rantings of a banchi

opinions on music, film, television and all things pop culture

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Logan (Review)

Directed by James Mangold, Logan is the final outing for Hugh Jackman as Wolverine from the X-Men film series. Without delving into spoiler territory, the film follows a broken and beaten Logan who is caring for an ailing Charles Xavier or Professor X. Through a series of events, Logan embarks on a road trip to protect both the Professor and a mysterious young girl named Laura.

First things first, this film is far from your run of the mill superhero film. Not to say I am against films of the genre, far from it in fact. Marvel films are for the most part fun, exhilarating and full of action. Case in point, the last two Captain America films. Though, there is a certain formula that these films tend to follow, and as enjoyable as they are, the often predictable nature can often border on tiresome. Daring to be different and defying genre conventions, Logan echoes more of a western than a comic book film.

Jackman has consistently shone and put his all into this role for the 17 years cast as Wolverine, but due to constant PG-13 film ratings, his portrayal of Wolvy never reached the brutal heights of the character depicted in the X-Men comic books. After all, this is a character which has adamantium surged through his body, namely claws made of the aforementioned in both of his hands. Jackman took a substantial pay cut during the production of the film to ensure the studio granted the film an R Rating. This was a masterstroke, and all I can say is thank you. The depiction of the violence in Logan is brutal, unrelentingly realistic, and often horrific and carries with it, consequences. In the context of the character, the jarring nature of the violence works exceeding well. It is great to finally see Wolverine fully embrace his inner beast, but also equally great to have a narratively rich and satisfying conclusion to both his and Professor X’s character arcs.

The three acts are balanced well, with a substantial portion dedicated to building an effective and hard hitting emotional storyline in amongst all of the blood and gore. This is further exemplified by the characters feeling far more grounded in reality than in past depictions. A battered Logan at the end of his tether, and an unwell Charles suffering from dementia and regular seizures. Jackman and Stewart have always been solid in their respective roles, but here they both put forward some of the best performances of their careers. Newcomer Dafne Keen was also fantastic in the role of Laura. The musical score by Marco Beltrami is solid, but is definitely at its best in the more tender and heartfelt moments.

All in all, Logan is an exciting and emotional film which displays plenty of depth and stands on its own as a dramatic action-western, which just happens to feature the likes of Wolverine and Professor X.

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Music in 2016 - Metallica

Over the course of the last decade, Metallica have released two albums. Two! Before 2008’s wonderfully thrashy Death Magnetic, 2003 was their last offering. The delay between their last few albums has been immense, bordering on ridiculous, which in turn became a long ongoing joke between a friend and me. This is a band I have stuck with for the better part of 20 years and when they release something, it always feels like a huge event. So when we were suddenly greeted to a new track from the metal pioneers in August… Well. Let’s just say it was a good Friday. The track was entitled Hardwired, and it was to be the opening number on their forthcoming album. Now, initially Hardwired really didn’t do much for me. It is a short and thrashy track, with lyrics that I felt left a little to be desired. I was a little on the fence about James Hetfield singing “We’re so fucked! Shit out of luck!” Can you stop yelling at me James? Part of me was worried that the new album would be in the same vein as Hardwired, or that the band that I have been so in tune with for years and years, was beginning to wear thin. A scary thought indeed. Thankfully, I can leave that shit at the door because a). in the context of the album, Hardwired is actually a pretty decent track, and b). Hardwired… To Self-Destruct, amazingly only Metallica’s tenth album in over 30 years as a band, is downright fantastic! Released in the form of a double album, Hardwired… is a resounding return for the four horsemen. The album successfully mish mashes different sounds from their bygone years to create a Metallica concoction that shows little sign of the rockers slowing down anytime soon. It was a glorious surprise to hear songs that could have been plucked straight out of the Load and Reload era right next to cuts that had a distinct Master of Puppets and Black Album sound. Frontman James Hetfield is sounding magnificent here, and it is so great to hear backing vocals and vocal layering once more, both of which have been sorely lacking on Metallica’s last two efforts. And as much as I love Death Magnetic, the songs were very raw and sometimes messy, especially the guitar solos. On Hardwired… the guitar solos sound much cleaner and the song writing more refined. This is a rather interesting aspect, as it is the first Metallica album in which lead guitarist Kirk Hammett has not had a writing credit. To accompany the release of the double album, the band shot videos for all of the songs, and being the fan boys we are, my friend and I had a viewing night where we watched all 13 cuts back to back. Listening to these brand new songs and seeing this band back in their prime again after such a long break with no new material, really reminded me why they have meant so much to me over the years. I have bonded and continue to do so with peers over a mutual love of Metallica, and they are definitely an act that I don’t see myself getting tired of. Let’s just hope it isn’t another eight years until their next recording!

