Bish-reviews

Reviews of music, movies, tv shows and gaming

[bishreview]

The Jungle Giants - Love Signs Review

Love signs, baby/Well, I'm pickin' them up/You've been beamin' out, baby, all night long.Leavin' all those messages on my phone

The Jungle Giants have had one of the craziest evolutions of the last decade. The Brisbane quartet have been paving their way through the Australian music industry since 2011, going from a fun indie rock band to one of the biggest electronic acts in the country. As someone who didn’t really care for them at first, seeing them slowly become one of my favourite Australian acts really surprised me. This reached a peak with 2017′s Quiet Ferocity, one of my favourite albums of that year. And with Love Signs, I think they’ve found a way to surpass it.

Frontman and producer Sam Hales admitted he was nervous about the change in direction back in 2019 with the hit ‘Heavy Hearted’. Although the band had been experimenting with an electronic/dance sound, the single was the furthest they’ve delved into the genre. The result was a success though, cracking the top 10 of the Hottest 100 for their first time, and backing it up with another top 10 hit, ‘Sending Me Ur Loving’ in 2020. Love Signs explores this electronic sound really well. There’s more dance orientated tracks like ‘In Her Eyes’ and ‘Here I Come’, but they also leave room for experimenting with the genre with the ballad ‘Something Got Between Us’, which has a bit of an early PNAU vibe to it. One of the highlights of the sound in each song is the guitar as well. Cesira Aitken has a talent in adding the right elements to each song. For a heavily electronic leaning album, it’s refreshing to hear the guitar work in tracks like ‘Sending Me Ur Loving’ and ‘Love Signs’, where they peep out with some really interesting licks which add a lot to the overall sound.

The album opens with the title track ‘Love Signs’, which is one of the strongest tracks on the album. The chorus just soars beautifully, Hales falsetto gliding gorgeously over the bright instrumentation. ‘Treat You Right’ follows and is another strong track. This might be the big hit for the band this year, but is one of the more different tracks on the album, with Hales sharing the chorus with Aitken which provides a conversational exchange between them. The bridge though, with Hales singing a beautiful falsetto run. ‘In Her Eyes’ is the next track, which snuck into last year’s Hottest 100 at number 89. Although I do like the track a lot, and I loved it when it first dropped, I find it blends into the album a bit too much and becomes slightly forgettable. An unfortunate symptom of an album having too many bangers really. 

‘Sending Me Ur Loving’ drops next, a track which I had in my top 10 last year. I love how this song just bounces from the start. It’s infectious, with the outro having a really cool, fuzzy synth solo. Following is ‘Heartless’ another great song. It has a great transition into the chorus but similarly to ‘In Her Eyes’, the quality of the other tracks on the album do make it slightly forgettable. ‘Charge My Phone’ takes the album into a more R’n’B direction. When I first heard this track, I thought it was a little ‘meh’ but it has grown on me massively and is definitely one of the most fun tracks on the album. 

Lead single ‘Heavy Hearted’ continues the flow of the album really well. It’s the perfect single, a really catchy and funky track with a great chorus. The synth lead in the chorus takes the track to another level, going from indie pop to dancefloor tune. ‘Here I Come’ is next and I think hints at what the band might do in the future. It embraces the new electronic direction, with vocal samples layering the track, providing a great backing for Hales lead vocals.

‘Something Got Between Us’ is the penultimate track on the album, and really feels like the emotional climax of the album. I heard an interview with Hales where he spoke about this track being very personal and emotional for him. There’s this brilliant little sing-a-long jingle which repeats during the song - “Hey, never gonna let you go, not this time“ - which creates this fun but melancholic feel. The album closes with ‘Monstertruck’. This track doesn’t standout too much, but really closes the album well. It’s relaxed and summarises the sound and themes of the album really well.

Lyrically the album, as you would guess, is mostly about being in love. Hales flirts with a partner on the dancefloor in ‘Treat You Right’, promises his love once his phone is charged on ‘Charge My Phone’, and swears he won’t lose his love again on ‘Something Got Between Us’. His lyrics, albeit a bit repetitive at times, flow really nicely over the course of the album. Hales stands out though because of his vocals. It’s an area which he has improved in over the years, with his falsetto being outstanding on this album. The soulful highs of ‘Heavy Hearted’ and ‘Charge My Phone’, the latter in which he’s channelling his inner Justin Timberlake, are brilliant.

Overall, this album is brilliant. After my first listen I realised there wasn’t one track which I didn’t think was at least good. And since then, I think it’s gotten better. The rich instrumentation and production are exciting and engaging, the vocals are brilliant, and the lyrics and themes are solid and really consistent. The Jungle Giants have seamlessly adjusted to a new sound on Love Signs, releasing their strongest release yet.

Love Signs gets an A

Favourite tracks: Love Signs, Sending Me Ur Loving, Heavy Hearted, Here I Come, Something Got Between Us

[bishreview]

Track by Track Review - Hottest 100 2020

Wrote this article a little bit ago just for fun. Decided to post it on here with the thought of maybe getting back to the Bish Review. Also, put an asterix next to my votes (songs that made my top 10). Anyway, here we go:

100. Kool - BENEE

One of the many gems from ‘Hey u x’. Unlucky to hear her biggest hit so early on.

99. Itch - Hockey Dad

I thought ‘Brain Candy’ was a little bit of a disappointment, but Itch was one of the strongest tracks they duo have released.

98. Your Man - Joji

Surprised to hear this track in the countdown. Pretty solid tune though

97. Audacity (feat. Headie One) - Stormzy

He’s still one of the best from the UK rap scene and this track shows why.

96. Germaphobe - Hockey Dad

One of the weaker tracks, I thought, off Brain Candy, but not surprised a lot of Hockey Dad fans liked this one. Definitely plays into their audience’s taste.

95. Loose Ends (feat. G Flip) - Illy

I do not like Aussie Hip Pop. This track is not an exception.

94. Rain (feat. Tay Keith) - Aitch and AJ Tracey

The piano in this is very ‘Humble’ - Kendrick Lamar. Still a banger though.

93. Lemonade (feat. Gunna, Don Toliver and NAV) - Internet Money

Bit of a forgettable track. It’s okay, but feels like there’s a lot better like this out there.

92. These Days - Thelma Plum

First cover of the countdown. Still one of the best Hottest 100 number ones, and Thelma does it justice.

91. Charlie - Bugs

Second cover of the countdown. I do like this but I feel it doesn’t reach the same heights as the original.

90. No Time To Die - Billie Eilish

A little expected from Eilish but still a solid Bond song (the second in history to make it).

89. In Her Eyes - The Jungle Giants

I cannot wait for the new Jungle Giants album. They’ve gotten better and better with each release.

88. Heart Attack (feat. lau.ra) - BRONSON*

I fell deeply in love with this song the second I heard it. It just has this quiet yet strong emotion behind it. The production on it is something else as well.

87. Three Leaf Clover - Teenage Joans

A really solid debut single by the Unearthed High winners. Can’t wait to hear more from them. 

86. Laugh Now Cry Now (feat. Lil Durk) - Drake

I still don’t get the hype for Drake. The falsetto “baby” in the chorus also never ceases to make me laugh.

85. Too Tough Terry - Dune Rats

Dunies slow descent from mature stoner pop to edgy tracks for teens has been hard to watch. This song just seems like a parody of the band. 

84. Chicken Tenders - Dominic Fike

Has to be the sexiest song about the best thing in the frozen food section at the supermarket. Pity the album didn’t live up to the hype.

83. Down For You - Cosmo’s Midnight and Ruel

I was really keen for this once I heard about the collaboration between the two. Unfortunately it felt a little too much like a Ruel song and it doesn’t really feel like Cosmo’s Midnight had much of a touch on it.

82. The Clap - The Chats

It’s a bit generic for The Chats but I just like hearing them get more popular. Just hilarious dudes. 

81. Weightless - Spacey Jane

One of the stronger and more unique tracks on Sunlight. The synth touches really suit the band.

80. Freaks - FISHER

Cannot wait for FISHER to just slowly fade away. His tracks all sound the same and are so basic. 

79. my future - Billie Eilish

One of the best tracks Eilish has released. Love how this just turns halfway through from a really soft ballad to a bit of an electro pop song.

78. Lady Marmalade - G Flip

It’s a nice cover. The video of G Flip performing it though is really fun.

77. House Arrest - Sofi Tukker and Gorgon City

This song bangs pretty hard. I like a lot of Sofi Tukker have really been putting out some solid stuff.

76. Baby It’s You - London Grammar

This is a great track, that synth in the chorus is heavenly.

75. Photo ID - Remi Wolf

I do like this song but it reminds me of a track from the 80s or 90s and I can’t put my finger on what that track is.

74. Scream Drive Faster - LAUREL

When I first heard this I thought Ladyhawke was back in the mainstream. Little disappointed it wasn’t, but this slaps.

73. Don’t Need You - Genesis Owusu*

Possibly the best chorus of the year. Owusu has stepped up massively in the Australian Hip Hop scene. 

72. Way Down - Ocean Alley

Ocean Alley have plateaued. ‘Lonely Diamond’ just felt like the band had become comfortable. 

71. Obey - Bring Me The Horizon and YUNGBLUD

I just can’t take BMTH seriously anymore. They’re music has become so comically edgy.

70. Low - Chet Faker

Hey look, Nick Murphy has become Chet Faker again. Don’t know why he changes between the two when one is just slightly more soulful than the other, but he does release nice tunes.

69. Second - Hope D

I do like this female, Aussie version of Jamie T. It’s a really nice track. Also the number 69 is claimed by Hope D. haha.

68. Lie to Me - Vera Blue

I don’t know what it is exactly, but there’s something about Vera which just puts her on a different level than her counterparts. She’s just that consistently good.

67. Boss Bitch - Doja Cat

This track doesn’t get old for me. It’s so much fun, and Doja Cat owns it. Love it.

66. Fantasising - Skegss

This track really does have a very “Three Leaf Clover” vibe. I have enjoyed Skegss in the past but their new stuff hasn’t captured my attention really. Seems a bit run of the mill. 

65. C’MON (feat. Travis Barker) - Amy Shark

I actually don’t mind this song, but why does it feature Travis Barker. It’s a piano ballad featuring a punk drummer, and he really doesn’t do that much. I’m confused, was he jealous of Mark Hoppus?

64. Soak Me In Bleach - The Amity Affliction

The song title reflects my thoughts when I hear that The Amity Affliction have released a new one. There are so many better Aussie metal bands out there.

63. Day & Age - Ball Park Music

BPM have a knack for writing amazing ballads. I wasn’t huge on their latest album, but tracks like this continue me having them in my good books. 

62. Run - Joji

One of the best tracks Joji has released. A really mature song for the artist and a step in the right direction for him. 

61. Pretty Grim - Ruby Fields

Ruby is good, but I feel she’s starting to release the same song over and over. Need something fresh.

60. Go (feat. Juice WRLD) - The Kid LAROI

Probably the strongest track by The Kid LAROI, but Juice WRLD outshines him just due to his vocal tone. He just sounds better.

59. Gimme Love - Joji

And that’s three for Joji. I really like how this song has two distinct sections and both are solid without overshadowing the other. 

58. Fly Away - Tones and I

I still don’t get why Tones and I puts on that fake accent in her songs. It just detracts from what could be a nice pop song.

57. Sobercoaster - Beddy Rays

Really didn’t expect this to get so high. I’m happy though because it’s a really fun song.

56. On The Line - San Cisco

Tracks like this keep me invested in San Cisco. They can really release some brilliant stuff.

55. I Think You’re Great - Alex The Astronaut

The fine line between overly chessy and adorably optimistic is what Alex walks on with every track. I think this falls on the former side sadly. 

54. Blue - Eiffel 65 (Flume Remix)

The fact that Flume puts so much of his identity into this remix is why Flume has been one of the most successful Aussie acts this past decade. 

53. In Your Eyes - The Weeknd

If The Weeknd release ‘Blinding Lights’ a month later I’d believe that he would take out this countdown. He didn’t though and instead we are left with this solid track in the bottom 50.

52. The Glow - DMA’s

Why? Why did DMA’s have to get so poppy and generic. I loved their first two album, but I struggled to get through the third.

51. Your Love (Déjà Vu) - Glass Animals

Out of the three big hits the band had in 2020, this is the most underrated. There is so much going on here, yet it never feels muddled. Wavey Davey on fire here.

50. Nothing To Love About Love - Peking Duk and The Wombats

Although this is a nice song, there’s been so many 80s electro pop throwbacks recently that have been done better that this collab just fades into the background.

49. Wishing Well - Juice WRLD

This song is so beautiful and heart-breaking. Really shows why Juice WRLD became such a beloved artist so quickly.

48. Ain’t It Different (feat. AJ Tracey and Stormzy) - Headie One

This is a really cool collab. They use the Red Hot Chili Peppers sample so well and really flow so well with it that it feels almost effortless.

47. Animals - Architects

I like a lot about this track, but the chorus really hits another level. Feels cathartic to scream along to.

46. Pretty Lady - Tash Sultana

Was hoping Tash would move into a more psychedelic direction with their newer stuff, but this is still a fine track.

45. as long as you care - Ruel

A pretty by the books Ruel song, but he really does this style so well.

44. You & I - G Flip

Probably G Flips strongest release this year. The chorus has a lot of flavour.

43. together - Ziggy Alberts

Generic acoustic track by generic Byron Bay artist. He really took the cake this year for dumbest comparison, when he compared wearing a face mask to the holocaust. Thought he’d suffer a bit for it, but apparently his fanbase grew stronger.

42. WHATS POPPIN - Jack Harlow

Jack Harlow is just so much fun. He’s killing it, and WHATS POPPIN is proof of that. Keep the bangers coming Harlow.

41. I Still Dream About You - The Smith Street Band

I felt I was growing out of The Smith Street Band, their newer music just not resonating to me. Then they drop this and make me a big fan again.

40. Come & Go (with Marshmello) - Juice WRLD

Just that chorus. It is so enjoyable. He really was going places.

39. Righteous - Juice WRLD

A back to back, and from one of the more exciting songs on the album we get to one of the more sombre tracks. Everything from the guitar, the vocals, those synth notes. . . this track is just a perfect send off for the artist. R.I.P. Juice.

38. Parasite Eve - Bring Me The Horizon

This song is so unironically cringe and edgy that it somehow becomes ironically fun. It does the full circle.

37. SO DONE - The Kid LAROI

I do like The Kid LAROI, but his vocals on this, combined with the lyrics, just make him sound like a child chucking a temper tantrum. It does make me laugh though.

36. forget me too (feat. Halsey) - Machine Gun Kelly

If this song was released in the early 00s (where it belongs), it would’ve faded into oblivion. At least Halsey sounds pretty solid on her verse though.

35. Running Red Lights (feat. Rivers Cuomo & Pink Siifu) - The Avalanches*

My personal number one for the year. This song has that melancholic, nostalgic feel to it that just hits home every time. Also one of Cuomo’s strongest vocal performances.

34. Everybody Rise - Amy Shark

This song is fine. I wouldn’t go out of my way to listen to it, but it’s fun to sing-a-long to. 

33. Breathe Deeper - Tame Impala

One of the best tracks from The Slow Rush. I love that piano motif throughout, and the bass is so funky. That weird bridge section towards the end is also pretty slick.

32. Criminals - DMA’s

The real criminals are the ones who told DMA’s this was a good idea. I just can’t get around their new stuff. I miss ‘Hill’s End’ and ‘For Now’.

31. Reasons - San Cisco

Tracks like this keep me from becoming a full time fan of San Cisco. They can really release some average stuff.

30. Bagi-la-m Bargan (feat. Fred Leone) - Birdz

Powerful. Birdz really took it to another level here.

29. Dribble - Sycco

Although I find there’s a lot of similar stuff out there, I think Sycco does sound like an original voice in the Australian music scene. She’s killing it.

28. Straightfaced - Spacey Jane

Although there was a lot of good stuff on Spacey Jane’s debut album, I found it to be quite repetitive. This track was one of the ones that I found to fade into the background instead of standing out. 

27. Under the Thunder - Skegss

I really want to like Skegss, they’ve released some great tunes in the past. But this just doesn’t do it for me. It’s just boring. 

26. No Plans To Make Plans - Lime Cordiale

Everything that makes new The Rubens tracks so average is presented here on a Lime Cordiale track. Obnoxiously quirky.

25. Reality Check Please - Lime Cordiale

Hey back to back Lime Cordiale tracks. And another one of their weaker ones. ‘Addicted to the Sunshine’ did this chorus better.

