life changing viewing experience. Without any info provided on Arthur, Cave’s son, the viewer is at a distance. Skeleton Tree (2016) is a sad yet beautiful album that stands on its own without the need for a documentary.
While we are not given an opportunity to get to know and care about his deceased wife, I did empathize with Gyllenhaal’s painful situation. Everyone deals with loss in different ways. There's both a predictableness and an unpredictableness going on. I felt I had seen the plot before in other films, but held my interest throughout.
Documentary about the influential hard rock band The Stooges. Expected a bit more offbeatness from Jarmusch. Entertaining enough, and Iggy Pop is a good storyteller. But very by-the-numbers and the anecdotes are soon forgotten. On a positive note, there are some interesting references to other bands.
Probably the funniest Coen brothers comedy I’ve seen. Very quotable too.
Cochroches like popcorn
"What was he wearing? A dinner jacket! Wuddya think, he was wearing his damn jammies!"
A disappointing and overlong sequel to Der Himmel über Berlin (1987). An angel becomes human and struggles to choose between good and evil. There's a clever transition between color and black & white, but this aspect becomes needlessly confusing. Many scenes go nowhere and it's tough to care about any of these characters, as the impatient camera keeps hopping from one situation to the next. Fails to recapture the atmosphere of the original. Everything interesting about this universe you can find in the first film.
Sillier than Back to the Future. The filmmakers probably stole the phone booth idea from Doctor Who, but the ”excellent” quote with air guitar is iconic, and is repeated many times in the movie. Keanu Reeves and Alex Winter are believable as high school friends. I liked the story included what these historical figures would do in our modern world, although some of them were too easy to kidnap. The house cleaning scene is laugh out loud.
While superficial and basically a kid’s movie, it is funny and crowd-pleasing, and could inspire you to look deeper into the history.
The 80s soundtrack has some obscure gems, especially I Can't Break Away by Big Pig from the intro. Father Time by Shark Island & Dancing With A Gypsy by Tora Tora are entertaining hard rock songs. Play With Me by Extreme even samples Mozart's Rondo Alla Turca, in reference to the film character.
Based on a story by Stephen King who wrote under the pseudonym Richard Bachman. Pretty much an 80s Hunger Games or Battle Royale, set in an Orwellian police state. In The Running Man, many citizens are seemingly happy. Comparable to Roman times, the audience is pacified and entertained so they are less likely to rebel.
Interestingly, the story is set in futuristic 2017. Looks nothing like today’s society, although foreshadows the popularity of reality-tv, a reality show host/president with military authority, fake news stories used to manipulate public opinion, and predicts the world economy would collapse. Art, music and communications are censored, which is still the case in China, and at the time was happening in Eastern Germany.
Unfortunately I find the game show aspect unrealistic. Would audience members over 60 years old really be cheering on violence? There’s also a twist in the last third which I found implausible.
Worth a look, but not as well-paced or memorable as other Schwarzenegger movies from the 80s. The kiss scene is cringe-worthy.
Neo noir crime thriller. Cops (including Bill Paxton) are hunting down a group of dangerous criminals (Billy Bob Thornton and others) on the run.
Tonally changeable, with violent moments, and unpredictable twists. Also tackles interracial love.
Probably the best scene involves two LAPD detectives belittling the ambitions of small town police chief (Paxton), claiming amongst themselves he wouldn’t last 2 minutes in the big city. Paxton’s character Dale "Hurricane" Dixon happens to hear this which causes an awkward situation. It’s interesting he has that nickname. Better than average low-budget independent film.
Considered among the best of the Peter Cook/Dudley Moore movies. Manages to present potentially dry discussions about god and the devil, good and evil, in a fun, entertaining way. The argument that God is withdrawn to give us freedom of choice makes sense. The story isn’t entirely their own, but a 1960s interpretation of Faust.
About being in love, with your feelings not reciprocated. George Spiggott / The Devil (Peter Cook) gives sad Stanley Moon (Dudley Moore) the chance to live out his imagined happiness, but amusingly even the fantasies falter when realized. A commentary on how we try and be a different person to achieve our goals.
There are surprises and original ideas such as the fly on the wall and pop star performances, although not all of it works and some sequences feel like variations of the same. Isn’t laugh-out-loud funny. His inability to escape the nunnery got a few chuckles out of me, even if that sequence goes on too long. The final speech is eerily relevant in its attack on capitalism.
A remake was released in 2000 with Brendan Fraser and Elisabeth Hurley, which I haven't seen.
I believe I rented this neo-noir crime/romance in the late 90s, all I could remember is the car trunk scene, so a rewatch was overdue. George Clooney and Jennifer Lopez have good chemistry, the movie is best when they are both in the same scene. Her discovering him in the bath is very sexy and surprising.
Most of the supporting characters didn’t interest me. The dialogue is sharp and witty, but the story is all talk and little action. There are clever flashbacks, though the film is style over substance. The diamond heist isn't as captivating as it could have been.
Not as powerful and harrowing as the director’s masterpiece 4 Months, 3 Weeks & 2 Days (2007), but an interesting conflict of a teenager daughter (Eliza) who is attacked before her important exam. There are slight similarities with The Salesman (2016), in how there is a post-traumatic stress factor for a female character, and the attack is not directly revealed.
Granted the over-protective father (Romeo) is passionate in his way, but I found the characters rather cold and lacking distinguishing traits, so tough to have much attachment to them. The muted palette is also very colorless with its greys and blues. Obviously these are conscious choices by the filmmakers. Engaging on an academic, ethical level, and as a study of life in Romania.