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Music in 2016 - Frank Ocean

“I got two versions. I got twoooo versions.” So said the cryptic tumblr post from Frank Ocean circa 2015, purporting a possible July release of two versions of his eagerly anticipated second album. It is safe to say, that the internet lost their shit, myself included. July 2015 came and went. No new Frank. Months and months passed. Besides the collective tears of the music world, no new Ocean was in sight. Why you do this Frank? By mid-2016 I had all but given up on a new Frank Ocean album. I also convinced myself that whether intentional or not, the hype surrounding the mysterious second album could be somewhat of a misstep. If you’ve delayed your album this long, you better make damn sure it’s worth the wait! Then out of nowhere in August, a strange looped video of Ocean playing instruments and partaking in some woodworking appeared on his official website. Had Frank taken to carpentry over the past 4 years? The cryptic video turned out to be part of a visual album entitled Endless which dropped a few days after the video loop went live. Largely toying with ambience and instrumentals, Endless was the final release under the Def Jam record label for Ocean which in turn rounded out his recording contract. Releasing Endless was a rather smart move in order to finally unveil his second album under his personal label Boys Don’t Cry. A mere 24 hours after Endless hit our collective eyes and ears, Ocean released his sophomore LP Blonde. Is this real life? I’ll be the first to admit, Blonde definitely didn’t hit me on the first listen. Ocean has notched up the experimentation on this effort and it is often miles away from the smooth R&B we have come to know and expect from him. This doesn’t make it any less enthralling though. After repeat listens, I managed to pick up further elements and intricacies missed previous. Blonde is a grower, and if you stick with and give it sufficient time, the rewards will be well worth it. I wholeheartedly applaud Ocean for doing something so different, penning honest lyrics and crafting arrangements with multiple layers and facets. Frank, you toyed with my heart, but I can’t stay mad at you. Don’t ever change.

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Music in 2016

2016 was yet another whirlwind of a year, packed to the brim with notable entries within the arts. I thought to tackle my round up slightly different to previous years, especially the music portion. While I have written a round up for some of my favourites for the year, which I will be posting first up, I wanted to focus more on what were, for me, the biggest events in music for the year 2016. Let’s do this!

Straight off the bat, Canberra hard rock act Hands Like Houses continued on their merry way with their sublime third effort Dissonants. Easily one of the best Australian acts on the scene at the moment, the band delve into heavier territory here, all the while maintaining their handle on infectious melodies. Vocalist Trenton Woodley is on point here, and man can he belt out a tune. The only way is up from here for Hands Like Houses, and I for one am excited to bear witness to their meteoric rise.

Experimental hip-hop act clipping’s second album Splendor & Misery tells the tale of a sole survivor of a slave uprising on an interstellar cargo ship, and the onboard computer that falls in love with him. You may scoff at that description from the band, but holy hell, this album is fantastic. Led by the trademark diction from the always impressive Daveed Diggs, the accompanying production paints a beautifully detailed and dark picture of the vast expanse of space. At times, this can be a challenging listen. Though at under 40 minutes, you best strap yourself in for the ride while it lasts!

Every Time I Die frontman Keith Buckley nearly lost both his wife and unborn daughter due to a pregnancy complication whilst in hospital. This experience formed the basis of the narrative for Low Teens, the Buffalo hardcore act’s eighth album, and the result is some of the band’s most honest and memorable work to date. Every Time I Die have struck a wonderful balance between brutal, all out mayhem and their often catchy and fist pumping southern rock sensibilities. This is one to be played loud. Very loud.

Five years between drinks for instrumental post rockers Explosions In The Sky seems to have worked an absolute treat. The Wilderness is the band’s seventh album, and it further pushes the credentials of the Texan four piece. Tracks build and explode in the form of glorious crescendos with tension rife throughout this nine track journey. The Wilderness is cinematic in scope and never shies away from some real beauty.

Melbournian alt-rockers Ceres have returned with their sophomore album Drag It Down On You. Following up a fantastic debut was always going to be a tough feat, but the quartet have pulled out all the punches with this top notch recording. In equal measures emotional and engaging, Drag It Down On You serves as a delectable calling card for the young band.

Returning from a three year hiatus, Californian rockers Thrice came back in style with To Be Everywhere Is To Be Nowhere. Mixing some harder moments of old, and their more alt rock orientated material of late, Thrice have done themselves proud with this gem.

Following what seemed like a hell of a long time, Local Natives released their third LP Sunlit Youth in September. The band have pulled off yet another stellar recording, full of dreamy tunes featuring the soaring vocals and harmonies we have come to know and love.