24. Blue World - Mac Miller

Didn’t expect this to make it so high but so well deserved. This song slaps hard but still continues the tragic story that is presented on his posthumous album ‘Circles’.

23. Good News - Mac Miller*

Back to back Mac! To be honest, I am close to tears every time this track plays. If only the lyrics “there's a whole lot more for me waiting/I know maybe I'm too late, I could make it there some other time/Then I'll finally discover/That it ain't that bad” were told to Mac before his passing, because he did have so much more to offer. R.I.P. Mac.

22. Complicated - Eves Karydas

This song is so good. I’ve heard it that many times but it still hasn’t lost its shine. So damn good.

21. Energy - KLP and Stace Cadet

I was really hoping this would crack top 20. Probably the best Dance track of the year. Such a jam.

20. Addicted To The Sunshine - Lime Cordiale

Despite thinking that ‘14 Steps To A Better Living’ didn’t have many new tracks that were that good on it, this one is nice. It’s just a pleasantly nice song.

19. You Should Be Sad - Halsey

I really don’t like Pop Country music but I also find it hilarious that the genre cracked the top 20. ‘09 Taylor Swift would be proud.

18. Tangerine - Glass Animals

With Tik Tok exploding in 2020 I don’t get how this didn’t get adopted by someone on it. It’s so primed to get hyped on it. 

17. Is It True - Tame Impala

I think Kevin Parker’s vocals on this are underwhelming, but that might just be because the instrumental slaps that hard. The rhythm section is so tight.

16. Screw Loose - Lime Cordiale

This sound is what Lime Cordiale do best. We need more dub influence and less elevator pop influence.

15. Skin - Spacey Jane

No matter what you think about Spacey Jane, they sure do make some emotional tracks. One of the most powerful songs on Sunlight.

14. Tombstone - Ocean Alley

The verses are average and pretty bland but the chorus is amazing. Just don’t think the album resonated with me too much, and Tombstone is another mixed track off it.

13. Rockstar - Mallrat

Possibly Mallrat’s best song yet. Her laid back, relaxed style mixed with the low-fi production really meshes well.

12. Get on the Beers (feat. Dan Andrews) - Mashd N Kutcher 

I’m not going to pretend this is my style, but the way this has resonated with Australians during lockdown last year makes the track way smarter than it deserves to be. It’s both ironically and unironically good.

11. On Our Own - Lime Cordiale

I’m happy the three best new tracks of Lime Cordiale’s debut were the highest placing in this countdown. This really is a nice song.

10. Therefore I Am - Billie Eilish

Not my favourite songs from Billie but she continues to be consistently good. The production on this is immense as well.

9. I’m Good? - Hilltop Hoods

I wish old school Hilltop could hear this so could prevent themselves every going this direction. Aussie Hip Pop is not a good genre. This is one of their worst tracks yet.

8. Sending Me Ur Loving - The Jungle Giants*

This song has so much flavour too it. It’s so funky and fun and the production is so tight. Also the guitar work is underrated here, not doing much but adding that icing on the cake.

7. Hyperfine - G Flip

Every time I hear this track (and I’ve heard it a lot) I completely forget about it a couple minutes later. G Flip is good, but this is forgettable.

6. WAP (feat. Megan Thee Stallion) - Cardi B

I understand if this isn’t your style, but I love it. I don’t think there’s ever been a song with so many quotable moments. Every line makes a statement that will get in your head. My personal favourite? “ I let him taste it, now he diabetic”.

5. Lost In Yesterday - Tame Impala

There’s a lot of songs on ‘The Slow Rush’ I like, but Lost In Yesterday I’ve always found kinda boring. It feels a little uninspired. Surprised that this was the album’s big hit.

4. Cherub - Ball Park Music*

BPM have released some great music over the decade but I think this is their best yet. It’s beautiful, emotional and has a fantastic, cathartic breakdown at the end. I love a good build up. 

3. The Difference (feat. Toro y Moi) - Flume*

Everything about this track is why Flume has been so great for so long. This track is great for any situation. If I’m partying, I play it. If I’m relaxing, I play it. If I’m getting pumped up, I play it. If I’m sad, I play it. Flexibility matters.

2. Booster Seat - Spacey Jane

OHHH-OH-OHHHHHHHH AND IT FEELS LIKE THAT AGAIN! One of the best sing-a-long tracks of the year, yet massively emotional. Like damn this song is rough.

1. Heat Waves - Glass Animals*

If I had one word to express how I feel about this winning I would say “deserved”. Not many tracks were as perfect for 2020 as this one. Glass Animals love writing absolute bangers with emotional cores and this one is one of their strongest tracks. Glass Animals just continue to outdo themselves.

That’s it for now, gonna maybe start posting again. I dunno. See how I feel. Ta-ta.

[bishreview]

Smashing Pumpkins - Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun (2018)

We're gonna make this happen/ I'm gonna fly forever

When I was a 12 year old kid in the late 00′s, Smashing Pumpkins made an impact on my music taste. Siamese Dream tracks like ‘Disarm’ and ‘Today’ were always on my mp3 player, and their album Zeitgeist was one of the first albums I would listen to start and finish constantly. Unfortunately, the peak Pumpkins days were before I was born and unbeknown to me, no-one really anticipated their releases anymore. And as I grew older, I shifted more towards the accepted opinion that the band were no longer going to hit the heights of the 90s. With the release of their tenth studio album (which will now be referred to as S&OSB because it is a beast of a title), Corgan reunited with nearly all of the original lineup (sorry D’arcy) to release probably their strongest album of this decade, despite it again being a disappointment.

Billy Corgan has always had a mixed bag of influences to reach into, for varying success, and S&OSB is no different. From the stadium-rock epic of opener ‘Knights of Malta’, to the metal influences on ‘Seek and You Shall Destroy’, the album is all over the place. The second half goes as far as to being one heavy track followed by a softer track, followed by a heavy track and so on. It does become quite frustrating towards the end, the album not leading you into any direction or journey and thus becoming hard to engage with. On the other-hand it does highlight (with help of James Iha [guitar] and Jimmy Chamberlain [drums]) the band’s ability to delve into different genres, with the album’s strong points not being all contained within one style.

The major weakness of the album though is the production. I don’t know how a producer of the calibre of Rick Rubin missed the mark on S&OSB but despite a couple of songs, the tracks feel over-produced, stripped of the raw energy (especially on the heavier tracks). The instruments sound compressed around Corgan’s vocals, lacking any power or impact. The drums suffer most from this, being drowned out by the other musical layers. 

Lyrically, the album is again a mixed bag. Corgan has always been slightly inconsistent with his lyrics, especially in recent years, and here is no different. ‘Knights of Malta’ and ‘Alienation’ show that Corgan can still weave some unique and colourful phrases. Tracks like ‘Travels’ are hard to get through due to the cliche and poor lyrics. The melodies on the album go the same way, with the aforementioned ‘Alienation’ not being able to find a catchy or engaging melody despite its well written lyrics.

The album starts with ‘Knights of Malta’, which is probably the album’s strongest track. Although there is a weird sing-a-long with the main guitar riff which is just odd (although when the choir comes in and harmonises with it, it becomes something incredible), the song builds into an epic piece and a great opener for the album. It’s backed up well with the second single ‘Silvery Sometimes (Ghosts)’ (one of the worst song titles ever though), which feels more like a mid-00s Pop-Rock number from the likes of The Killers than a Pumpkins song. It works though, the strong hook blending well with the balanced and tame instrumentation.

Third track ‘Travels’ is where the album starts going downhill. Lyrically and melodically its poor and the instrumentation does nothing to generate any interest or engagement. It’s also the longest song on the album, the five minutes of music never going anywhere. Lead single ‘Solara’ thankfully turns the album back around. Despite the production making it feel slightly manufactured, there is still some strong guitar work and drumming which is reminiscent of earlier songs by the band. ‘Alienation’ follows and, like ‘Silver Sometimes’, has a strong Pop-Rock feel. Although it has a strong intro, the single acoustic guitar strums and the thumping drums creating a good atmosphere for Corgan’s voice, the song doesn’t really build into anything, never moving out of second gear and releasing the tension.

‘Marchin’ On’ kicks the album back into gear, the heavy rock song being the fastest and shortest on the album. Although it again doesn’t live up to the build, it is refreshing to hear Corgan’s voice behind hard rock instrumentation and the production allows the rawness of the song to be felt. ‘With Sympathy’ again shifts the pace of the album, being a slower, more stadium-esque track. It highlights the major problem with the album though, over-production, a lack of commitment to a theme, and never reaching a climatic moment that the song needs. ‘Seek and You Shall Destroy’ closes the album, the second shortest track and another heavier track. I honestly don’t know why they chose it to close as it leaves the album on a bland note, but also makes the album feel like it’s unfinished. The lyrics are also simply average, Corgan running through cliches of 80s heavy metal.

Overall, S&OSB can be described best by the word ‘average’. It’s not band at their worst, and seems to be one of the strongest releases by the band since the early 00s. The album does have a lot of issues though, and they seem to be the same problems that have plagued the band for the past decade. Despite the return of the (almost) original lineup, the band still doesn’t feel like they have a direction or aim, the album being messy and over-saturated with genre changes. It’s another disappointment for a band that is used to disappointing albums, but it does suggest that the band has rediscovered some of their old glory, with tracks like ‘Knights of Malta’, ‘Silvery Sometimes’ and ‘Marchin’ On’ having some of the strongest ideas and moments for the band this decade.

Favourite tracks: ‘Knights of Malta’, ‘Silvery Sometimes (Ghosts)’, ‘Solara’, ‘Marchin’ On’

Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun. gets a C-

[bishreview]

Top 10 Albums of 2018 (So Far. . . )

Ok, so I’ve decided I’m not going to do a top 10 singles list just because it’s too hard to cull it down, so I’m finishing albums and then going to write up Odette - To A Stranger review. This list is from albums between January and the end of June, so anything released last week isn’t included. This took me a while to cut to 10 and there’s a couple of albums that were late inclusions from albums I didn’t expect to like so much until last weekend. To be honest, this year has been kinda of average for albums, with most albums being in the B- to B+ range and only a couple reaching into the A’s. At the same time, a lot of the releases which were anticipated for me have still been enjoyable. Anyway, here’s the list.

Honourable Mentions: Camp Cope - How to Socialise and Make Friends (AUS), DZ Deathrays - Bloody Lovely (AUS), Janelle Monae - Dirty Computer (US), Middle Kids - Lost Friends (AUS), Teyana Taylor - K.T.S.E (US)

10. Pusha T - Daytona (US)

I’ll be honest when I say I haven’t always been a fan of Pusha T, mainly because I’ve never got into the timbre of his voice. On Daytona though, his flaws (almost) disappear, delivering a short but brilliant album. The touch of Kanye (you’ll be hearing a lot of him on this list) in the production is obvious, with Pusha’s voice being moulded around strong instrumentation. Lyrically is where the album finds its success though, Pusha T. flexing his ability with the pen and delivering those words with confidence. 

Favourite track: ‘If You Know You Know’

9. Gorillaz - The Now Now (UK)

Squeezing just into the cut-off date, the sixth album by cartoon band, Gorillaz, is exactly what the year needed. Relaxed, low-key and contained, especially compared to last years saturated Humanz, The Now Now sees Damon Albarn bring his side-project back under his control, allowing his voice to balance delicately over dreamy synth instrumentals. Although the album does feel a bit like fan service, especially after the complaints surrounding Humanz not having enough 2-D vocals, Albarn is able to utilise his voice to create the bands most soothing album yet. 

Favourite track: ‘Fire Flies’

8. Ocean Alley - Chiaroscuro (AUS)

From when I first listened to Chiaroscuro to now, I can say that the album has grown on me a lot. Ocean Alley have seemed to really layered a lot of brilliant moments on this album, often very subtly. Baden Donegal’s voice is a pleasure to listen to, his development as a lyricist and vocalist fully on show on this release. I was really unsure where Ocean Alley would go last year, ‘The Comedown’ being a track which suggest great but different things were coming up. Chiaroscuro sees them evolve as a band whilst also redefining their dub and reggae influences, becoming on of Australia’s best releases this year. 

Favourite track: ‘Knees’

7. The Presets - Hi Viz (AUS)

And with the filthiest album of the year. . . The Presets seemed to be going in an opposite direction when they released Pacifica back in 2012. After popping up at nearly every festival in Australia since, their return to albums with Hi Viz is nothing short of exciting. And with this album they go completely batshit crazy, and it works. With big choruses, heavy instrumentation and a couple of good features, they release their best album in a decade and return to the top of the Australian dance scene.

Favourite track: ‘Feel Alone’

6. Hockey Dad - Blend Inn (AUS)

Hockey Dad’s rise in the Australian music scene over the last few years has been nothing short of exciting. From their humble beginnings, Blend Inn combines all their influences and builds on what their debut Boronia started. Zach Stephenson’s vocals are crisp and he writes some of the best melodies of his career, whilst their music has become thicker, louder and better. The band fully explores their influences, with shoegaze, grunge, pub-rock, and surf-rock all being on show. Blend Inn suggests they are going to be bigger and better and the product definitely proves this.

Favourite track - ‘Where I Came From’

5. Kamasi Washington - Heaven and Earth (US)

I’m not too familiar with Kamasi Washington’s work, mainly because I’ve never been a Jazz man. The only album I’ve heard was 2015′s The Epic, which I came too late and was really impressed. Despite this, I am familiar with his collaborations, with Kendrick Lamar, Thundercat and Flying Lotus being among the names I’ve heard him collaborate with. So this is why Heaven & Earth stunned me so much. The two and a half hour, two sided album is just a wondrous piece of music, combining Jazz, Blues, Soul, Funk and Neo music with political undertones. The saxophonist isn’t someone I normally end up listening to, as I said, I’m not a Jazz man. Heaven & Earth though is great and I can’t deny a great album when I hear it. Definitely my biggest and most pleasant musical surprise this year.

Favourite track: ‘Street Fighter Mas’

4. Kanye West - Ye (US)

Ye is the oddball of the Kanye discography. Like all of the other recent G.O.O.D Music, it’s seven tracks, and that both is an advantage and a disadvantage. The disadvantage though is just that it’s so short. It’s advantage is that there is no filler, all seven tracks being at least good. It also has some of Kanye’s best phrasings, especially in tracks like ‘I Thought About Killing You’, ‘Wouldn’t Leave’, and ‘Violent Crimes’. Like all of the recent releases though, the production is where the album succeeds. ‘Ghost Town’ is flawless when it comes to the instrumental and all throughout the album, it’s hard to go past how good the mixing and instrumentals are. It may not be Kanye’s best, but it continues the consistency of his discography.

Favourite track: ‘Ghost Town’

3. DMA’s - For Now (AUS)

It was always going to be hard to top Hill’s End, DMA’s brilliant 2016 debut. The singles weren’t spectacular and a sophomore slump wouldn’t have been too surprising. For Now exceeded all expectations though. With a more 80s feel to it, the three piece have crafted another solid, Brit-pop inspired release. The instrumentals are thicker, with synths added to a few tracks, and the vocals and lyrics have improved, Tommy O’Dell really letting his voice shine. For Now might not have as many big moments as Hill’s End, but it’s a more consistent and mature release for the Newtown three piece. 

Favourite track: ‘Tape Deck Sick’

2. Lily Allen - No Shame (UK)

I remember sitting around one June 8th, just after midnight, checking to see if an album (soon to be mentioned) was released yet, only to see Lily Allen sitting there. I remembered the lead single ‘Trigger Bang’ (featuring Giggs) was pretty good and I frothed Lily Allen’s 2009 album It’s Not Me, It’s You when I was younger, so I checked it out. I wasn’t ready for the level of depth that the album reached, especially considering I always thought of her as this sarcastic, cynic that just ripped on anything popular. No Shame contains some of her best material, and definitely her most personal, with songs like ‘Family Man’, ‘Three’, and ‘Apples’ criticising her role as a wife, mother and person. The production is brilliant as well, with a rich, pop, sometimes dancehall soundscape which gives her voice a chance to shine, delivering her best vocal performances of her career. Although Allen does sound broken (despite the positive latter tracks), she also sounds better than ever.