Romeo is desperate for Eliza to take a scholarship abroad and lead a better life. But in his actions the father is negating the values he has instilled in her. The title has layers, with him also put to the test regarding his actions. As another reviewer pointed out, his “moral compromises ultimately make him not that much different from the societal forces he believes he's fighting against”.
I’ve met Romanians and it seems to be a common thing for them to want to escape poverty and seek their fortune in other parts of Europe. The writer/director has said Graduation is about people who live in a corrupt country and “feel they don’t progress or advance in society based on their own merit.” Cristian Mungiu is quoted as saying that most of his generation, “decided to just leave”. He talks about migration as “an individual solution”, in some ways easier than sticking around and trying to effect social change, the “collective solution”.There’s suspense in the last third. The ending is both clever and frustrating, and may divide audiences.
What do you think? As always, comments are welcome
Rol at My Top Ten would possibly enjoy this album better than I did, with its wit, anti-Trump message, and elaborate lyrical content. Granted the song Ballad of the Dying Man is a highpoint, but the rest didn’t grab me as music.
In fact I prefer the video from XPN Festival in which he talks to an audience about his views on society, which is more straight-forward than what he is presenting in the lyrics. Here’s a summation:
Entertainment is making us stupid and making us make bad choices, by picking a stupid president who is just entertaining us.
Favorite lyric, from the track The Memo:
“Oh, caffeine in the morning, alcohol at night
Cameras to record you and mirrors to recognize
And as the world is getting smaller, small things take up all your time
Narcissus would have had a field day if he could have got online
And friends it's not self-love that kills you
It's when those who hate you are allowed
To sell you that you're a glorious shit
The entire world revolves around
And that you're the eater, no not the eaten
But that your hunger will only cease
If you come binge on radiant blandness
At the disposable feast”
It's atmospheric and dreamy, paying homage to the Angelo Badalamenti Twin Peaks soundtracks of the early 90s. I like the jazzy tracks Windswept, The Crimson Kiss, Motel, and The Flame, even if doesn't have the emotion and impact of Badalamenti. An album that could fit nicely with Season 3 of Twin Peaks.
His debut album. You can't tell what he's thinking on that sleeve. Many of his album covers have a sense of mystery.
A sign of things to come, Dylan's folk style, harmonica and guitar skill, giving you a glimpse into his songwriting potential. Many are covers. Dylan's high-pitched vocal is unusual on "Freight Train Blues".
The most interesting are his self-penned Song To Woody (dedicated to Woody Guthrie who was a friend and inspiration) and Talkin' New York. According to the sleeve the latter is "with a certain sarcastic bite, very much in the Guthrie vein", "a comment on his reception in New York", "satirizes his troubles in gaining recognition", "a diary note set to music".
Debut album. I wouldn’t listen to this often, hasn’t aged as well as their mid-to-late 60s releases. The lyrics don’t appeal to me on an emotional level, I find the writing a bit cheesy and dated. However as I was told by a couple of commenters on my blog, The Beatles were considered groundbreaking in the early 60s compared to what other groups were doing.
I Saw Her Standing There, Please Please Me, Love Me Do, and Twist and Shout (cover) are Beatles classics and timeless for the pop melodies.
Like their debut, a collection of original compositions and covers. All My Loving is the stand out.
Lesser known highlights: Don't Bother Me (George Harrison), and You Really Got a Hold on Me (Smokey Robinson cover)
I want to rate White Album higher, but it's bloated and lacking the cohesiveness of Rubber Soul, Revolver, Sgt Pepper. Maybe the experimentation and genre-confusion is part of its charm?
The second disc is definitely weaker. That said, the lesser-known tracks are still better than most contemporary music. Not many records have this many classics. The gold standard for double albums.
Best songs: Dear Prudence, Julia, While My Guitar Gently Weeps, Blackbird, Helter Skelter, Revolution 1, Back in the U.S.S.R.
Lesser known highlights: Birthday, Sexy Sadie
As with other late-career Beatles albums, there's filler. I Me Mine should have been cut, but we get defining classics Let It Be, The Long and Winding Road, Across the Universe, and Get Back. Lesser known highlights: Two of Us and I've Got a Feeling. The interludes are too short to make a big impact.
I've read Let It Be... Naked (2003) presents the songs "naked" – without Spector's overdubs and without the incidental studio chatter featured between most cuts of the original album.
A number of these, Hey Jude for example, were stand-alone singles and not featured on the studio albums, although I was familiar with many because they are so ingrained in our culture.
A highlight on disc 1 is the melody of I Feel Fine. The Ballad of John and Yoko was a great discovery on disc 2.
Across the Universe is a beautiful song but I find this version to be a weak vocal performance by Lennon. Volume Two of this 2-disc compilation has the most replay value.
Arguably the most beloved UK indie band since The Smiths. Plenty of strong melodies, especially the first half, and the closer.
Best songs: Stay Loose, Step Into My Office Baby, Dear Catastrophe Waitress, If She Wants Me, Piazza New York Catcher
2-disc compilation that includes seven of their EPs. There's a lot of good-but-not great material, but even on the lesser tracks I enjoy the lyrics.
Most memorable melodies: Dog on Wheels, I'm Waking Up to Us, Marx and Engels. Judy Is a Dick Slap is a nice instrumental.
Among the most acclaimed Pink Floyd albums. The artwork is iconic. The only track I disliked is On The Run, which is why it doesn't achieve a perfect score. Definitely has me curious to listen to the rest of their discography.
The Doobie Brothers, albums reviewed 1974-1978 (see seperate post)
Slowdive, albums reviewed 1991-2017 (see seperate post)
Phoenix, the albums, and top 10 songs (upcoming post to tie in with new album in June)
What do you think? As always comments are welcome