If there ever was a recording where you could tell the artist and his guests were having the absolute time of their lives, Coloring Book by Chance The Rapper would be it. Enlisting the help of many big names, Chance guides us through a mixtape of playful and gospel infused hip-hop, each song more colourful than the last, with his trademark charm and swagger. Hitting on many levels, Colouring Book is a huge achievement for Chance.

Echoing Gotye and Sting in equal measures, one man band extraordinaire DD Dumbo dropped his debut album Utopia Defeated in October. The album juggles a great mix of jangly indie pop and psychedelic rock, featuring some truly moving moments courtesy of the first-rate song writing and production on display. With the accolades mounting, DD Dumbo is set for a bright future.

After scrapping a number of already recorded tracks for his long awaited debut album, Matt Corby went back to the drawing board and emerged from the shadows with the excellent Telluric. Adopting a much more 70s and neo soul vibe to his previous folk orientated work, Telluric is a gorgeous and warm recording which showcases the sheer talent of Corby and his band.

Don’t You, the debut LP from Brooklyn trio Wet, manages to find a kinship between the sombre and the uplifting with much success. This is a dazzling slice of dream pop and it tugs at the heartstrings with plenty of gusto.

The second full length from Catfish and the Bottlemen, The Ride, sees the UK act increase their penchant for penning solid, catchy and to the point rock songs with a true British flare.

Ramping up the experimentation on their third studio album 22, A Million, Bon Iver have struck some rather fine gold. Melding some great vocoder and loop driven electronics with some beautiful folk has resulted in a captivating listen.  

Simple Forms is the third album from The Naked and Famous, and while it doesn’t overly stray from the indie and electro pop we have heard from them in the past, it is still a solid outing. Plenty of vibrant tracks are here for the showing, and the vocal work from Alisa Xayalith and Thom Powers is yet again superb.

And finally, Brisbane’s Cub Sport have crafted some great indie pop on their debut in This Is Our Vice. High spirited, energetic and with frontman Tim Nelson’s voice shining throughout, this is definitely one vice I am totally okay with retaining.

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High Maintenance (Season One) - Review

Penned by the husband and wife duo of Ben Sinclair and Katja Blichfeld, High Maintenance’s six episode run on HBO saw the show grow up in a big way from its beginnings as a Vimeo web series. The series revolves around a marijuana delivery man, simply referred to as “The Guy”, distributing goods to various locations within New York City, each episode chronicling characters procuring his services.

Transitioning from web series to cable network has been a near seamless one, mainly thanks to the strong writing and direction from Sinclair and Blichfeld. Tone variation is handled with aplomb; dramatic moments resonating authenticity, while light hearted and more surreal moments never break the flow of the narrative or come across as being forced. Building on the already impressively shot web series, the cinematography here is often beautiful and captures the city that never sleeps in all its glory.

The beauty of High Maintenance is that even though “The Guy” is the lead character per se, he often tends to drift in and out of the episodes, with other characters taking more of a lead. And much like the web series, the casting here is again superb. Many new characters are welcomed to the fold, as memorable players return from the past, notably Dan Stevens’ cross dressing Colin, Hannibal Buress’ self-portrayal and Michael Cyril Creighton’s agoraphobic and Helen Hunt obsessed Patrick.

One minor gripe I do have with the show is that I felt some story lines would start to build, then a completely different narrative would be introduced in the same episode. Considering the much longer run time, I understand more would need to be incorporated, but it would have been good to have seen some of these stories play out in full. Though I think that is part of the charm of High Maintenance. The show revels in often straying from the norm. And it does it ever so well. Huge props to Sinclair and Blichfeld for crafting such an engaging and unique television show. High Maintenance is fantastic viewing and I am eagerly awaiting the second season.

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Blair Witch (2016) - Review

The Blair Witch Project was one of my favourite films back in 1999 and it scared the pants off of me. Backed by an amazing marketing campaign, TBWP was an absolute game changer in terms of found footage and horror. Since the film however, the two elements have become synonymous to the point of oversaturation. Cheap to make and often raking it in at the box office, you can’t escape the presence of lazy found footage horror today. Every now and then a decent one will come along, but there really isn’t too much new territory to cover. Was Blair Witch going to be the moment found footage gets back on track?

Filmed in secrecy under the guise of The Woods, Blair Witch takes place 20 years after TBWP and revolves around James, the brother of Heather from the first film. He discovers a video clip online of the Rustin Parr house from the first film which appears to show a flash of a female figure he believes is his sister. On this hunch, he and friends Peter, Ashley and Lisa, along with two locals Lane and Talia, opt to document the search.