Favourite track: ‘Everything to Feel Something’

1. Kids See Ghosts - Kids See Ghosts (US)

This was the album I was waiting for on June 8th. To say I didn’t have very high expectations would be badly lying. A Kanye/Cudi album has been something I always wanted to hear but never thought I would, with the two artists collaborating many times since 2008′s ‘Welcome to Heartbreak’ (off Kanye’s fourth album 808s & Heartbreak). The album didn’t disappoint either. Rich with beautiful production, especially on tracks like ‘4th Dimension’ and ‘Reborn’, and some of Kanye’s and Cudi’s finest lyrical moments, Kids See Ghosts was such a pleasure to listen to. With a lot of themes detailing personal demons, both artists discussing their own mental illnesses and setbacks in their career, the album is surprisingly energetic and upbeat. At times, especially on ‘Freeeee (Ghost Town Pt.2)’ and ‘Reborn’, it’s celebrating both artist’s ability to survive and defeat their demons, and despite the darker two tracks at the end, ‘Kids See Ghosts’ and ‘Cudi Montage’, there is still this sense of rejoice and victory. From the insane “Grrrat-gat-gat-gat-gat-gat”, to Cudi’s infectious humming in the chorus of ‘Cudi Montage’, the album has a bit of everything, not only becoming one of both’s best albums, but also my number one album of the year so far. 

Favourite track: ‘Reborn’

Thanks for reading

[bishreview]

Top 10 Films of 2018 (so far)

This year seems to be the year of the franchise. So far we’ve seen the MCU, Fox/Marvel, Insidious Universe, PIXAR, Jurassic World Universe, Star Wars, and Oceans franchise all featuring films, and we still have the DCU, Lego franchise, Purge Universe, and Harry Potter franchise to release movies. Besides that we’ve had a massive insurgence of Horror films (for good and bad) and some comedies which have worked well for cheap laughs.

Honourable Mentions: Tag, A Quiet Place, Incredibles 2

10. Solo: A Star Wars Story

There’s a thing in the movie-world called ‘franchise fatigue’, when a franchise becomes supersaturated and gets tiresome (think Transformers). Star Wars had started to head this way, and the box office sales of Solo: A Star Wars Story really show, with its performance being underwhelming. For those who watched Solo though found a new life and energy in the franchise. Solo is a very lighthearted movie. We know our three favourites will survive and a lot of the movie is references to the original trilogy. In this small stakes premise though, Star Wars finds a breath of fresh air for their franchise, being simple and fun enough to revamp the universe.

9. Game Night

Game Night will probably be one of those movies that we don’t remember much by the end of the year. The comedy/thriller is a pretty simple movie that doesn’t hang around too long but has a lot of good laughs. Rachel McAdams and Jason Bateman both carry the movie, being hilarious leads who’s chemistry really gives the film some heart. Although excitement of the ‘game’ could hang around a little longer, there are enough twists and turns, especially towards the end, which push this film into the top 10.

8. Black Panther

Before I mentioned ‘franchise fatigue’, and the MCU’s ability to avoid fatigue is a testament to its content. With Black Panther they prove how they do it, providing a fresh story with a unique setting, whilst also developing the universe for future films. Chadwick Boseman, Michael B. Jordan, Letitia Wright, Andy Serkis, and  Danai Gurira are all terrific in their roles, and it set up the franchise perfectly for Avengers: Infinity War, whilst also being one of the most socially important blockbusters in film.

7. First Reformed

I didn’t know much about First Reformed going into watching, other than that it had a lot of critical hype. A Religion-based drama, the film is very subtle with its themes, balancing many issues such as environmentalism and faith, Ethan Hawke gives maybe a career best performance as this movie plays out like a demented thriller. What really is excellent though is the score by Welsh musician Lustmord, which just evokes every emotion that this film makes you feel.

6. Isle of Dogs

Wes Anderson has always been hit and miss for me, with a lot of his films trying too hard to be quirky and strange. With Isle of Dogs he hits that sweet middle ground of the genre, creating a unique comedy which has a lot of heart. All done in stop-motion animation and being centred around a Japanese kid’s relationship with abandoned dogs whilst stranded on a trash-heap island (can’t make this stuff up), the film features a wealth of great voice actors (including Bryan Cranston, Jeff Goldblum and Scarlett Johansson), and succeeds by taking the time to make you feel and emote for these characters.

5. Avengers: Infinity War

After a decade of build up, the MCU finally released the climatic moment in the franchise, and they delivered on all expectations. The Russo brothers do an excellent job at balancing the amount of characters, themes and genres, and Josh Brolin’s performance as Thanos makes for the best superhero villain since Ledger’s Joker in The Dark Knight. A wondrous achievement for cinema, with brilliant effects and a fitting score, Infinity War does everything it needs to and more, somehow being surprising and unexpected despite the volume of fan theories. 

4. You Were Never Really Here

I really didn’t expect much when I saw the synopsis of this. It sounded like another Taken just with Joaquin Phoenix (who is amazing in this by the way). But after watching it I was stunned. A very twisted thriller which forces the viewer to keep up as it bends around its themes, You Were Never Really Here is a brilliant film, shot beautifully and doesn’t treat the audience as simpletons. The film can feel messy at times, due to the numerous themes and ambiguity, but the way it ties itself together (albeit loosely) separates it from other films in the genre.

3. Deadpool 2

It’s rare that a sequel to a film like Deadpool can live up to the predecessor. The shock of the unique Deadpool was part of its brilliance, a superhero film which went all out in its vulgar, over the top, comical violence. Deadpool 2 is a perfect sequel though that lives up to the hype. Balancing themes of family and the philosophies of immortality (a theme which is surprisingly deep for a film so lighthearted), Ryan Reynolds dons the fourth-wall breaking Deadpool again, with the help of a strong cast including Josh Brolin, Zazie Beetz, Julian Dennison, and Morena Baccarin. Maybe not as funny as the original, but it has a lot of heart and sets up the (hopefully) upcoming X-Force film.

2. Annihilation

When they announced that Annihilation was going straight to Netflix instead of being released to cinemas because it was “too complex” and thus wouldn’t draw in viewers, I was offended. Because Annihilation was brilliant. Portman has one of her best performances of her career in this Sci-Fi mystery about a strange ‘shimmer’ (mist) that appears near a military base. The film is beautifully shot and the slow revelation of how the ecosystem works in this new world is done perfectly, not telling you straight up but rather revealing small parts of it so you can figure it out yourself.

1. Hereditary

When Get Out broke the Academy Awards rejection of the horror genre last year (through Jordan Peele receiving ‘Best Original Screenplay’), it opened up the genre for more industry recognition. Hereditary is the next step, with Toni Collette delivering a performance which has to get some award recognition. A gorgeously shot film with an incredible score, Hereditary is a twisted film, bringing out an uncomfortable sense of dread throughout its length, especially after the early, unexpected twist. A film which both shocks and disturbs, Hereditary gets my number one spot in film so far this year.

[bishreview]

Lots of Quickies

Hi, I’ve been real busy lately and have started a heap of reviews that I’ve been unable to finish because of time restraints and stress. University can get on my back quickly but I’m finished now so I’m going to finish the ones I started before getting into a top 10 for films, albums and singles for the mid year (probably released before the end of June). 

Avengers: Infinity War

The biggest crossover movie event ever pitted together the 20+ heroes against the big bad villain of the Marvel universe, Thanos. With a giant cast full of big names, a range of genres and a massive story to deal with, there were a lot of risks that the Russo brothers faced to make this movie. Despite it feeling supersaturated with characters and having some pacing issues, they were successful in creating a massive, climatic film, and Infinity War is close to the MCU’s best.

Avengers: Infinity War gets an A-

Breath

Simon Baker’s adaptation of the highly acclaimed Tim Winton novel of the same name had a surprising amount of hype for an Australian film. Although there is some gorgeous cinematography, especially with some of the surfing shots, the movie is bogged down by stale acting, shocking character development, inconsistent pacing, and a directionless plot. With the movie just coming under the 2hr mark, it feels overly long and bland, lacking originality in both the surfing genre and the coming-of-age genre.

Breath gets a D

Deadpool 2

Deadpool was an unbelievable success in 2016, shattering records and expectations as it became one of the most successful R-rated films ever. With the sequel they have expanded the universe, introducing ‘the X Force’ for the future of the franchise. This introduces many new strong characters, including Domino (Zazie Beetz) who steals every scene she’s in, and Firefist/Rusty Collins (Julian Dennison) who is works well with the titular character (Ryan Reynolds). Thankfully they haven’t sacrificed the quality of the film in order to universe build, with the sequel being almost as hilarious as the first, whilst digging into deeper themes of mortality and family.

Deadpool 2 gets an A

Hereditary

I generally split horror films into three categories; the aim to scare, the aim to gross out, and the aim to unsettle. Hereditary falls into the last category. It’s been a long time since a film has me shook by the end of it. This isn’t an enjoyable film at all, instead being a tiresome experience of slowly increasing tension and uncomfortableness. This makes it one of the best horror films I’ve ever seen. Toni Collette and Alex Wolff are both incredible and the cinematography and score are perfect, complimenting the story and giving the tension exactly what it needs to flourish. The use of shadows and wide shots create an atmosphere which is unlike any horror movie I’ve ever seen, giving you enough to be scared but not enough to know why. Hereditary isn’t for anyone, it is slow and there are no payoffs for the tension (like jumpscares), but its a testament to how one can build tension on film and up there with the greats of the genre.

Hereditary gets an A+

Solo: A Star Wars Story

Solo isn’t a complex movie. It doesn’t try to be a massive connection story like Rogue One, nor an epic adventure like The Force Awakens or The Last Jedi. Instead it plays to its strength, a low stakes origin story which gives a few characters some extra screen time. And it works to that extent, Han, Lando and Chewie being introduced well and having a fun adventure. It does have issues with pacing and the overcooked “shock betrayals” towards the climax starts getting cringy more than surprising but the journey is enjoyable fun, becoming a simple popcorn flick with a lot of replay value.

Solo: A Star Wars Story gets a B-

13 Reasons Why

13 Reasons Why has quickly become on the most decisive and controversial TV shows in recent memory. Season One had its issues but still held itself up due to its characters and story development. To put it simple, Season Two didn’t need to be made and it’s very clear that it was forced out. Only three of the characters remain interesting with their story arcs, the script is derivative and banal, and events happen only for the purpose of the plot. This all leads up to terribly cringey moments and a predictable ending (which follows one of the most disturbing and unneeded scenes in TV). I will give the show props though for attempting a realistic court hearing and a beautiful moment in which the main cast come together in memory of their deceased friend, a moment which really should’ve ended the series.

13 Reasons Why gets a D-

Atlanta: Robbin’ Season

Donald Glover’s Atlanta is something else. The debut season explored the African American life, relationships, the Hip Hop scene, poverty and young parenthood in such a unique and fresh way. With Robbin’ Season Glover gets deeper into his characters, exploring their flaws with a realistic lens. It works as well, with each episode making a range of statements, varying from depression and grief, to dating and ‘investments’. By the end of the season the main ensemble has changed so much that season three is a complete unknown. What the show doesn’t pretend to do though is become cliched, with success still an unobtainable goal and their desire to reach it getting more desperate. To summarise, this is honestly one of the best seasons of television ever produced. Also, bonus points for Teddy Perkins being the scariest character ever conceived in a hip hop story.

Atlanta: Robbin’ Season gets an A+

Arctic Monkeys - Tranquillity Base Hotel & Casino

With album number six, Arctic Monkeys attempted to completely re-image themselves. Diverting from their previous, guitar driven, indie rock, TBH&C delves into a smoother, 70s psychedelic inspired direction, with most songs utilising a keyboard to accompany Alex Turner’s almost mindless ramblings (at times successful, other times forced)). Although the band have changed the direction, it seems they’ve changed it to a familiar territory, with a lot of the songs sounds like Alex Turner’s recent The Last Shadow Puppets materiel (and some seeming like the B-sides of them). Although there are stronger moments, there’s a lot of filler and some of the weakest material of the band’s quite consistent career.

Favourite song: ‘The Ultracheese’

Tranquillity Base Hotel & Casino gets a C

 A$AP Rocky - Testing

The A$AP mob’s most successful mainstream member, Rocky, has been moving at a rapid rate. His popularity and critical acclaim has been moving up with every release. Testing is both a step in the right direction and the wrong direction. Although it’s is most ambitious record to date, influenced by psychedelic, electronica and ambient music, it’s quite messy and inconsistent. Songs start well to just fall away in their second half and there’s simply too many tracks to keep interest high. A$AP Rocky is doing very different things in hip hop and Testing will hopefully continue to lead him on his path, it’s just disappointing the album couldn’t be stronger.

Favourite track: ‘Purity (feat. Frank Ocean)’

Testing gets a C+

Courtney Barnett - Tell Me How You Really Feel

I’m one of those people that didn’t rate Courtney Barnett’s breakout debut. I found it redundant and pretentious. With her sophomore though she takes a lot of what was strong from her debut and worked with it. Although there’s a clunky and repetitive middle section, the first third of the album is very good music. Barnett has a wonderful way with melodies when she tries to write melodic music and her voice, although not the strongest, can be really emotive. There’s still some rambling tracks but her development is quite noticeable and from someone who couldn’t get through multiple listens of her debut, this was an enjoyable album.

Favourite track: ‘Hopefulessness’

Tell Me How You Really Feel gets a C+

DMAs - For Now

DMAs’ debut was something special in 2016. A 90s Brit-Pop revival album which was better than most 90s Brit-Pop. For Now continues their journey through British music, sharing similarities with bands like The Cure, The Smiths, Boomtown Rats and The Stone Roses. It’s very successful, with a wide range of influences and styles being incorporated in their sound. The album is much more consistent their debut, with each track being different yet based around the general ‘feel’ of the album. Unfortunately, it doesn’t have that big moment that their debut had, with no tracks really standing out as something incredible. That doesn’t weaken the album too much though, being one of the strongest releases of the year.

Favourite track: ‘Tape Deck Sick’ 

For Now gets an A-

Kanye West - Ye

I love this album cover. It’s very simple but very effective, representing both the minimalist, emotional, and cold album that is to come. Ye isn’t the first Kanye album to be lowkey, or sad, or left of field. It isn’t something special in his career though, an album where it really seems he condenses his talent into a short time (it is only seven songs) and really lets the production of the tracks take over, with some of the best moments being when he’s not on the mic (’Ghost Town’ has an outro which is just brilliant thanks to 070 Shake). That’s not to say Kanye’s voice doesn’t shine, ‘Wouldn’t Leave’ is a testament to his lyrical and rapping strengths, but his production is his best in nearly a decade. Although there are some weaker tracks and some cheesy lyrical moments, Ye reminds us why we continue to love Kanye, because he continues to release some of the best hip hop available.

Favourite track: ‘Ghost Town’

Ye gets a B+

Kids See Ghosts - Kids See Ghosts

If someone gave me a list of all the albums released this year before the year started, a collaboration between Kanye and Kid Cudi would definitely be my most anticipated. An album combining two of the most important voices in hip hop during the late 00s, both of them being instrumental in bringing topics of mental illness into mainstream hip hop. Where I expected Kids See Ghosts to be a darker album though, the album is almost a celebration of overcoming their demons. There are still some darker tracks, like the album closer ‘Cudi Montage’, there’s a lot of fiery tracks (like the conveniently titled ‘Fire’) and uplifting tracks (the album standout ‘Reborn’). There are some brilliant moments on this album, whether it comes from the strangely funny yet creepy sample of Louis Prima’s ‘What Will Santa Claus Say’ in ‘4th Dimension’, the ballsy attempt at scat rap in ‘Feel the Love’, or the gorgeous chorus in ‘Cudi Montage’ which features the beloved noise of Cudi humming (God bless Cudi and his biblical humming). Although the track listing works in its disadvantage some tracks do have some strange choices in direction (the end of ‘Fire’ sounds great but doesn’t fit with the song, nor the album), Kids See Ghosts is a contender for album of the year.

Favourite track: ‘Reborn’

Kids See Ghosts gets an A

Lily Allen - No Shame

Lily Allen will always be one of the most lovable cynics in music. Her career has been largely satirical takes of political and societal issues through upbeat, pop songs. With No Shame she seems to direct her satire on to herself, literally roasting herself, focusing on her recent divorce, motherhood, drug addiction, and balancing her fame and career with family life. This makes for a very deep, and at times dark, listen. Somehow though, through all this, Lily Allen has made her best album, and maybe the best album this year. Lead single ‘Trigger Bang’ is a brilliant pop song, reminding us of her humble beginnings whilst delving into criticisms of the industry and her place in it. Tracks like ‘Lost My Mind’ and ‘Everything to Feel Something’ are some of her saddest, roughly criticising her lifestyle with some beautiful production and instrumentation. And the gorgeous piano-ballad, ‘Three’, is as beautiful as it is rough, the lyrics being from her daughter’s perspective of Allen not being around for her kids. The album does allow a lighter ending, the final few tracks feeling upbeat and optimistic, something rare from albums which explore such dark themes. Although there are a couple of tracks where the dancehall vibe feels slightly too strong considering the lyrical content, No Shame is something special, and a sign of unbelievable growth for an artist over a decade old. 

Favourite track: ‘Everything to Feel Something’

No Shame gets an A

Middle Kids - Lost Friends

Middle Kids are slowly becoming the most underappreciated act in Australia. Their critical acclaim and industry cred are both high but their commercial success hasn’t blossomed in Australia. Their debut album looks to be their big push (it reached #10 on the ARIA album charts), and for good reason. It’s a really consistent album, with each song being a good alternative rock song. There are some lyrical moments which are average and some songs go for a little too long but each track fits well on the album and are enjoyable. For a debut, it’s a good one and really builds up anticipation to hear more from the band and see where they go. 

Favourite track: ‘Edge of Town’

Lost Friends get a B

Nas - Nasir

Nasir is another good release from the recent G.O.O.D Music output with Kanye West, although it’s probably the weakest so far. The production on it is really good, with the beats driving most of the songs, but Nas seems misguided and confused on a lot of the tracks. He has good messages behind the songs, referencing themes from police brutality to finances, but he doesn’t seem to really push his ideas, mostly feeling like there is a lack of passion or interest. It’s still an enjoyable album but the feeling of going through the motions is littered throughout and thus is quite disappointing.

Favourite track: ‘Everything’

Nasir gets a C+

Parkway Drive - Reverence

Australia’s premier Metalcore band, Parkway Drive, have has a mixed career for me. Their previous album, Ire, was one of their best, with the songs being meatier and relentless, not holding back at all whilst bringing new influences in. With album number six I’m not sure whether they’ve gone backwards or forwards. It’s different from their previous releases, leaning on cleaner singing much more often, and the influences are clearly from the heavy metal genre of the late 70′s to the early 90′s, but it doesn’t have a strong identity. At times it seems like a tribute album and really doesn’t standout or have its own image and sound. There are still some strong songs but a lot of the album feels like filler and for a band which has been leading the way in the genre in Australia for so long, it seems like they are now falling behind. 

Favourite track: ‘The Void’

Reverence gets a C-

Post Malone - Beerbongs and Bentley’s

Every now and then Post Malone nails it and he’s definitely ridden off the success of these moments (think the songs ‘Congratulations’ and ‘I Fall Apart’). There is a hidden talent there which is covered up by the cheesy songwriting and cliched style that he presents. On Beerbongs and Bentley’s he hides this talent better than ever. This is a very mediocre album, which is made even worse since it has 18 songs and drags for over an hour. He seems to run out of things to say very quickly and there’s few moments that really standout as interesting or fresh. It’s definitely a step backwards after the far more interesting Stoney. 

Favourite track: ‘Stay’

Beerbongs and Bentley’s gets a D-

The Presets - Hi Viz

One of my first introductions to music was Apocalypso, The Presets breakout sophomore album which blew away the Australian dance scene. It’s been about 10 years since that release and other than the left-of-field Pacifica, The Presets have been relatively quiet besides festival appearances. Hi Viz is the album they needed though. There are so many certified bangers on this album, from the lead single ‘Do What You Want’ to the giant album closer ‘Until the Dark’. They also bring in some really strong features, with both Alison Wonderland and DMAs shining on both their feature tracks. Although there are some filler in the album, and it does get repetitive towards the middle, it’s an excellent return to form from the band and establish them back at the top of the Australian dance scene.

Favourite track: ‘Feel Alone’

Hi Viz gets a B+

Pusha T - Daytona

Daytona was the first album from the G.O.O.D Music trail of releases of the past month and it really kicked off the project well. The production is really strong, the instrumentals on each track are solid, Pusha T’s lyrics are great (like usual) and the features fit nicely. I think the major weakness is that at times Pusha T’s voice doesn’t fit nicely with the music, especially with the mixing of his vocals at times. It seems to sit too high in the mix and seems out of place. Other than that though it’s a really solid album and an enjoyable listen. 

Favourite track: ‘If You Know You Know

Daytona gets a B

[bishreview]

A Quiet Place (2018) Review

Who are we if we can't protect them?

There have been many horror films in recent years which try and wear you down, through atmospheric settings and music. They utilise the unknown and usually have a metaphorical meaning, the movie being an analogy for a social or political statement (such as Get Out’s focus on modern racism and The VVitch’s analysis on the negative treatment of strong women). It’s as if we are moving into a new era of horror, something which I’m excited for, as we turn away from the slasher/torture porn genre which overfilled the 00s. John Krasinski’s  A Quiet Place definitely fits into this region. Unfortunately though, its inconsistencies and inability to ground itself in a theme causes it to fail to reach the heights of other films in the sub-genre.

The film is set in a post-apocalyptic world, where a strange, alien monster (origin isn’t explained in the film) has wiped out most of humanity. It’s an ultra-fast, ultra-strong, humanoid creature which is both bulletproof and blind. It’s biggest asset though is its hearing, being able to hear noise from (assumed) miles away, hunting the sound immediately. It makes for a great setting, as we follow a family who have learned to adapt to the climate, especially after the death of their youngest child, Beau Abbott (Cade Woodward) to the monsters. They have devised sand (I think) pathways between important locations as they have built a country home fort to protect themselves from the monsters. Wife and mother, Evelyn Abbott (performed brilliantly by Emily Blunt), is also nine months pregnant. 

This is where the movie falls apart. The movie creates its major second act conflict by having the father, Lee Abbott (John Krasinski), decides to take his young, paranoid son Marcus Abbott (Noah Jupe) on a day trip into the forest, to try and make him braver (I think, it isn’t really explained why this trip is needed). Marcus’ older sister, Regan Abbott (Millicent Simmonds), who is a lot braver and eager to explore than her brother, as well as being deaf, is upset that she can’t go. Regan’s relationship with her father is actually one of the stronger plot points in the film, with Lee blaming Regan for the death of Beau, and how their fractured relationship is to blame for a lot of what happens between the two characters is engaging. What isn’t engaging though is that Lee, who has been able to create this brilliantly well-thought out home to protect them, will leave his nine month pregnant wife in a world in which sound attracts killer monsters. There are many of these decisions, especially later on which I don’t want to get into because spoilers, which break the character’s intelligence. The film sets up this family’s ability to stay alive as an example of how smart they are, their ability to adaptation to the world based on them learning how to survive through being smart. There are all sorts of examples of this, with a nursery built for the unborn child being fully sound-proof. When characters do stupid things in horror films, it’s expected, but when they do something stupid that doesn’t fit their character it becomes disappointing and really drags the plot down. 

The second major weakness of this film is how the film treats its audience. There is a solution to how to fight the monsters and part of the plot is the characters trying to figure it out. We get hints throughout, and that should be enough for us to follow the characters as they work it out. Instead the film insists on spelling it out for us, getting to the point where I was expecting a character to turn towards the camera and wink comically before doing something. In a horror movie which is supposed to be smart and subtle, obviously spelling out the answer is just insulting the audience, expecting them not to be intelligent enough to work it out themselves.

The movie isn’t all bad though. The setting of the film is beautiful, utilising a very silent score and having the dialogue mainly done through sign language. This silence creates suspense throughout and makes viewing it a tense experience, although they sometimes use non-diegetic music which doesn’t seem to add to the film and takes the viewer out of the experience. When there is talking though, it’s often used as a sense of relief, connecting speech to safety.

The isolation of sound is backed up by the choreography. Long shots of the environment, highlighting the emptiness of the environment and how alone the family are. As they live on the farm there are some brilliant camera techniques used that utilise the environment to its fullest potential (especially a cornfield scene which leaves the viewer guessing what will happen but never being fully sure). 

The biggest strength for this movie though is the monster itself. To describe it, it’s a humanoid creature with a bat-like face and large, sharp, long teeth. It’s arms and legs are long, lanky and move like a spiders. The CGI used for it is stunning. It looks so real and so terrifying. Often in horror films we get a monster which is seen too much and feels too cartoonish, but here every time it appears the movie benefits. Ironically, it rarely ever appears in a jumpscare (most jumpscares are fake outs in this film unfortunately), meaning that the design of the creature and how it is implemented into the environment is where the fear comes from. It’s a brilliant move, and makes the film standout from other horrors.

Overall, it isn’t a bad movie. It’s beautiful to look at, has a brilliantly used concept and I can’t praise the monster enough. It simply fails to stay consistent with its characters. The more I think about it, the more holes that begin to form. It’s unfortunate because it has all the pieces to be a brilliant horror film, but just falls short. To be honest, I’ve been a lot harder on this film than usual, but only because the flaws in it aren’t being brought up by other reviews I’ve read. Regardless of the flaws though, it’s still an enjoyable movie. It’s ambitious but doesn’t reach the heights that it sets for itself.

A Quiet Place get a C+

[bishreview]

Quickie Review ft. Films and Music

I’ve been a bit busy over the past month and haven’t been able to finish some reviews. There’s also been a really thick few weeks of new releases so keeping up has been tough but I have listened and watched a lot of media so I’m ready to kick some quickie reviews out to keep up. I’ll do films first and go by alphabetical order.

Black Panther Review

The long-awaited film for the popular superhero Black Panther has lived up to the expectations put upon it. After an impressive debut in Civil War, the standalone flick for the hero showcases the importance of his character and country Wakanda in the franchise. Although there are some CGI problems and the villain, the incredibly impressive Erik Killmonger (Michael B. Jordan), doesn’t get nearly enough screen time, it’s another successful film for the MCU and introduces characters that will come into importance in upcoming films.

Black Panther gets a B+

Insidious: The Last Key Review

There’s a lot of problems with the Insidious franchise, mainly due to each film being very similar and none of them reaching the heights of the original. Although The Last Key isn’t terrible, there’s so much wrong withit that it’s so disappointing. We follow Elise Rainier (Lin Shaye) again as she tries to kill a demon, again. The sad thing about the movie is that they do well with suspense and the story of Elise’s childhood with an abusive father is an intriguing story. If they focused the whole movie on the childhood, maybe this could’ve been a strong movie. Instead it’s just average, predictable and generic, doing nothing to improve the franchise.

Insidious: The Last Key gets a D+

Winchester Review

Wow, this movie was bad. Although Helen Mirren and Jason Clarke both try their best with the awful, cliched, mess of a script, there is nothing else redeemable. Telling the story of the building of the Winchester Mansion, one of the most haunted places in America, it goes from an intriguing horror/thriller to a generic haunted house, demon film within its first half hour. The CGI is terrible and it’s as predictable as a horror film gets, the scares being funny and comical instead of terrifying. Essentially, this is a terrible film.

Winchester gets an E-

Ball Park Music - GOOD MOOD Review

I think when this year ends up, this will be the most disappointing release of the year. The two singles, Exactly How You Are and The Perfect Life Does Not Exist were incredible pop rock songs. It set up an expectation that this was the album where they really pushed their songwriting talents. Instead the album returned to the sound which they explored on third album Puddinghead. There are some interesting moments (i.e. Frank) and there aren’t any songs that I’d call bad, but unfortunately there’s not enough going on to push this as a contender for their best album yet. It’s also quite messy, with their more experimental songs feeling out of place. Again, they are all decent songs and continue Ball Park Music’s consistency with releasing solid, fun indie-pop records, it just doesn’t standout in their discography.

Best Track: Exactly How You Are

GOOD MOOD gets a B-

Black Panther Soundtrack Review

I often don’t buy soundtracks unless they really standout (e.g. Pulp Fiction or Trainspotting). The Black Panther soundtrack though was very interesting and unique though. Curated by Kendrick Lamar, the soundtrack can both standalone as a normal album, or could listened to in relation to the movie. The standout moments generally come from the feature artists, Lamar unusually stepping back often (although his verses in Black Panther and the outro of Kings Dead are brilliant in their connection to himself and the main characters of the film)/ Although there are some moments that feel out of place (Future’s verse in King’s Dead is laughably bad), the soundtrack does well in balancing a multitude of voices as well as fitting with the movie it was made for, with references to T’Challa and Killmonger fitting well with the songs. 

Best Track: Bloody Waters (ft. Anderson Paak, Ab Soul and James Blake)

Black Panther Soundtrack gets a B

Camp Cope - How to Socialise & Make Friends Review

If there was an album so far this year that I was honestly surprised with it would be Camp Cope’s sophomore. I wasn’t a big fan of their debut, feeling lead singer Georgia McDonald voice wasn’t strong or unique, even though at times she seemed to have a better voice than she decided to lead on. I wasn’t big on lead single The Opener either (which is also the first song on the album), feeling it felt messy and had the same problems as their previous work. After that though the album changes massively, focusing more on melody and storytelling. Georgia’s voice shines on many tracks (such as the title track and the closer I’ve Got You) and the bass work by Kel Hellmrich gives her a strong argument for best basslines in Australia. It does suffer from some average lyrical moments and the songs can be quite repetitive but it’s still a strong sophomore release.

Best track: UFO Lighter

How to Socialise & Make Friends gets a B-

Hockey Dad - Blend Inn Review

If I had made a list at the start of the year for my most anticipated release of 2018, Blend Inn would have been close to the top. Lead single Homely Feeling suggested they would explore a heavier sound, yet second single I Wanna Be Everybody reminded fans who they were and that they weren’t going to change completely. Where Blend Inn could’ve been a messy disaster because of the mix of new and old, it instead blends it together seamlessly. There are moments of heavy guitar riffs followed by smooth, surf-rock vibes which feel perfect, giving their songs an edge without going away from their signature sound. Zach Stephenson’s vocals have also gotten stronger, his unique voice fitting well with their indie rock sound. The album can get repetitive though, with some weaker tracks that could’ve been cut or developed further, and although it mostly fits well between old and new, there are a couple of moments where it doesn’t fit as smoothly. 

Best track: Where I Came From

Blend Inn gets a B+

Ocean Alley - Chiaroscuro Review

It’s easy to just consider Ocean Alley an offshoot of the Sticky Fingers obsession a few years back. What they have turned into is one of the strongest dub and psychedelic bands in contemporary music that Australia has produced. Baden Donegal’s voice is strong like usual, his smooth vocals leading the way on all the tracks. Although they do keep it interesting, there is an over-reliance on the reverb heavy tracks where the band have songs which are definitely stronger than others. Their experiments on the album do seem weaker and slightly out of place as well. There is a lot to like though, with the more reggae/ska based tracks being fun and enjoyable and the emotional moments landing successfully. Also some of that guitar work is out of this world.

Best Track: Knees

Chiaroscuro gets a B

Vance Joy - Nation of Two Review

Vance Joy’s debut album is a solid indie-acoustic album. It’s nothing too special but an enjoyable listen. With his sophomore album. . . he does nothing to improve, evolve, develop or experiment. It’s exactly what you’d expect from him, simple, little acoustic songs about love that every guy and girl will cover at your local Sunday markets. Unfortunately, none of the songs standout like some off his debut, sounding like the B-sides and outtakes from that album. There are a few stronger moments early but this is a really tiresome listen. For thirteen tracks and 45 minute track length, it shouldn’t feel this long and bloated. With most tracks sounding similar and not much going on musically or vocally to impress, Vance Joy seems to be going backwards. He’s also becoming the Australian Ed Sheeran, which is good for his mainstream success but disappointing for anyone who was expecting more from him.

Best track: Call if You Need Me

Nation of Two gets a D-

The Wombats - Beautiful People Will Ruin Your Life Review

The Wombats are an enigma to me. They have always seemed to be the leader in Australian Indie music, yet they are British. I’m not even sure that they are as popular in England as they are here. With their previous releases they have seemed to be ahead of the trend, with releases like This Modern Glitch (which I wasn’t a fan of) predicting the 80s Electro influence in Aussie Indie Rock. With their latest, it seems like their first album which isn’t ahead of that curve. It’s predictable and safe, bands like The Jungle Giants and Ball Park Music doing it more interestingly in recent years. It’s still fun, lead single Lemon to a Knife Fight epitomising the band’s laid back, easy to connect to, indie pop tunes that young people just touching the alternative scene love (i.e. Triple J listeners, where the band’s fame blossoms in Australia). Unfortunately, they don’t challenge themselves here. Although I only liked a select number of tracks from This Modern Glitch, at least they experimented and challenged themselves. Here, they take the safe path. Which is fine but disappointing, giving us an album of throwaway indie pop.