I have a lot of respect for director Adam Wingard. He has made some great films in the past and he shows a real understanding of horror, a genre currently in need of some much needed diversity. I was so excited to hear he and writer Simon Barrett were at the helm of Blair Witch, and I really wanted to love this film. This makes it all the more disappointing that Blair Witch, for the most part, is a rather mixed affair, and despite it being billed as a sequel, felt more like a reboot with a few new ideas thrown into the mix.

For all of the creepiness or Blair Witch, most of which occurs in the final ten minutes, the 70 or so minutes beforehand was a mess. Thanks to some obnoxiously loud sound design, what minimal tension had been built was swiftly dashed in the night time sequences. In TBWP, when you heard a rock or tree crack in the distance followed by eerie silence, the tension was palpable. In Blair Witch, you had silence and then LOUD NOISES. I swear trees were being uprooted and broken into pieces in the early stages of the film. Some of the night sequences were impressive, but the transition from slow burn to chaotic didn’t feel fluid.

The use of updated technology was a welcomed addition, the most effective being the use of inner ear cameras which answered the age old question raised in found footage films of ‘why the hell are you still filming?’ The addition of a drone though, was pointless and a completely wasted opportunity. Other than showing some aerial shots of the woods, it was more or less a tool to have a character die in a stupid way. Which leads me to my biggest gripe of the film… The jump scares. Oh my god, the jump scares. These frustrate me to no end. Why were they there? They served absolutely no purpose to the narrative. They’re cheap and stupid and I really wish filmmakers would stop incorporating them into their films. Come on Adam. You don’t need to resort to such cheap tactics to get a scare. You have proven you are better than that!  

All negativity aside, the last moments of the film are fantastic and filled with tension and dread, and something that happens (which I only picked up after leaving the cinema), casts the film in a different light. It’s an ambitious idea, and I would have liked to have seen it explored further. And unlike TBWP, we actually get a glimpse of something stalking our lost characters, and it looks pretty creepy. Though this isn’t enough to save the film from ending up quite scattershot and littered with some really interesting ideas which are in dire need of being fleshed out. Blair Witch is entertaining enough, but with the creative talents of Wingard and Barrett in tow, I really expected bigger things.

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The Best of 2015 - Music

It’s Business Time... 10. Blur – The Magic Whip

Little to no press in the lead up to its release and 12 years since Blur’s previous outing rendered The Magic Whip the shock release of the year. With a healthy dose of nostalgia in tow from their Brit-Pop days, along with the more experimental side displayed in their later recordings, the UK alt-rockers eighth recording is a wondrous return for the band. Let’s hope it isn’t another 12 years between drinks for the lads.  

9. CHVRCHES – Every Open Eye

While CHVRCHES’ second recording is not entirely dissimilar to their excellent debut, its more nuanced details propel Every Open Eye to excellent status. The Scottish electro pop trio have built on the solid production from previous with an even more impressive showing this time round. Beats are crisper, melodies flourish and Lauren Mayberry’s sweet diction are all things to behold. Song structures are more intricate, lyrics are deeper and darker, and their ‘build vs. pay-off’ is at an all-time high. Following up a debut as impressive as The Bones Of What You Believe was always going to be a difficult feat, but CHVRCHES have succeeded in every way with Every Open Eye. 

8. The Staves – If I Was

Hailing from Watford, Hertfordshire in southern England, the Staveley-Taylor sisters under their moniker The Staves, have crafted something beautiful with their second album, If I Was. Enlisting the slick production of one Justin Vernon, the sisters explore tales of love, loss and unravelling through delicate and highly emotive folk. The trio all have spectacular voices and work in unison to deliver some of the most stirring vocal harmonies I have heard in a long time. A heavy listen at times, but never lacking in feeling.  

7. Fightstar – Behind The Devil’s Back

Another band to break a lengthy album hiatus in 2015 were UK post-hardcore outfit Fightstar. The four piece dropped their fourth, and possibly finest, album in October. Behind The Devil’s Back is a welcomed return to the fold and form after the overly ambitious Be Human in 2008. The band are sounding fantastic, showing off high octane riffage, breakneck drumming, a wonderful mix of clean and harsh vocals as well as the inclusion of some subtle electronics. These guys know what they are doing, and they are hands down one of the best heavy bands going around at the moment. Brutal and hugely melodic in equal measure, this is one to listen to very loud. Horns up!       

6. Jamie xx – In Colour

The hype surrounding the release of Jamie xx’s debut album was completely justified. Eclipsing his previous material tenfold, In Colour is in an immensely spirited and ever shifting ode to the UK club scene. Jamie xx revels in minimalism on many tracks, but his grasp on the technique is such that the most vibrant sections of music never end up sounding empty or lacking in scope. Lush, warm and truly breathtaking at times, this is electronic music at its best delivered from one of the best producers kicking around at the moment. 

5. Enter Shikari – The Mindsweep

Continue their fascinating evolution with gusto, UK’s Enter Shikari dropped their most impressive work to date in The Mindsweep. The album sees the band push themselves ever further melodically to often soaring heights. Their balancing of the heavy and delicate has never sounded better, as moments of sheer madness are interplayed with sweeping keys and strings beautifully. Their politically charged lyrics delivered by Rou Reynolds are as always, superb, nailing with ease, the fine line between coming across as naturalistic or heavy handed. All the electronics in the mix are sitting perfectly in line with the rest of the music and they never lose clarity or become overbearing. I feel that anything these guys release will always place in my end of year list regardless. Enter Shikari are one of the most exciting, unpredictable and unique bands on the scene at present, and The Mindsweep only further strengthens their cause. 

4. Hiatus Kaiyote – Choose Your Weapon*

If there was ever a band to not only recognise the rule book for genre conventions, but to then throw said book deftly into the wind, Hiatus Kaiyote would surely be at the fore. The Melbourne act’s sophomore outing Choose Your Weapon improves strongly on the foundations laid by their debut, faultlessly moulding jazz, soul, funk and a splash of electronica into an exhilarating and uncompromising 70 minute adventure. Never prone to incorporate half measures, the record is constantly changing with deep bass reigning supreme on the jittery Laputa, Nai Palm’s sultry jazz-infused vocals soothing on Breathing Underwater, and Atari receiving a breakneck tempo and 8-bit electronic treatment. Hiatus Kaiyote’s Choose Your Weapon is an incredible achievement by a band who fully deserve your attention.  

3. Wolf Alice – My Love Is Cool*

The debut album from London four piece Wolf Alice is one of contrasts. Chaotic and grungy one moment, refined and delicate the next. Despite its tonal variations and genre bending, My Love Is Cool remains an engaging, fully coherent and cohesive body of work. Your Loves Whore and Bros are incredibly catchy and heartfelt, while the hectic duo of Lisbon and Giant Peach show a band not afraid in the slightest to get their hands dirty. Frontwoman Ellie Rowsell oozes charisma and uses a fantastic set of lungs to full potential, as the musical backdrop shifts between the light and dark with ease. My Love Is Cool showcases a true sense of both wonder and a certain familiarity with dazzling results.  

2. Grimes – Art Angels

Following up your seminal third album with a vastly different sound is a pretty ballsy move. But when you’ve written an album to the sterling quality of Art Angels, Claire Boucher’s aka Grimes’ fourth long player, you have absolutely nothing to worry about. Retaining much of her electronic flare of old, but also incorporating a much bigger sound with plentiful guitar and drums, Boucher has produced an amazingly catchy, uplifting and accessible recording. Also worth noting is that Boucher’s lyrics are a lot more discernible than in the past. Art Angels is an intoxicating and multi-layered art pop and electronic joy ride which I would be content to stay on for a long time to come. Incredible stuff.  

1. Gang of Youths – The Positions*

The Positions came to fruition over the space of a two year period and tells of the tumultuous relationship between Gang of Youths’ frontman David Leaupepe and a woman diagnosed with terminal cancer. An album birthed out of sheer necessity, The Positions manages to maintain an uplifting air of defiance while painting a sprawling picture of grief, loss and ultimately hope. It is one thing to delve into such a heavy subject matter on your debut long player, but it is another entirely when the kind of precision and finesse displayed in the execution reflects that of an act far beyond their mere years would suggest. Anchored by the incredible vocal range delivered by Leaupepe, from the rollicking Poison Drum and the triumphant Magnolia, to the heartbreak of Kansas and Sjamboksa, The Positions is beautiful, raw, honest and far reaching indie rock where risk pays off in hefty rewards. 

*Originally published as part of the interns’ Best Albums Of 2015: Honourable Mentions and Staff Lists

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The Best of 2015 - Music (Honourable Mentions)

One of my favourite albeit highly challenging annual tasks, is to narrow down best of lists. I thought I would get my picks in before 2016 fully ramps up rendering these lists a little superfluous. So as we reset and recharge, let us also reflect on the year just gone.

From the release of many stellar debut recordings, to the dropping of long players after lengthy hiatuses, 2015 delivered in spades on the music front. The top 10 was hard enough to nail down, but in the lead up of getting to the business end, I thought to rattle off some honourable mentions for 2015 in the field of music.

On the heavy front, metalcore frontrunners blessthefall followed up their 2013 opus Hollow Bodies with the excellent To Those Left Behind. The Canadian five piece changed things up substantially on TTLB, showing off more of their melodic chops and cutting back on the use of harsh vocals when need be. However, had the band released another album in the same vein as Hollow Bodies, I would not have minded in the slightest.