Best track: Cheetah Tongue

Beautiful People Will Ruin Your Life gets a C+

Again, I’m trying to get in the normal routine of things and if I fall behind I will keep doing these since I do get to express my feelings on each work. I do prefer to really dive into the songs/film, so I’ll try and get at least one done a week. Thanks for reading.

[bishreview]

DZ Deathrays - Bloody Lovely Review

When the only thing that's left is sound/Yeah it sounded like a total bore

Brisbane punk duo DZ Deathrays have made a lot of ground since their debut five years ago (the crazy, party-punk album Bloodstreams). After major success on alternative radio with their sophomore, Black Rat, and some strong standalone singles (Blood on my Leather and Pollyanna), they came out stronger than ever with lead single Shred for Summer (placing an admirable #67 in the latest Triple J Hottest 100, improving on their previous highest placing at #88 with Gina Works at Hearts in 2014). Follow up single Total Meltdown also did well (just missing out on the Hottest 100 at #109), having a sound which suggested they had matured further. Now they’ve released their long awaited third album, Bloody Lovely, and although it does feel like they haven’t progressed much, they’ve continued to refine their blend of high energy punk, and inspirations from the EDM and 70s Australian Rock genres.

The first thing to notice from the album is the focus on catchy hooks and melodic vocals. Even on their heavier songs (such as Feeling Good, Feeling Great and Guillotine) there is a strong focus on melody as lead singer Shane Parsons has matured as a writer. This might have something to do with Parsons vocals moving further away from his vicious punk screaming, with a higher concentration on cleaner vocals on this record. Lyrically, the album doesn’t shine as such, nor does it really need to. The lyrics suit the fast paced style of the album, fitting the punk genre. It’s a bit disappointing though, especially due to the lack of progression from their earlier work. Although it is fun, with songs like Shred for Summer having some enjoyable quotes (”Shred the grit from my guitar/Bleed the riff from my blood”), there is room for depth which isn’t attempted. 

Musically, DZ Deathrays continue with their traditional, unique ‘dance-punk’ sound (according to Wikipedia it’s apparently a genre) which has defined their earlier records. Parsons guitar style is brilliant, filling the album with his signature guitar tones, utilising his many pedals to create a sound which is almost like a synthesizer. This sound accentuates his riffs, being a major highlight of the album, and their career. The downside of this is that many of the songs do tend to sound similar. On their previous record they changed it up on a couple of songs (noticeably the title track Black Rat and the ballad Northern Lights) but on Bloody Lovely they don’t go away from their dance-punk sound. Drummer Simon Ridley is again consistent behind the kit. He lays out some tight rhythms and often makes the vibe and intensity of the tracks, the punky Back & Forth and the metallic Afterglow being two examples of when he lets loose. 

The album kicks off with an intro which builds slowly before a high pitched scream breaks the track up, leading into the main riff of lead single Shred for Summer. The song is very close to their previous work, being a dance-punk track which has an accessible chorus without getting too ‘pop’. Second single, Total Meltdown, follows and is a very surfer, stoner pop song. The striking guitar chords in the verse gives the song a raw energy and the chorus lets loose with a very thick production. Feeling Good, Feeling Great gives the album a punky turn straight after, gifting listeners with a strong punk chorus with a catchy hook. There is very Nirvana-esque vibe to this song, with the crunching guitar chords feeling a lot like Nirvana classics Territorial Pissings and Breed. 

Third single Like People is next, a track which would fit perfectly on their previous album Black Rat. The guitar riff, which follows the vocal melody, is brilliant and gives the track a darker sound. Watch the music video for this as well as it features Murray from The Wiggles dancing to the track. Fifth track High feels a lot more psychedelic than their previous work, feeling like a 70s alternative hit. It is slightly forgettable though as there isn’t much different from other tracks on the album. Guillotine follows and has probably the danciest feel to it. Again though, it’s missing a unique feel to it and is a bit slow.

The shortest track on the album, Bad Influence, is next. Although it’s fun, I feel they don’t get heavy enough for it, despite it being one of the heaviest tracks on the album. It just feels like a waste of short hardcore punk song and is a bit disappointing. Over It follows and although doesn’t go far from a sound previously explored on the album, is one of the strongest songs on the album. There is a shoegaze influence to the track which gives it a bit of airy-ness, allowing the lead guitar to explore without deviating from the lead vocal melody. The breakdown is huge as well, leading to one of the biggest moments of the album. Back and Forth has a very bassy intro and is probably the all round heaviest track on the album. It feels like an old school, Nick Oliveri lead Queens of the Stone Age track in the verses and has some killer screams throughout.

Afterglow follows and is probably the weakest track on the album. There is a pretty cool instrumental chorus but there’s not much new going on vocally until the final minute and by then it’s become a bit draggy. The album closes with Witchcraft Pt.II. I’m not sure if there’s a first part to this song as I’ve never heard one, but this track is psycho in all the right ways. It’s messy and all over the place but doesn’t once feel over the top or ‘too far’. It’s just a ballsy punk rock song from start to finish, pounding through verses with senseless intensity. Definitely one of the funnest songs on the album and a great head-banger from the soft start to the stoner-metal ending. There is also a soft outro which starts about 20 seconds after the ending which is worth listening to just for the beautiful guitar work. A bit disappointing that they didn’t save it for an actual ballad on the album, with it’s spaghetti-western vibe being very intriguing.

Overall, Bloody Lovely fits perfectly in the DZ Deathrays discography. It doesn’t add too much to there sound outside of a few in-song experiments and influences, but it’s still enjoyable for fans of the band and the genres they are associated with. It’s 11 straight head banging, dance-punk songs which are perfect for a mosh pit, and that’s all it’s intended to be. The rise of Australian punk, stoner and alternative rock in the last few years (thanks to bands like DZ, Violent Soho, Dune Rats and more) has been huge and the resurgence of a ‘pub-rock’ genre in Australia is massive for the live music industry. With Bloody Lovely, DZ Deathrays continues the rise and success of this genre as well as their own career.

Favourite tracks: Total Meltdown, Like People, Over It, Back & Forth, Witchcraft Pt.II

Bloody Lovely gets a B-

[bishreview]

Three Billboards Outside Ebbing, Missouri Review

There are just some cases, where you never catch a break

Three Billboards Outside Ebbing, Missouri is the latest Oscar nominated film to hit Australian shores (why can’t we just get them all before they are nominated for Oscars. . . please). Nominated (and a favourite) for many awards, including Best Picture, Best Director (Martin McDonagh), Best Lead Actress (Frances McDormand) and Best Actor in a Supporting Role (which in a rare case has two nominees, Woody Harrelson and Sam Rockwell), the film has generated a lot of critical hype around it, winning many major awards at the Golden Globes (including Best Picture, Drama). 

The film stars McDormand (Fargo), Harrelson (Hunger Games), Rockwell (Iron Man 2), Caleb Landry Jones (Get Out) and Lucas Hedges (Manchester by the Sea) and was written and directed by Martin McDonagh. McDonagh has said he was inspired to write the piece after witnessing billboards about unsolved crimes in the US. The movie is about Mildred Hayes (McDormand), whom’s daughter was raped and murdered several months prior to the start of the film. In response to the case going cold for months and no real developments since it was opened, she pays for three billboards to be painted on close to her home on the old, now barely used highway. The billboards are directed at Chief  Willoughby (Harrelson), the long-time and well liked Chief of the town’s police force who is also slowly (and privately) dying from liver cancer. As the months past, the ethics behind the billboards are further questioned by the public and police officer Dixon (who is very cocky and not very smart) starts taking matters into his own hands to protect the image of his chief.

Three Billboards is a success, mainly due to the acting involved. Woody Harrelson delivers a heartfelt and likeable performance and Sam Rockwell may have had his best performance of his career as the conflicted Dixon. Minor roles by Jones, Hedges, Samara Weaving, Peter Dinklage, Zeljko Ivanek and Sandy Martin are also impressive. The film is stolen though by lead actress Frances McDormand, who throws herself through many emotions. She is at times hilarious and unfiltered, but her quieter moments as a conflicted mother who is trying to make it through the grief of losing her daughter, something she blames herself for are incredible. She will most likely go on to win the Best Actress in a Leading Role at the Oscars and it is well deserved. The only weak link in the acting for this film is Abbie Cornish, who’s Australian accent seems to get in the way of the southern (I’m not actually sure what American accent she is trying to perform) accent she is trying to produce. Her acting would be fine if not for the accent issues.

The film’s screenplay is also one of its strengths. There are so many amazing quotes in this film, spread out across the cast. Each character have strong arcs (Dixon’s being something admirable for a writer) and their motivations as characters are well explained and fleshed out. The cinematography is also great, utilising the country town setting to full effect (although I’ve read it wasn’t filmed in the actual state which is a little disappointing) and Carter Burwell has earnt himself a well deserved Oscar nod for his terrific score, which helps lead the emotional moments of the movie. I did find there were some actions made by characters which weren’t well resolved (Mildred, for example, does a very questionable, very illegal act and the aftermath of said act doesn’t actually happen, with the movie just continuing on) but many of these moments were central to the character arcs. The movie does resolve itself well at the end, avoiding a cliched, happy ending and instead looking at an ambiguous future which is up to the audience to decide what Mildred and Dixon do next.

I’ll be surprised if this movie doesn’t at least win one of the big five awards at the Oscars (in which it is nominated for four). It’s an incredible experience from start to finish. It’s both lighthearted and dark at the same time, often breaking a lighthearted moment with something disturbing and depressing, and vice versa. It deals with many ethical questions from a human perspective, focusing on more realistic scenarios in which someone would deal with grief after a horrific experience. It deals with complex subjects such as grief, depression, police brutality, racism, domestic violence and suicide without making an agenda-led statement, allowing them to be factors of the story rather than the underlying theme of the film. Overall it’s an enjoyable and intense watch and definitely one of the strongest films of the Best Picture nominations at the Oscars.

Three Billboards Outside Ebbing, Missouri gets an A

[bishreview]

King Gizzard and the Lizard Wizard - Gumboot Soup Review

Everything is moving to the beauty of the system

The plan for Australian psychedelic rock band at the start of 2017 was to release five albums. First we got the microtonal experiment of Flying Microtonal Banana, then we got the massive concept album in Murder of the Universe. Following was the jazz influence collaboration with the Mile High Club Sketches of Brunswick East, and then the freebie prog record Polygondwanaland. To finish the year they sneaked in album number five, Gumboot Soup. The album, a mix of songs from over the past year that didn’t fit with the previous projects. The end result features some of the best music they’ve released yet, but also an unstable listen, leading to their least cohesive album to date.

Musically the album is all over the place. Within the first two songs we go from a jazz influenced pop song (Beginner’s Luck) to an almost doom/sludge metal song (Greenhouse Death). There are influences from everywhere on this album, with Irish jigs, autotune low-fi and psychedelic pop being examples of the other genres explored. The instrumentals are brilliant, flexing their musical talent over a range of instruments, the album featuring harmonicas, flutes, microtonal guitars and synths to name a few. At times the album seems to be an ode to all the genres they’ve covered in their young but intense career, as well as to the influences and inspirations that the band takes from. 

Unfortunately, the diversity of the music is one of the album’s biggest weakness. The album is bipolar, switching between opposite genres instantly. It feels as if they recorded the songs and pressed shuffle on the playlist, with the order of the tracks not really leading anywhere, nor building towards something. For a band which has such a history of concepts and cohesive albums (take 2016′s Nonagon Infinity on it’s infinite loop for example), it does feel odd that there has been no attempt to gel the songs together. It also means that the order of the tracks doesn’t really matter, being the first album where shuffling the playlist wouldn’t change the flow of the album. 

Lyrically, it reflects the diversity of the music. Each song’s story doesn’t mould with the other songs, which isn’t exactly a negative but still has, at times, and impact on the flow of the album. There are some strong lyrical moments though, with Beginner’s Luck, Muddy Water, Superposition, The Last Oasis, All Is Known and The Wheel containing some of the band’s best quotes. The lyrics in Greenhouse Death though makes an argument to be some of the worst in their discography.

The album starts with Beginner’s Luck, one of the band’s finest pop moments. Although lead singer Stu Mackenzie brings in a gorgeous vocal performance, Ambrose Kenny Smith steals the show with a simple but brilliant melody in the chorus. The guitar solo is also a highlight. Following is probably the weakest track on the album, Greenhouse Heat Death. Greenhouse Heat Death is one of the heaviest tracks on the album, with a some thundering percussion and a distorted, dissonant guitar riff. The vocals do get a tad grating, as Stu utlises a throat-singing-like technique, and the lyrics are at times cringey. It also does get a bit repetitive.

Barefoot Desert follows, returning the album back to a more laid-back, upbeat record. Although there are some interesting ideas instrumentally, including some nice bass fills, the song is slightly forgettable. Muddy Water is next and has a very Irish jig/pirate shanty vibe to it. It races along and is quite fun, with the melody being very catchy.

Superposition comes up next and is one of the most unique songs in Gizz’s discography. Utilising autotuned and vocoders on the vocals, it’s reminiscent of previous autotune experiments from artists like Bon Iver and Kanye West. Although one of the more decisive songs on the album, it’s an intriguing listen which touches on a sound which hopefully they explore more in the future.

Down the Sink follows and returns to the upbeat vibe which previous tracks have had. It’s very poppy and funky, but again is slight unmemorable and gets lost at times. Great Chain of Being takes the album on a detour, being the heaviest track on the album. It’s sludgy, filthy, heavy and insanely good. As another left of field move, the following track is The Last Oasis, one of the softer, more relaxed tracks on the album. Returning to their Jazz influence, this song is another fun, upbeat listen but has some interesting melodic contours in the chorus, keeping it intriguing and surprising throughout its length.

All Is Known recovers the band’s microtonal influence. Again, being one of the heavier tracks, it also has the most Gizz-feel, with the sound being more reminiscent to the sound that many people relate to the band. The tempo change breakdown towards the end is also one of the albums highlights. I’m Sleeping In, again, returns the album to a more relaxed vibe. The song has a very haunting, threatening vibe, with the soft, whispering vocals combined with the slight dissonance in the melody throwing the listener slightly off. Although it’s a little repetitive, it is quite enjoyable, with the harmonica being a welcome addition to the breakdown. The album closes with The Wheel. A very psychedelic song, it has a very strong Beatles feel to it. Although the main melody is a bit uninteresting, the melody in the bridge (sung by Ambrose) is brilliant, giving the song new life and raising its intensity. The drumming is also a highlight, plodding along through odd time signatures and keeping everything together.

Overall this album is an entertaining listen. It has some great individual moments, both heavier and softer, and is a nice reflection of King Gizzard and the Lizard Wizard’s discography so far, touching on sounds, vibes and genres that they’ve already explored in depth. The diversity of the tracks does inadvertently cause the album to sound messy and non-cohesive at times though, feeling more like a shuffled playlist or a compilation album. It is still a good album in its own right though, containing some of the best songs of their career as well as suggesting styles which may be explored in more depth in the future, but ends as their weakest of 2017.

Best tracks: Beginners Luck, Superposition, Great Chain of Being, The Last Oasis, All Is Known

Gumboot Soup gets a C+

[bishreview]

Top 50 Singles of 2017

My final article of 2017! There have been a lot of good music this year. Trying to cut down to 50 songs was a hard task, having over 70 songs by different artists before cutting them down. This means I’ve missed a lot of songs that I really wanted to add. I have finally got it down to 50 though and I have made a Spotify playlist which I will link to this if you want to check out the tracks that made it. I’ll only list from 50-21 (like I did last year) but will talk about the top 20 tracks. For statistics, I have one Canadian, four from the UK, eight from the states and a whopping 37 from Australia.