Bring Me The Horizon continued their march towards arena hard rock in a big way with their fifth long player That’s The Spirit. Garnering some unhappy fans venting their disdain for the new album shouldn’t bother BMTH in the slightest. That’s The Spirit is both the sign of a band willing to evolve, and one with plenty of depth. Captivating listening from start to finish, this album is an absolute triumph. It’s only up from here for Oli Sykes and co.

Every Trick in the Book, the fourth effort from Ice Nine Kills, is an absolute belter. Each of the ten tracks drew inspiration from pieces of literature, and the end result is both brutal and uncompromising, while never lacking in moments of genuine beauty.

Chapter & Verse, the seventh and final album for Welsh rockers Funeral for A Friend built on the solid foundations left from the fantastically punchy Conduit from 2013. This time round, there is more of an edge and a distinct rawness to the tracks, especially in the vocal delivery from Matt Davies. Though, the standout for me is the incredible drumming by Pat Lundy. This guy is a true talent and his inclusion on FFAF’s past two albums ramped up their intensity to break neck pace. Funeral for a Friend, you will be missed.

Following a hiatus of nearly 10 years after the brilliant sonic onslaught that was The Woods, pivotal riot-grrrl movement act Sleater-Kinney returned with No Cities to Love. Recorded in near secrecy, No Cities to Love oozes attitude and the trademark Sleater-Kinney grit. This return screams loud and proud that the trio can still rock our socks, while remaining as relevant as they were a decade ago.

Susanne Sundfør’s sixth LP Ten Love Songs explores all aspects of love in an unconventional sense. She masterfully incorporates orchestral elements to an established mould of synth and baroque pop with a high success rate. The arrangements are lush, consistently beautiful and anchored by Sundfør’s glowing vocal delivery. It pained me to not have room for this album in my top 10. Had I allowed for some leniency, it would have slotted in firmly at number 11.

Katzenjammer’s third outing is an interesting one. While Rockland is not especially rocky, the unique spin on folk which these gals put to tape is always fantastic, and this album is no exception. The instrumentation of the four piece is again sublime. With plentiful ease, each of the members switch instruments and handle vocal duties on the regular. Rockland may not be their best outing, but it still a rollicking good time at a sizable 50 minute length with bonus tracks.

Where to begin with Kendrick Lamar’s highly experimental and epic third album. To Pimp a Butterfly retained little of the immediacy and accessibility that was present on Good Kid, M.A.A.D. City. In their place was a wildly sprawling and timely narrative largely dealing with racial inequality, which when unpacked and fully realised made way for some of the best hip-hop of the past decade. At almost 80 minutes in length, this album is an incredibly heavy and challenging listen, but if and once it clicks, you will be richly rewarded in all of its intricate glory. All hail Kendrick!

Glowbug’s Headhunters is DIY electro at its best. Daniel Anderson is the brains behind Glowbug and his third LP is a hugely vibrant collection of cuts. The album utilises great production, buckets of reverb, catchy hooks and some blood curdling screams to great use. This is the most impressive work to date from Anderson, and his selection of guest vocalists works exceedingly well.

Sometimes I Sit and Think, and Sometimes I Just Sit is the wonderfully titled debut album from Courtney Barnett. She took the world by storm in 2015, and I feel she is completely deserving of all the accolades she has been receiving. Her dry wit and Australian drawl really shine through on her debut and it makes for a relatable and thought provoking listen.

After having played in numerous bands and notched up some great collaborations to her musical belt, Netherlands native Janne Schra has transitioned into work as a solo artist. Ponzo is her second album under her name and it is a worthy follow up to her great debut from 2013. This album is a delightful mix of jazz, folk and pop, all of which are well suited to Schra’s sweet vocals. Whether it be as a solo artist or in another musical form, anything Schra touches seems to turn to gold.  

Staying in the Netherlands with We Only Part To Meet Again, the sophomore effort from Mister and Mississippi. Picking up where their self-titled debut left off, this is another helping of thoughtful, dreamy and emotional folk music from the four piece, with a high class offering of vocal interplay between Maxime Barlag and Samgar Jacobs.

The first time I heard UK MC Little Simz was on the Raleigh Ritchie track Cuckoo. Her guest spot on that track was akin to making the boldest of statements, dropping the mic and exiting stage left. A mix-tape or two later, and her debut album A Curious Tale of Trials + Persons, has dropped to warranted critical acclaim. The album shows off Little Simz’ impressive flow, smart wordplay and excellent production.  It’s at times hard to believe that the talented MC is only 21 years of age. The future is definitely looking bright for Little Simz.