50. Never Let Me Go - Green Buzzard (AUS)

49. 911/Call Me - Tyler the Creator ft. Frank Ocean and Steve Lacy (US)

48. call the police - LCD Soundsystem (US)

47. Birthdays - The Smith Street Band (AUS)

46. Yanada - The Preatures (AUS)

45. Love Can Be. . . - Vince Staples ft. Ray J, Kilo Kish and Damon Albarn (US)

44. Pure Luck - Ninajirachi ft. Freya Staer (AUS)

43. Crushing Hard - Urthboy (AUS)

42. Murder to the Mind - Tash Sultana (AUS)

41. Dawning - DMAs (AUS)

40. Diamonds - A$AP Twelvyy ft. A$AP Rocky (US)

39. Second Hand Car - Kim Churchill (AUS)

38. Golden - Kingswood (AUS)

37. The Remedy - Polaris (AUS)

36. P Plates - Ruby Fields (AUS)

35. These Kicks - Citizen Kay ft. Georgia B. (AUS)

34. Shred for Summer - DZ Deathrays (AUS)

33. Feel It Still - Portugal. The Man (US)

32. Science Fiction - The Belligerents (AUS)

31. Cigarette - Ali Barter (AUS)

30. Got On My Skateboard - Skeggs (AUS)

29. I Haven’t Been Taking Care of Myself - Alex Lahey (AUS)

28. Andromeda - Gorillaz ft. DRAM (UK)

27. Man You Want Me To Be - WHARVES (AUS)

26. Afterthought - Dear Seattle (AUS)

25. True Lovers - Holy Holy (AUS)

24. Homely Feeling - Hockey Dad (AUS)

23. Low Blows - Meg Mac (AUS)

22. One More Love Song - Mac DeMarco (CAN)

21. The Evil Has Landed - Queens of the Stone Age (US)

20. Not Worth Hiding - Alex the Astronaut (AUS)

Alex the Astronaut has had a huge year. She released her debut album and has seen a growing fanbase to make her one of Australia’s most popular solo female artists. Her lead single Not Worth Hiding is a gorgeous song, reflecting her humble, gentle, kind attitude whilst having a relevant political point about accepting LGBTI communities

19. Night of the Long Knives - Everything Everything (UK)

Night of the Long Knives is a huge song. From the first time the chorus drops, it brings you into a darker, experimental world, shaping what is to come on most of their album A Fever Dream. Jonathan Higgen’s voice is again flexed, his falsetto being a brilliant feature in the verses.

18. Deadcrush - Alt-J (UK)

There are many highlights on Relaxer and I had a hard time picking between this, In Cold Blood¸ and Adeline. Deadcrush has become my favourite off the album though, the weird vocal in the chorus and thumping bass heavy beat making it both an intriguing listen and a danceable track.

17. Destiny’s - Arno Faraji (AUS)

Triple J’s Unearthed High winner, Arno Faraji, is the future of Australian Hip Hop. His beats are mellow, and his rapping style laid back, having a heavy influence on US rappers like Chance the Rapper and GoldLink. Definitely an artist to watch for the future, with Destiny’s being his best song so far

16. Dumb Days - Tired Lion (AUS)

Tired Lion’s debut album this year was a good listen. The title track though blows the rest of the album away. With a strong theme of growing up and missing the feeling of being younger, Sophie Hopes belts out the Smashing Pumpkins like track, with the outro chorus hitting right into the feels.

15. Friends - Kwame (AUS)

One of my best discoveries of the year was Sydney rapper Kwame. His EP Lesson Learned was a great listen from start to finish. Friends is a highlight from the EP, with a beautiful piano motif throughout, reminiscent of artists like Kanye. Another Australian rapper who will hopefully shape the future of the genre.

14. Fuck Off - Pist Idiots (AUS)

Another Triple J Unearthed find, Pist Idiots are a great punk band. On Fuck Off they don’t hold back, detailing a broken relationship where the partner doesn’t want anything to do with him anymore. The brutality of the lyrics combined with the distorted, messy instrumentation is brilliant, conveying a feel of desperation in the music.                 

13. Be About You - Winston Surfshirt (AUS)

From one of the year’s angriest tracks to one of the year’s sexiest tracks, Be About You is a smooth song. With Winston’s intimate delivery in both the rap verses and the falsetto chorus, it builds like an Anderson Paak or Justin Timberlake song. Definitely the most intimate song of the year.

12. Chateau - Angus and Julia Stone (AUS)

Brother and sister duo Angus and Julia Stone returned from a long hiatus this year with their album Snow. The highlight from this album was Chateau, their biggest song since 2010’s Big Jet Plane. With gorgeous production, beautiful harmonies and a relaxed vibe, their switch to a more pop direction was a good choice, producing one of their best songs yet.

11. Run for Cover - The Killers (US)

Just missing out on my top 10 was the comeback from Las Vegas rockers, The Killers. Although lead single The Man was good, I felt Run for Cover highlighted their sound better, being a strong rock song reminiscent of past hits such as When You Were Young and Read My Mind. The quartet came back into mainstream attention this year in a big way, and Run for Cover was the track that proved it.

10. Feel the Way I Do - The Jungle Giants (AUS)

If someone told me that Jungle Giants would be releasing fresh tunas like this I’d be shocked and appalled. But here we are. From the opening keyboard motif to the singalong choruses, this has everything a perfect indie pop song needs.

9. Humble - Kendrick Lamar (US)

Humble is the biggest track of the year. It will probably win the Hottest 100 (deservedly) and will continue to dominate most dancefloors around the world. It’s mix of a catchy hook, a strong beat and Kung Fu Kenny’s signature rapping style is brilliant and it’s obvious why this song has become such a megahit.

8. Nuclear Fusion - King Gizzard and the Lizard Wizard (AUS)

Out the 50-something songs that King Gizzard and the Lizard Wizard have released this year, the early release Nuclear Fusion still stands tall as the best. Their exploration of microtonal tunings and riffs are at their best in this song, as they utilise microtones to create a catchy yet dissonant melodies, catching the listener off guard. The “nuclear fusion” voice is a winner as well.

7. You’re in Love with a Psycho - Kasabian (UK)

Writing a perfect pop rock song is pretty hard. It’s a risky move, balancing catchy hooks with enough experimentation to remain interesting. You’re in Love With a Psycho is one of those songs which master it though. A song which is impossible to remove from your brain once you listen to it, it’s a completely fun, silly song which you can’t stop playing on repeat. With lines like “you’re like the taste of macaroni on a seafood stick”, Kasabian might have written the most fun pop song of the year.

6. The Comedown - Ocean Alley (AUS)

Like The Jungle Giants, I wasn’t too big on Ocean Alley a couple of years back. They’ve completely converted me though with The Comedown. With crisp piano, a smooth baseline, some beautiful guitar effects and the amazing voice of Baden Donegal, Ocean Alley have filled up the hole that Sticky Fingers left behind.

5. Marryuna - Baker Boy ft. Yirrmal (AUS)

I don’t think I’ve ever heard a tradition Indigenous language rapped before, but Baker Boy’s unique style of mixing his Indigenous tongue with English is genius. He switches between languages with ease, whilst creating catchy hooks which will get you singing along, even if you don’t really know what the words mean (highly recommend looking them up though). Baker Boy is a huge talent for the next generation and hopefully we hear more Indigenous hip hop following his success.

4. Boys will be Boys - Stella Donnelly (AUS)

This song is a tough listen, and even harder to write about. Stella Donnelly’s song detailing the experience of her friend’s experience after being raped, including the victim blaming by friends and family of the rapist, is hard to hear, especially when it’s described in such an honest and detailed manner. It’s a song that needs to be written though, with it’s message as relevant as ever with protests like the ‘#metoo’ campaign bringing light to rape culture and victim blaming/shaming. It’s a beautiful song as well, with Donnelly’s voice perfectly blending with the gorgeous guitar accompaniment.

3. Exactly How You Are - Ball Park Music (AUS)

Ball Park Music were relatively quiet for most of 2017, but they released two great indie tunes in the second half, the best being Exactly How You Are. A gorgeous love song which is as beautiful as it is simple sounds like an early Beatles or Beach Boys song, as Jen and Sam’s voices harmonise perfectly together in the chorus. Be prepared for an album by the band in 2018, with second single The Perfect Life Does Not Exist also being a great song

2. Watch Me Ready You - Odette (Aus)

Some songs take a couple of listens to really sink in, but some hit you immediately. Watch Me Read You fits in that second category. I remember my first experience with this song, straight away being entranced by the lyrical work on display. Odette’s delivery is both beautiful and sinister, with a beat-poetry-like vocal performance in the verses bringing light to the stories within the lyrics. She also shows she can belt out a chorus, with the hook highlighting her impressive vocal range. This is one of those songs which stays with you but continues to surprise when you listen. Hopefully we hear more of this later on in Odette’s career.

1. What Can I Do if the Fire Goes Out - Gang of Youths (AUS)

My number one mid-year still hasn’t changed. Although released early in the year, Gang of Youth’s lead single off their acclaimed album Go Farther in Lightness still hits me hard with every listen. From the ferocious drumming, the beautiful guitar riffs and the powerful voice of David Le’aupepe, WCIDFTFGO is a massive song. With lyrics which question one’s beliefs and faith when things go wrong, it’s a deeply personal but relatable song. It’s quite ironic that this year’s number one is about the loss of faith, whilst last year’s number one (Kanye West’s Ultralight Beam) was celebrating faith. This is a powerful track though, with its highlight being the gorgeous yet intense guitar breakdown just before the final chorus. 2017 was Gang of Youth’s year, with many tracks off their album going close to taking out my number one. This single though still reigns as the strongest track though and will definitely be a Hottest 100 top 20 (and maybe 10) contender, along with other hits like Let Me Down Easy and The Deepest Sighs, The Frankest Shadows.

Well that’s 2017 done. I will definitely be doing a review of Gizzard’s last album of 2017 this week sometime (I promise) and will try to have a look at N.E.R.D’s latest album as well as hopefully seeing films like All the Money in the World and Three Billboards Outside Ebbing, Missouri and reviewing both of those, as they are highly anticipated films for myself. Have a good New Year and thanks for the support. It’s been hard to keep consistent with this blog this year but next year should be a lot easier and I will try to review both films and music on a weekly basis (might be harder some weeks but we will see). Thanks.

[bishreview]

Top 20 Films of the Year

I think it’s about time I did something about films so here’s my list for the top 20 movies. This year has seen a rise in quality superhero films, some strong horror flicks, but I’ve felt genres like comedies and science fiction have really dropped. This list will include films that were released to Australian audiences in 2017 but will miss the Oscar nominated ones at the start of the year because they were classified as 2016 still. Enjoy.

20. Spider Man: Homecoming

Superhero films really did well this year, with Spider Man’s first lead film in the MCU a pleasure to watch from start to finish. Focusing on the high school aspect rather than the superhero aspect (like all previous movies of the hero have done), Holland brings the role to new levels of excitement, humour and reliability, making this maybe the best film incarnation of the hero.

19. Split

Split is a different sort of film. It’s a super-villain film, disguised as a psychological thriller, disguised as a horror. James McAvoy’s role as the character Kevin, a person who has multiple personalities, is incredible as he switches between different personalities, with their own characteristics, with ease.  M. Night Shyamalan looks like he’s making a comeback, and it’s exciting to watch.

18. Raw

Have you ever watched a film so gross but so engaging that you can’t look away even though you’re disgusted by what you’re watching? Because that’s Raw. Julia Ducournau’s unique film about cannibalism is incredibly unique and brilliant, whilst also being one of the hardest to watch films I’ve ever seen. Big warning to those with weak stomachs.

17. Star Wars: Episode VIII - The Last Jedi

The Last Jedi will probably go down as the most decisive Star Wars film ever. Disney have made it clear that they are avoiding canon in their trilogy, turning away from the comics and focusing on the films. With The Last Jedi they took it further, taking risks throughout the whole movie. In doing so, they made the most unique Star Wars film yet, and maybe the strongest since the original trilogy, focusing on the balance of the force instead of the usual ‘good vs. evil’.

16. John Wick: Chapter Two

John Wick is such a brilliantly written character. Although the second instalment in the hit-man, revenge franchise looks more into his past and the organisation he was a part of, we still know little about the ‘Boogeyman’. Keeanu Reeves is brilliant as the titular character and Derek Kolstad has again written another amazing story, creating one of the most interesting and unique cinematic universes.

15. A Ghost Story

There are some movies which capture your imagination and place you in a story that you can escape in. A Ghost Story is a different story. It’s heartbreaking but makes you feel warm. Casey Affleck and Rooney Mara are brilliant as the two leads, holding a chemistry which is hard to create so naturally. Although it’s slow at times, there is a certain beauty throughout the movie, drawing you into the love story even at it’s slowest moments

14. Logan Lucky

Logan Lucky is a really fun film. With a great cast including Adam Driver, Channing Tatum, Riley Keough, and Daniel Craig, the heist film is an entertaining watch. Although heist films sometimes feel cliched, Logan Lucky utilises the American car racing competition NASCAR as its setting, allowing the film to explore a different range of characters, making it one of the most intriguing heist movies in years.

13. Wonder Woman

The DCEU is getting really hard to watch. Justic League, released late this year, was more of the same average flicks which has plagued the franchise since Man of Steel. Before that though was Wonder Woman, the cinematic universe’s saving grace. Gal Gadot is incredible as the iconic superhero, carrying the movie all the way through with her engaging performance. Mid-way through the year I stated this film was the saving grace of the franchise, and that could never be more true now.

12. The Big Sick

Rom-com’s have never really been my thing. I often feel their stories have been done over and over again and that the genre doesn’t try to be do anything different. The Big Sick though is a story which hasn’t even been attempted by the industry yet, a movie about religious and cultural traditions and progressing forward with them. Kumail Nanjiani explores his real life story in such a tongue in cheek way that you can’t help but love the story and the characters.

11. The Lost City of Z

I was remembering this film the other day (I’ve only watched it twice) and the feelings I got from it still gives me the chills. The exploration of the jungle in James Gray’s film about real life explorer Percy Fawcett is gorgeous. It’s a slow burning movie that depicts Fawcett’s addiction to the Amazon rainforest in such a mesmerising way that you often forget that he’s searching for gold, rather just wanting to live in the Amazon. Charlie Hunman is brilliant as the lead and it’s a movie that will stick in your mind for a long time.

10. Thor: Ragnarok

2017 was a great year for the MCU, and Thor: Ragnarok was the shining light. Although the previous Thor films have been some of the more weaker entries in the franchise, Ragnarok was able to give the titular character his best story yet, combining the comic with the Planet Hulk storyline. With incredible performances by Chris Hemsworth, Cate Blanchett, Mark Ruffalo, Tom Hiddleston, Tessa Thompson and Jeff Goldblum, NZ director Taika Waititi created the best and most fun Thor that has ever hit the big screen.

9. The Beguilded

The Beguilded was a strange watch. Based on the 1971 novel of the same name, the film explores lust, forbidden love, obsession, fear and hate in a stable manner, balancing these themes effortlessly. Sofia Coppola has deservedly won awards for this film and will hopefully be nominated for a few more after being snubbed at the Golden Globes.

8. Silence

If I were to pick a film that I have seen this year that still disturbs me it would be Silence. Set in 17th century Japan, during the Tokugawa shogunate, Silence follows two Christian priests (Adam Driver and Andrew Garfield) trying to track down their mentor (Liam Neeson) whilst continuing to spread their outlawed religion. The movie is very graphic and doesn’t hold back on the Crucifixion techniques that were implemented during this period. Garfield also delivers the performance of his career, pulling you in emotionally to his character’s experience. 

7. War On The Planet of the Apes

It was always going to be hard to complete the Apes trilogy, as the first two films of the franchise were both amazing. War though is best of the three. An incredibly emotional experience as we watch Caesar and his fellow apes fight for survival against humans. Andy Serkis is again incredible as Caesar, continuing to prove that he’s the best actor in a motion capture suit.

6. Logan

Superhero movies were truly a shining light in 2017. The fourth comic book movie on this list (and the highest), Logan (based on Old Man Logan comic) is an incredible experience. Allowing the movie to have a restricted rating was a risk but it paid of as it allowed the character to be at his brutal best. Hugh Jackman will always be Wolverine and Logan was a perfect way to send off nearly two decades of the character on the big screen.

5. A Monster Calls

A Monster Calls (can also be called How to Tear Someone’s Heart Out) is the saddest film of the year. It hits you deep in the feels, ensuring the audience cries their eyes out by the end of the film. Lewis MacDougall is incredible as the lead, and the supporting cast are brilliant, especially Liam Neeson as the voice of The Monster. The film blends a heartbreaking story about cancer with a beautiful fantasy world, utilising water-colour animations to bring the audience into the imaginary world. 

4. T2: Trainspotting

T2 has been a long time coming. A sequel to the incredible original (Trainspotting) has been rumoured for a while, and Danny Boyle has finally delivered two decades on. Bringing back the beloved Scottish gang, led by Ewan McGregor, T2 doesn’t hold back on themes of getting old, reminiscing on youth, and trying to make up for the mistakes of youth. With all four of the characters being on a path which joins them back together, fans of the original will feel blessed with this sequel, whilst new fans will straight away connect with their stories. 