For The Company, the debut album from Sydney’s Little May, is a dazzling slice of indie folk which hits all the right buttons, and then some. There is some truly great guitar work and musicianship on this recording, and the trio do a fine job at balancing the emotional spectrum between brooding and upbeat. If this debut is anything to go by, Little May are paving the way for a bright and illustrious career.

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Paranormal Activity: The Ghost Dimension

After six features, the hugely successful Paranormal Activity franchise has come to an end with Paranormal Activity: The Ghost Dimension. The film follows yet another family, this time the Fleeges, who discover they are being haunted by the malevolent spirit from the previous films, Toby. Through the discovery of a retro camera which can conveniently view spirits, the family are able to document the shifting apparition who seems to have taken a liking to their young daughter.

Despite sticking to a pretty standard formula, I have had a lot of fun with the Paranormal Activity films. The first three were especially creepy and though the last two were a little underwhelming at times, they still managed to wring out some great scares. So it is with much disappointment to say that The Ghost Dimension, is an incredibly woeful film. In promising to finally ‘show the activity’, the film goes against everything that made the previous entries memorable. The PA franchise relied heavily on both not showing or revealing a whole lot, but for the most part it worked very well. What you can’t see is often so much more frightening than what you can. This sense of dread and intrigue has been totally nullified here. In their place is the addition of laughable CGI which looks like a mix of the smoke monster from Lost and floating ectoplasm. And the way in which the activity is viewed, via a mysterious camera found in the Fleege household, is just a stupidly convenient gimmick and blatant cash grab for 3D viewings. So much like in the previous films, you can hear the trademark bass rumble when something is about to go down, but now there is no build-up of suspense or tension, because you can SEE THE DAMN THING. And it looks ridiculous. All the “scares” in the film are loud noises coupled with cheap and predictable jump scares. I’m talking 99 cents bargain bin cheap here. You can see them coming from a mile away. Jump scares are all well and good, when utilised effectively and sparingly. A sole reliance on them and sudden audio spikes does not result in a scary movie. You could get a more competent scare by donning a white sheet and yelling boo at someone from a brightly lit corridor.

The climax in the PA films has always been a staple. There was a high chance everyone was going to die a gruesome death, but the madness on screen was always a hell of a ride. The end of PA3 is one of the scariest and most tension heavy final acts in a horror I can recall, and the final moments of The Marked Ones (literally) opened the door for a potentially huge finale. The Ghost Dimension pretty much throws all of that into the wind and simply opts for a CGI heavy sequence, (because that’s apparently what the fans want) resulting in a comical finale which includes a sequence where a bedsheet soaked in holy water, is thrown over an out of control demon. Fail.

The creators also stated that this film would answer all of the questions raised in the prior entries. There has been a loose arc throughout, and even though the writers probably bit off a lot more than they could chew in terms of a coherent narrative, I still had hope that they would be able to resolve a majority of what was left unanswered. Guess again. Next to nothing is explained, with the main reveal consisting of a lazy wrap up of events from the first three films. PA4 & The Marked Ones were hardly referenced. Not to mention the strange absence of the main antagonist from the first five films. She was mentioned in passing, but it makes absolutely no sense to not include her now. Toby’s end game was somewhat explained, in a rushed and unsatisfying manner, much like the end sequence of the film.  

Demon’s aside, the dialogue sounds as if it has been read verbatim off of a script. I’m sure the actors just wanted to get the filming over with and the production team didn’t bother with any reshoots. Lucky they didn’t. They may have had a semi-decent film on their hands.

This is probably the first of the six films where I actively felt frustrated with all of the characters and their constant stupidity. Granted, horror films, especially found footage films, don’t always employ smart and rational decision making from characters, but my god. These characters really took the cake. Hiding from a demon behind a kitchen island. Telling your brother to stay still when there is a mass of floating black goo behind him. Making a quick stop for supplies in a haunted house and thinking “oh, I’ll just brush up on some demon research while I’m here”. Also, if you are filming everything and one of your cameras can you know, see spirits… watch the tapes! Hardly any footage is reviewed which leads to two of the main characters second guessing anything is even going on. WATCH. THE. FOOTAGE.

It is hard to fathom how frustratingly bad this film is. As a horror, it fails. As a film, it is barely watchable. The creators had a great chance to finish the series with a bang, but instead finished with a barely audible whimper. Inept, idiotic and lazy in so many ways, and a huge missed opportunity, this is one of the worst horrors I have seen and easily the worst film of 2015. This is how you’re going to go out? With an almighty slap in the face to fans of your franchise? To the makers of Paranormal Activity: The Ghost Dimension… Your film is bad, and you should feel bad.