3. The Disaster Artist

The Disaster Artist is a perfect homage to the greatest film of all time, The Room. Delving into the creation of the aforementioned masterpiece, The Disaster Artist is about more than having a laugh at the people who were involved in making it. Instead it allows a sympathetic view on the desire to be an actor, to create film as an art form. Both Tommy Wiseau and Greg Sestero are respectfully portrayed by the Franco brothers, allowing a look into the hardships they faced during the making of The Room. It’s a fantastic story, both hilarious and relatable, and could be the Franco brothers best performances.

2. Dunkirk

I’ve always felt like Christopher Nolan has an obsession with outdoing himself every movie. After the epic (albeit flawed epic) which was Interstellar, it looked like he was going to stick on the sci-fi route which had dominated so many of his previous films. Instead he made Dunkirk a history piece about the Allies biggest failure in World War II, the loss of France. The film is tiring to watch, moving slowly and feeling like it’s in a constant route, as every small victory is followed by the plan going wrong. Fionn Whitehead is terrific in his debut mainstream role, and Kenneth Branagh, Mark Rylance, Tom Hardy and Harry Styles also bring in strong performances, suggesting that Dunkirk may be Nolan’s best work.

1. Get Out

I watched Get Out again last night and it still hits me the same way as it did the first time I watched it. Jordan Peele’s directorial debut is incredible. The comedian jumps into a genre unfamiliar to him, in a horror/thriller, and he delivers. Get Out is a unsettling film, raising issues of racism (and anti-racism) without making it overbearing. Daniel Kaluuya is incredible as the lead and will hopefully get rewarded during award season, and the supporting cast of the film (notably Lakeith Stanfield and Betty Gabriel) help create a chilling atmosphere throughout the whole film. The twist ending also may be one of the most impactful non-events in film history, with the expectation of what is going to happen making more of a statement than what actually happens (it will make more sense once you see it). Get Out is an incredible film, close to the best for this decade so far, and my number one film for 2017.

That’s my film list. It came out later than I wanted it to but I’ve just been hammered with work at the moment. I’ve completed the Top 50 Singles of 2017 list and that will be released tomorrow so stay tuned for that. Thanks for the support and hopefully you’ve enjoyed this list.

[bishreview]

Top 25 Albums of 2017

Hi, I’m finally getting back around this blog, looking to actually getting it going more consistently next year. With the end of the year lists, I’ve decided to open it up to more music (and films but that will come later) to cover some that I’ve missed. This was a really hard list, mainly because there were a lot of good albums which were evenly matched, and also a large range of genres to compare. I’ve also included one 2016 album, mainly because it missed cutoff last year. It’s been nominated/awarded for awards already for this year so it seems fair to include it. For statistics purposes, 10 artists are Australian, 6 are UK and US respectively, and NZ, Canada and Germany are all represented once.

25. Tyler, The Creator - (Scum Fuck) Flower Boy (US)

Tyler, The Creator aimed larger on his fourth studio album this year, releasing his strongest work yet. Opening up to his more personal side, his music to become has never felt more relaxed, with brilliant production assisting him to find his softer side. The Californian rapper has seemed to have found his sound, with the help of a wide array of guests, including Frank Ocean, A$AP Rocky and Anna of the North, which all assist without stealing the show.

Favourite track: 911/Mr. Lonely

24. Mount Eerie - A Crow Looked At Me (US)

A Crow Looked At Me isn’t an easy listen. The music is raw, the vocals haunting in their whispers, and the lyrics are personal and confronting. Phil Elverum’s eighth album delves into the loss of his wife (Geneviève Castrée) to cancer last year. Elverum doesn’t hold back on emotional punches either, detailing his inner thoughts and feelings with honesty. 

Favourite track: Seaweed

23. Lorde - Melodrama (NZ)

The rise of Lorde as a musical powerhouse as been joyous to watch. From a teenage indie sensation in New Zealand, to multiple Grammy nominations (including one for Album of the Year), Ella Yelich-O'Connor has become one of the biggest and most talented pop sensations in the world. With Melodrama she built on the success of her debut brilliant, progressing forward with her sound by making it bigger, bolder and better.

Favourite track: Supercut

22. Everything Everything - A Fever Dream (UK)

Remaining consistently progressive for a band like Everything Everything would be hard. On their three previous albums they’ve explored pop music like no other band in the world. With album four they’ve continued progressing, exploring a more electronic, dance orientated sound. With their will to explore pop music still as hungry as ever, they’ve again delivered a stunning album.

Favourite track: Night of the Long Knives

21. Kingswood - After Hours, Close to Dawn (AUS)

It would be easy for a band like Kingswood to release another solid hard rock album with their sophomore album, with fans loving their debut. Instead they went completely left-field. Influenced by Jazz, Soul, RnB, Americana, Country and Blues, the trio released an intriguing release, flexing their talent and songwriting ability to its most extreme yet. The results were successful as well, building their fanbase and acclaim in the process

Favourite track: Looking for Love

20. Harry Styles - Harry Styles (UK)

I don’t think anyone expected Harry Styles to release such a brilliant album on his debut. I also don’t think anyone expected him to explore so many genres on his debut either. With his solo debut though, Styles took the time to explore his own interests, leaning heavily into 60s rock, 80s power ballads and 90s Britpop. His risk seemed to be a successful one, as the album went on to sell worldwide to both critical and commercial acclaim.

Favourite track: Meet Me in the Hallway

19. Kasabian - For Crying Out Loud (UK)

it’s always good to experiment but for Kasabian, their experimentation had been going on for years. With their sixth release they decided to go back to their roots, and the results were awesome. From disco grooves to pop gems, For Crying Out Loud was filled with fun, energetic, catchy rock songs, reminding us what the Leicester quartet do best.

Favourite track: Are You Looking For Action?

18. Clowns - Lucid Again (AUS)

One of the best things about music festivals is discovering an act you’ve never heard of before and falling in love with them. Late this year I saw Clowns, leading me on to their third and most recent album Lucid Again. What I found was an energetic but heartfelt hardcore punk record, something unique in a genre that I’ve felt had gone stale recently. Definitely one to check out if you’re a fan of the genre because it goes hard from start to finish.

Favourite track: Lucid Again

17. Dan Sultan - Killer (AUS)

There has always been something special about Sultan’s voice. He commands attention without ever sounding overconfident or cocky, his soulful growl always blending right into his rock music. Killer took a step away from his usual style though, leaning on more soulful, RnB songs. With some of his most emotional material yet, his fourth album allows his voice to soar to lengths it never has before, delivering his best album to date.

Favourite track: Fire Under Foot

16. Gorillaz - Humanz (UK)

English workhorse Damon Albarn returned to his favourite cartoon friends this year hoping to revitalise the beloved gothic characters. With the help from a tonnes of guests (including Vince Staples, Grace Jones, Danny Brown and Noel Gallagher to name a few) he re-crafted their sound, leaning on a hip hop heavy political album, reflecting the modern world. Albarn has never seemed so relaxed in his songwriting, allowing his guests to take over most songs, creating the most diverse album of the Gorillaz discography.

Favourite track: Andromeda

15. Circa Waves - Different Creatures (UK)

Not many people I know listen to Circa Waves (except for their mega-hit T-Shirt Weather) so unfortunately I completely missed this album when it dropped early March. Thankfully I somehow (eventually) came to it, and what I found was an incredible sophomore album. Their development as a band on this album is amazing, ditching the relaxed nature of their debut for a more focused and mature sound. Reminiscent of their peers like Arctic Monkeys and Catfish and the Bottlemen, this album is not one to sleep on.

Favourite track: Out On My Own

14. Beck - Colors (US)

Beck is at the stage of his career where he can do whatever he wants and people will listen. After nabbing a Grammy for album of the year with his previous release Morning Phase, the musical veteran has backed it up with a feel-good, fun, upbeat pop album. Although not as focused, the relaxed nature of the record creates a fun, enjoyable listen, continuing his status as one of the world’s best and most creative songwriters.

Favourite Track: Dreams

13. Alt-J - Relaxer (UK)

Alt-J have for the third time released an amazingly intriguing album. Similarly to the previously mentioned Everything Everything, their brand of Art-Rock is both interesting, unique and enjoyable. With Relaxer they continue to explore through genres and influences, with electronic and folk inspirations flooded throughout. Although not as good as their two previous efforts, the English trio have still managed to craft an enjoyable and exciting record.

Favourite track: Dead Crush

12. The Belligerents - Science Fiction (AUS)

Brisbane’s weirdest indie export have been brewing a debut for a while. Ever since 2014′s In My Way single dropped on Triple J Unearthed, fans have awaited the five piece’s debut. They delivered the stunning Science Fiction, an album which manages to exceed the expectations created from their previous releases. A beautifully crafted, fun, indie-pop rock album which rummages through the psychedelic genre as well, Science Fiction proves itself to be one of the best debuts by an Australian band this year.

Favourite track: Before I Am

11. King Gizzard and the Lizard Wizard - Flying Microtonal Banana/Murder of the Universe/Sketches of Brunswick East/Polygondwanaland/Untitled 5th Album (AUS)

Let it be known, I really tried hard to pick my favourite Gizz album but it was too hard. Generally the challenge of picking between albums by one artist to appear is non-existent, but the seven piece decided to go ahead and release four albums (with another one coming soon). Whether it be the exploration into microtonal tunings, the epic prog-metal fables, the relaxed ‘elevator’ jazz, or the prog rock freebie, all four of their releases so far have been each incredible and unique. Here’s to the fifth album which will song be released.

Favourite tracks: Nuclear Fusion/Altered Beast IV/The Book/Crumbling Castle

10. Winston Surfshirt - Sponge Cake

Sponge Cake, for me at least, came out of nowhere. A sexy, smooth, RnB album by a bunch of slackers from Sydney didn’t seem believable. But Winston Surfshirt turned up the groove and released the sexiest album of the year, with the smooth deliveries of the band’s funky, soul instrumentals leading the way to put the band on the map. Whether it be Winston’s almost mumbling rap style or his beautiful falsetto, they managed to make a diverse album, rich in influences from 60s and 70s soul and funk, as well as modern RnB and Hip Hop.

Favourite track: When You’re Ready

9. Ali Barter - A Suitable Girl (AUS)

Another artist which just casually slipped under my radar at the start of the year was Australian singer, Ali Barter. Her wonderfully crafted debut, released early this year, went surprisingly unheard by me on release, a surprise for me since I adored the lead single Girlie Bits. Thankfully I finally caught up though, as her debut was a slice of Australian rock gold, her flirtatious voice being both enticing and savage, as she rips into many problems of the Australian music industry’s treatment of women. A Suitable Girl is an important album, with Barter dealing with the issues in a sensible but entertaining (and sometimes humorous) way.

Favourite track: Girlie Bits

8. Jungle Giants - Quiet Ferocity (AUS)

I’d like to apologise to Jungle Giants and all their fans that I’m friends with for being so savage and mean about the band in their early years. I thought they were generic indie but ever since 2015′s Speakerzoid showed their willingness to experiment and evolve, I’ve been interested. Now with their third album, they’ve completely made me eat my own words, as Quiet Ferocity is a superb album from start to finish. With the band messing around with funkier, almost disco like instrumentation on a lot of the album, they’ve crafted a fun, upbeat, exciting album, perfect to both dance and relax to. Lead singer Sam Hales’ voice has also improved and he’s becoming one of the most exciting and engaging vocalists in Australia

Favourite track: Feel The Way I Do

7. Meg Mac - Low Blows (AUS)

Meg Mac has been brewing on a debut album for a while. Ever since her mega-hit Roll Up Your Sleeves took over Australian radio back in 2014. Single after single has been released since then, and now we are finally blessed with her debut album. She’s lived up to the expectations as well, delivering an album with many highlights transcending the brilliance of her previous releases. Her soulful voice takes the lead, capturing listeners with her powerful range and relatable lyrics. 

Favourite track: Didn’t Wanna Get So Low But I Had To

6. Queens of the Stone Age - Villains (US)

Queens of the Stone Age had big standards to live up to after their previous release, 2013′s ...Like Clockwork (in my opinion, their magnum opus). Instead of challenging the artistic, gothic appeal of the previous release though, they instead went in a fun, crazy, hip shaking rock record, with the help of producer Mark Ronson. The funky change in direction meant that they could release their most relaxed and catchy record since their debut. The five piece may not have released their best album, but they’ve again released an exciting, unique album.

Favourite track: Fortress

5. Milky Chance - Blossom (GER)

At the halfway mark of the year, this was my number one album of the year. Since then, it has slightly dropped, with some songs not having the same impact on multiple listens. It still is a brilliant album though, with Clemens Rehbein’s voice having the same impact every listen. The mix of folk and electronic that they produce is both unique and enjoyable, with each song having the potential to either be one to dance to, or one to come down to. Although it’s slightly weakened over time, Blossom is still one of the best releases of the year.

Favourite track: Cold Blue Rain

4. Kendrick Lamar - DAMN. (US)

Kendrick Lamar seems to be unstoppable since his 2012 release Good Kid/Maad City. Since then he dropped 2015′s Jazz/Funk/Hip Hop masterpiece in To Pimp A Butterfly and has grown to become the world’s biggest rappers, and one of the most acclaimed artists in general. With 2017′s DAMN he’s continued his recent success, releasing another incredible record. With an endearing story and politically charged lyrics, he focused on a more hip hop-centric release when compared to his previous experimentation. It doesn’t come up to the same standard as his previous two but it continues his status as one of the best artists in the world.

Favourite Track: Love

3. Mac Demarco - This Old Dog (CAN)

Mac changed his style massively in 2017, turning towards a more mature sound with his third album. This Old Dog sounds like the music of an aged soul, which is even more impressed since Mac is only 27. With a more low-fi feel to it, his voice sounds the best it’s ever been, flexing his range across many different styles. With this release, Mac has released his strongest album yet, showing how much he has grown as an artist over the last few years.

Favourite track: One More Love Song

2. Childish Gambino - Awaken, My Love (US)

As I said earlier, there was one album on this list which I’ve included which was released late last year since it missed the chance to appear on last year’s list. Childish Gambino’s third album deserves this placement though, and this respect, as the record is one of the most mind-blowing releases from the past 12 months. With a mix of jazz, funk, soul, psychedelic, RnB and rock, Awaken, My Love is one of the riskiest releases by a mainstream artist in recent memory, with the rapper completely recreating himself. With throwbacks to funk legends like Parliament and James Brown, Gambino outdoes himself on this record, delivering highlight after highlight and placing himself as one of the most diverse talents of our generation. 

Favourite track: Terrified

1. Gang of Youths - Go Farther in Lightness (AUS)

Gang of Youths are a unique talent. Their debut two years ago still ranks as one of my favourite albums of all time. Their sophomore album doesn’t just live up to its predecessor, it challenges it as a better album. An increase in strings and piano based songs, including three classical compositions, bring another layer to their epic, stadium rock sound. With heartfelt lyrics detailing lead singer David Le’aupepe’s experiences following the events of The Positions, the album is sure to hit deep into the heart of the listener, Le’aupepe’s warm vocal delivery guiding the listener through the album. With each song having its own unique power to move the listener, Go Farther in Lightness has emerged as my album of the year. 

Favourite track: The Deepest Sighs, The Frankest Shadows

Well there is my top 25 albums of the year. This list took a while to develop and write up and there’s many albums that I had to cut which I enjoyed a lot (The Killers, LCD Soundsystem, Vince Staples, A$AP Twelvie and Angus and Julia Stone being some notable cuts). I’ll try to smash out a movie top 10 (or 20) and then the top 50 singles before the new year. I’m also hoping to finish a review for The Disaster Artist and Star War Episode VII before next week as well. Thanks for reading

[bishreview]

Death Note (2017) Review

You humans are so interesting

Death Note is the US adaptation of the famous, popular and critically acclaimed Japanese manga (and anime) of the same name. Although controversy has surrounded the film ever since the casting changed the race of most characters (mainly to try and fit with the American setting), I still had positive hopes for it. The film is directed by Adam Wingard who has had an inconsistent career to say the least, directing some good films in You’re Next but also some complete trash like last years Blair Witch. It also stars Nat Wolff (Paper Towns, The Fault in Our Stars), Lakeith Stanfield (Atlanta, Short Term 12, Get Out), Margaret Qualley (The Nice Guys), Shea Whigham (Silver Linings Playbook, The Wolf of Wall Street), and features the wonderful voice of William Dafoe (Spiderman, Platoon, Antichrist). 

The film begins with how main character Light Turner (Wolff) finding the Death Note, which falls from the sky in his playground. Although he first doesn’t care about it, he ends up being intrigued enough to keep it. After a bullying incident has lead to him being put on detention he meets the demon Ryuk (Dafoe). After discovering how to use the Death Note, which works by writing a name and cause of death with Ryuk making it happen, he uses the power for good, with the help of his new girlfriend, Mia Sutton (Qualley). Going under the pseudonym Kira, they start carrying out vigilante justice to criminals. This attracts the attention from Light’s father, James Turner (Whigham), who is the police chief, as well as professional detective L (Stanfield), who is said no have never not solved a case. Moral dilemmas ensue as Light needs to work out where to draw the line, with an evil influence coming from Mia and Ryuk.

There are a lot of things that have went wrong with this film, but I’m going to start with the positives because I’m a nice guy. Despite not looking a thing like L (who is described as a mix of white European and Japanese), Lakeith Stanfield (who is black) was incredible as L. His mannerisms are brilliant and really add a mysterious depth to his character, and his character arc is portrayed wonderfully with a definite emotional swing at the end. Stanfield is fast becoming one of my favourite actors, with each performance really showing how much depth he has. Ryuk also looks amazing. He’s terrifying, the CGI used really well. They also keep him in the shadows, preventing the cartoon demon image that hurts a lot of horror films. Dafoe’s voice is perfect for the character as well, being both menacing and welcoming. Some of the shots used are good as well. There is a clip from the trailer that is in the movie of a group of people walking off the roof of a building and its a really striking image with a good build up. A lot of the score is well used too, adding needed tension to the scenes. 

Unfortunately though, this movie is filled with errors. Nothing is bigger than how far they missed the mark of the source material. To put it simply, they didn’t respect the source material at all, changing the whole plot, character motivations and atmosphere of the film. For example, Light is described as a genius, someone who can work out problems and maps out scenarios with ease, he’s popular, ambitious and sure of himself. With the Death Note though, he slowly turns into a sociopath, believing his utilitarian method of murdering bad people will create a utopia where he is God. A lot of this character gets pushed to Mia Sutton, who tends to act more like manga Light. Instead Light seems to be shy, unpopular, academically smart but not very witty, and a bit of a wimp. This really is shown in the detention scene, where Light is portrayed (comically and very badly) as terrified. It could have been an excellent scene, a change from the manga but still good, if they allowed Light to be smarter and calmer. Instead they chose to make him scared and act silly, a very different portrayal than originally written. They also turn it into more of a teenage, generic love story, making Light’s motivations being from a girl initially. 

The portrayal of Light is quite weak as well. Nat Wolff is a good actor but here he overacts in nearly every scene. It really shows in scenes of dialogue between L and Light, in which Stanfield seems to be creating an atmosphere which Wolff is trying to take the viewer away from. As previously stated though, the character also suffers from a complete misunderstanding of the source material.

There are also some weird song choices in this film. I don’t know why this has happened recently, but there has been an obsession with teenage movies/tv shows portraying teens as obsessed with 80s New Wave music. Starting the film with Australian Crawl - Reckless isn’t the worst decision ever, but continuously they return back (randomly) to 80s pop songs which just don’t fit with the theme (The Power of Love by Air Supply being a really cheesy moment). It’s a strange decision which doesn’t add anything to the movie. 

Overall, this movie is an okay appropriation. I say appropriation because if I saw it as an adaptation, it would be terrible. They get the story completely wrong and it’s really disrespectful to the source material. I understand they wanted to make an American version of the TV Show, but I feel as if it would be better if they just wrote a new story in the same universe (different characters and all) because the characters are just completely different to how they were originally written. It’s very disappointing as many (including myself) were really keen to see a live action Western remake of the terrific anime/manga. I’d recommend this movie to those who either haven’t seen the anime/manga or don’t care if it’s changed, but only if they enjoy teen supernatural movies (along the lines of The Maze Runner, 13 Reasons Why and Twilight). If you love the source material though, stay as far away as possible.

Death Note gets a D+

[bishreview]

Gang of Youths - Go Farther in Lightness Review (2017)

Say yes to you/Say yes to me/Say yes to love/Say yes to life!

Two years ago, Gang of Youths released The Positions. That album eventually became my number one album of that year (with the track ‘Magnolia’ being my number one song), and is now ranked among my favourite albums of all time. To say there wasn’t hype around this album for me personally is the biggest lie I could come up with. With opening single ‘What Can I Do When The Fire Goes Out?’ becoming my number one single at the halfway mark for this year, and the following releases also impressing, my expectation rose to incredible heights. Thankfully, Go Farther In Lightness has definitely risen up to the challenge, maybe even exceeding those expectations.

Go Farther In Lightness continues the influences from their previous work. Each song contains elements of Bruce Springsteen, U2, The National, LCD Soundsystem and Arcade Fire (among others). With this album though, they’ve refined their sound. Beautiful string arrangements glitter other the album, taking control other tracks like ‘Achilles Come Down’ and the standout interlude ‘Le Symbolique’. Drummer Donnie Borzestowski also shines on this album, his exciting, pulsating rhythms leading tracks like ‘What Can I Do When the Fire Goes Out’ and ‘Atlas Drowned’. There is also a stronger acoustic element to the tracks, with album opener ‘Fear and Trembling’ beginning with a gorgeous piano accompaniment, and ‘Our Time is Short’ with an intro containing just an acoustic guitar and Le’aupepe’s voice before the track breaks out into a full band stadium rock song. The guitar work by Joji Malani is another element which shines, with the two aforementioned tracks containing some of the best riffs in Gang of Youths' history, as well as 'Do No Let Your Spirit Wane' containing an incredibly epic guitar solo.

Again, with most of Gang of Youths’ tracks, this album’s success definitely relies on the success of lead singer David Le’aupepe’s ability to convey his thoughts into song. Where The Positions detailed the story of his ex-wife’s cancer and the events around that, Go Farther In Lightness seems to be the healing afterwards. With some brilliant lyrics, with highlights including “so you can join the cowards all aboard the outrage train” from ‘Let Me Down Easy’, and “I will bear the unbearable, terrible triteness of being” from ‘The Deepest Sighs, The Frankest Shadows. The lyrics seem to have a central theme of realisation and healing, with closer “Say Yes To Life” being the optimistic conclusion that such an emotional album needs. Le’aupepe’s voice is at its usual strength, pushing through his baritone in tracks like ‘Do Not Let Your Spirit Wane’ and ‘Achilles Come Down’, and his Bono-esque highs on ‘Atlas Drowned’, The Deepest Sighs, The Frankest Shadows’, and ‘Say Yes To Life’.

The album begins with slow building ‘Fear and Trembling’. Although it opens with slowly, it doesn’t take long until it breaks into a rock track that you expect from the band. Lead single ‘What Can I Do If The Fire Goes Out?’ and second single ‘Atlas Drowned’ follow it up, being two of the heavier tracks on the album. The former is an epic rock song reminiscent of Arcade Fire but a lot angrier, whilst the latter rushes along, looking as if it’s just about to get chaotic before being reeled back into its gorgeous chorus. ‘Keep Me In The Open’ closes the first section of the album with a enchanting synth intro which slowly changes key. The track is one of the album’s softer moments, given a break after the intensity of the first three without losing the flow that the album has built. 

The first symphonic interlude ‘L’imaginaire’ creates a gorgeous atmosphere before flowing seamlessly into ‘Do Not Let Your Spirit Wane’. Both tracks work best together, with ‘Do Not Let. . . ‘ being a classic slow jam, building into an epic bridge and final chorus, featuring some of the album’s best lyrics (”get the fuck out of your head if it says ‘be cold and be deathly afraid’ being a personal favourite).

‘Go Farther in Lightness’ is the second interlude (and only with lyrics). With a beautiful ending (”Go farther in hope/go farther/go farther in lightness) it leads well into the darkest section of the album. ‘Achilles Come Down’ is reminiscent of The Positions’ ‘Kansas’ except much more dissonant and slightly threatening. The layers of strings move in and around each other and build an excellent platform for Le’aupepe’s voice. The lyrics touch on mortality and reference the Greek hero Achilles (who was thought to be invincible if it wasn’t for his ankle) and The Myth of Sisyphus (who was condemned to push a boulder up a hill, with the boulder always rolling back down once he reached the top). ‘Persevere’ is next and is album’s lowest moment, detailing a couple who had lost their unborn child. The track is a slow, emotional track which finds hope in the courage that the couple had to keep strong.

Interlude number three ‘Le Symbolique’ leads the album into its fourth section. This interlude is by far the strongest of the four, being cinematic in its approach. Going also for the longest amount of time out of the four (coming in just under four minutes), it suggests the band could find a career in writing film scores after this. It leads seamlessly (again) into fan favourite ‘Let Me Down Easy’, the poppiest moment of the album. ‘Let Me Down Easy’ shows how strong the band are at writing a simple pop song when they want to, having a catchy hook and a pulsating rhythm built for dancing. ‘The Heart is a Muscle’ follows, slowing down the album momentarily before kicking into another bouncy pop rock song. Both these songs are the most fun, upbeat tracks on the album, and work together well, especially after the heart-wrenching themes in the previous section.

‘Le Reel’, the final interlude, brings the album into its final section in a strong fashion (the symphonic interludes really proving to be a highlight of the album). It flows into the current single ‘The Deepest Sighs, The Frankest Shadows’. The track is one of the strongest lyrically and builds beautifully into an epic rock song, before dropping into a beautiful outro. It really summarises what people listen to Gang of Youths for, being a touching, relatable, emotional, slow burning rock song. ‘Our Time Is Short’ brings out the acoustic guitar for a tune reminiscent of Joni Mitchell or Coldplay. It’s a beautiful song which fits well at the end of the album. This is followed by the album’s closing track, ‘Say Yes To Life’. ‘Say Yes To Life’ might be Gang of Youth’s at their most positive. The track builds with swelling strings and floor stomping percussion, as well as moving through a half time chorus. It builds into a cathartic outro where Le’aupepe screams the songs title after a Mark Renton (Trainspotting) ‘Choose Life’ rant (without the sarcasm), screaming out “say yes to life” at the top of his lungs before the strings, percussion, guitar, piano and bass bring the album to its conclusion. 

Overall Go Farther In Lightness is a massive album. Coming in at an hour and seventeen minutes and containing sixteen tracks, it’s one of the longest albums I’ve listened to this year. It’s an enormous project full of emotion and heartfelt realisations. It pays off though, as the album doesn’t have a dull moment a moves perfectly from start to finish. It competes strongly against The Positions, being a more polished and curious album, exploring new sounds and directions for the band. It doesn’t sacrifice their sound for the new experiments though, rather building on their sound, moving it into a smart and enjoyable direction. To conclude quite bluntly, Go Farther In Lightness is leading for my album of the year.

Go Farther in Lightness gets an A+

Favourite tracks: All of them? But specifically ‘What Can I Do When The Fire Goes Out?’, ‘Achilles Come Down’, ‘Le Symbolique’, ‘Let Me Down Easy’, ‘The Deepest Sighs, The Frankest Shadows’, ‘Say Yes To Life’

[bishreview]

Annabelle: Creation (2017) Review

She mustn’t go near that doll

Annabelle: Creation is the prequel to the 2014 film Annabelle, and the fourth film in the Conjuring franchise. It depicts the story of how the Annabelle doll became evil, focusing on the origins and first incident of the demon. The film is directed by David F. Sandberg and stars a relatively unknown cast featuring soon-to-be beloved horror actress Lulu Wilson (Ouija: Origin of Evil, Deliver Us From Evil), Talitha Bateman, Stephanie Sigman, Anthony LaPaglia, Miranda Otto (Lord of the Rings), Grace Fulton, and Phillipa Coulthard. Unlike the previous film Annabelle, it is far from a messy, laughable horror film, becoming one of the strongest horror films of the year and returning to the franchise to the form of its first instalment.

The film starts with the exposition of how Samuel and Esther Mullins created the doll and how their daughter, Bee/Annabelle, passed away while only young. I found this opening to be one of the weaker moments of the film, rushing by without really making us sympathise with the characters. The death of a young girl should hit harder than it did and a connection with the audience with the family early on would make it a lot easier to sympathise with the Mullins later in the film.

We then cut to 12 years after the death of Bee, where six orphan girls (lead by Sister Charlotte) are going to the Mullins house to live, where the couple have agreed to house the orphans. The friendship presented by the two leads, Linda and Janice is built really well from the get go, with Janice having leg problems due to polio. Janice is almost immediately baited by the ghost of Bee. As she is isolated by the other girls due to her disability (as well as the older girls being bitches), the ghost/demon’s power grows, persuading Janice to enter Bee’s old room (which she is strictly told not to) and discovering the Annabelle doll. 

A lot of the success of this film can be credited to the director. David F. Sandberg (Lights Out) has a unique understanding of how fun a horror film can be, and allows this knowledge to be at the centre of the film. A major problem with the last film in the franchise, The Conjuring 2, was that it took itself way too seriously. He also focuses on the human side of horror, avoiding focusing too much on the demon and monstrous creatures and instead relying on smaller, more normal items being given anthropomorphic features and appearing as sentient beings (such as puppets, scarecrows, and, obviously, dolls). This allows the feeling of terror and fear to be present even when nothing scary is actually happening, with the small doll figure of Bee inside the dollhouse being one of the most effective tools even though it doesn’t actually do anything. Sandberg also utilises shadow really well in the film, drawing our focus away from the foreground and into the background often, as we wait for something to move or appear. 

The cinematography is also really strong. There are some excellent shots of the environment (which is just gorgeous) that the house is set in, and Bee’s room and Linda’s room are designed and filmed so well that even if this wasn’t a horror film it would still be creepy (honestly, screw those dolls in Linda’s room). There’s also the classic James Wan shot where we go through the house in one take, the characters drifting in and out of view as they take their own path. This shot will never get old for me as it creates such a dissonant feel without needing anything horrifying to be shown. 

The score is good as well, albeit pretty general. It’s often chilling and dissonant and the moments that they add no non-diegetic sounds or music and we are left hearing the many noises of the house are effective as usual. It also continues the classic modern-horror trope of ruining a classic song by associating it with a demon, this time the victim being ‘You Are My Sunshine’.

The acting in this film is also very good. Lulu Wilson has proven she can act as a terrifying child in horror films but this is the first time I’ve seen her play a ‘hero’ (she’s not really a hero but she’s the character that we are rooting for without being the lead) and she was really good. For someone who is only 11, she is making an impact and delivering some really strong performances. Talitha Bateman also had a good performance playing Janice. Every film I’ve seen her in so far have been rubbish, so seeing her shine in the first half of this film was a relief. Her acting gets a bit generic towards the end, but before that she leads the film brilliantly, gaining a lot of empathy from the audience. Miranda Otto and Stephanie Sigman are also good, leading the young cast well. Anthony LaPaglia is a bit inconsistent, sometimes overacting a bit and not always being believable as a mourning father. Sandberg’s wife Lotta Losten also makes a cool cameo towards the end, a nice little easter egg for those who are familiar with his short films.

Although I enjoyed this film a lot, finding only a few pacing issues, acting inconsistencies and cliched moments as weaknesses, I have a big issue with how they’ve done the mid and post credits scenes. To put it simply, they shouldn’t have existed at all. The mid/post credit scene has become pretty popular recently due to the MCU and its understandable that franchises are going to use this trope to further promote future movies as well as link the films up. With Annabelle: Creation, the scenes have absolutely no use. The first is just a shot of Annabelle with her face turning towards the camera as the shot cuts to black, and the second is inside a Romanian monastery with the nun Valak (from The Conjuring 2) slowly moving towards the screen. The first scene serves no purpose whatsoever and the second doesn’t reveal anything as they’ve already announced The Nun for next year and we’ve been given a much smarter and better link already in the movie due to Sister Charlotte (that scene was done really well in the film). The final scene of the movie (which links it to Annabelle’s opening scene) was a great way to end and if they wanted to use a post-credits scene, I wish they just used that as the two they’ve used are pointless.

Overall though, Annabelle: Creation was a fun horror film. Although it is a pretty basic horror, it's what Annabelle and The Conjuring 2 should have been more like, returning back to the entertaining horror that the first Conjuring set up. David F. Sandberg is continuing his rise into the mainstream (where he belongs) and hopefully we get more horror films from him in the future as he really does make good, ‘popcorn’ horror films. With the Conjuring franchise continuing next year with The Nun (as well as The Crooked Man being currently planned), Annabelle: Creation has raised the standards of the franchise and hopefully they continue at this level of quality horror.

Annabelle: Creation gets a B