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2015 - The Year So Far (Music) Part 2

Janne Schra – Ponzo

Netherlands native Janne Schra’s second LP Ponzo is a splendid, light hearted and playful mix of jazz, folk and pop. There is plenty musical variation on Ponzo, all anchored by Schra’s sweet and breezy vocals. Schra has been quite the musical chameleon over the years, playing in a number of bands, but she really hits her stride as a solo artist. There are a myriad of great acts coming out of the Netherlands at the moment, and Janne Schra is definitely at the fore. 

Kendrick Lamar – To Pimp a Butterfly

When Kendrick Lamar’s second album Good Kid, M.A.A.D City dropped to rave reviews, the question was raised as to whether he had peaked too early. Releasing a critically acclaimed album in your early 20’s is bound to garner industry, critic and fan pressure alike. So to say there was a lot of hype surrounding the release of To Pimp a Butterfly is a resounding understatement. Simply put, this album is pretty damn incredible. Featuring little to none of the immediacy of his previous two releases, Kendrick has absolutely knocked this one out of the park. Clocking in at near on 80 minutes, this collection of songs works better as a whole rather than individually. Timely, lyrically relevant and breath taking at every turn, To Pimp a Butterfly is essential listening. One of the best albums of the past decade? Possibly. One of the best hip-hop albums in recent memory? Definitely.

Mister & Mississippi – We Only Part To Meet Again

Another great act to emerge from the Netherlands, Mister & Mississippi show off a great brand of emotive folk that is the perfect soundtrack to that lazy Sunday with a beverage in one hand and a book in the other. While still coming in second to their excellent self-titled debut, We Only Part to Meet Again is a delicate, touching and reflective set of songs that are bound to tug at the heartstrings.

The Staves – If I Was

Watford sister trio The Staves have returned to the fold with their second long player. The musical progression of the Staveley-Taylor sisters is starkly in focus throughout If I Was. Tracks display a greater depth than previous, covering heartbreak and a state of unravelling in a truly gorgeous and defiant manner. Staying true to their folk roots and with Bon Iver main man Justin Vernon lending excellent production duties, If I Was sees The Staves at the top of their game.

Wolf Alice – My Love is Cool

The long awaited debut from London act Wolf Alice sees the four piece taking their eclectic mish mash of genres to the next level. Part ‘90s-era grunge, indie rock, folk and with a splash of electronica, My Love is Cool is an alluring listen from start to finish. The mix of grimy grunge and gentle folk could often work against the artist with what may possibly be an outlandish contrast, but Wolf Alice make it work. Damn well. 

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2015 - The Year So Far (Music) Part 1

Just over six months into 2015 and there has already been an abundance of noteworthy LP releases. This only looks set to increase as there are plenty of anticipated albums slated to drop in the second half of the year. Life is good.

With an exception to the already reviewed releases from this year, here are a further five picks in the area of music.

Blur – The Magic Whip

Following a five year hiatus, plenty of inner band turmoil and the release of only two new tracks since reforming in 2008, Blur threw a massive curveball to their fans earlier this year. The band to release The Magic Whip; their first album of new material in 12 years. Thankfully, Damon Albarn and the gang still have it. Recalling in part, elements from their Brit-Pop days rather than the band’s more experimental period, as well as Albarn’s material outside of Blur, The Magic Whip is a delectable return for the UK four piece.

Courtney Barnett – Sometimes I Sit and Think, and Sometimes I Just Sit

With a rapid fire wit and delivery, Courtney Barnett’s gloriously titled debut Something I Sit and Think, and Sometimes I Just Sit is one of the best Australian releases of the past decade. There is just something about her astute observations of life around her that resonate so deeply. Equal parts catchy, relevant and thought provoking, Sometimes I Sit… is only the mere beginning of Barnett’s rise.

Gang of Youths – The Positions

Recorded over the course of two years, The Positions was birthed from front-man David Leaupepe’s turbulent relationship with a woman diagnosed with terminal cancer. A cathartic, heartbreaking and honest collection of songs, Gang of Youths’ fantastic debut is packed with sprawling epics ranging in tone and tempo. Despite the heavy subject matter in tow, the album doesn’t cross the fine line between art and pretention. The Positions is a precisely executed see-saw of emotional indie rock.

Hiatus Kaiyote – Choose Your Weapon

Future jazz, neo-soul, progressive funk… You can’t pinpoint a particular genre to lump Hiatus Kaiyote into. Their sound is a highly unique fusion of the aforementioned and Choose Your Weapon, only their second full length, showcases this mix with dazzling results. There is an abundance of feeling herein and it is a genuine pleasure to experience music so original in its execution. The changing time signatures, amazing instrumentation and silky smooth vocals make for an uncompromising and unpredictable listen. Choose Your Weapon is a stunning piece of work.

Jamie xx – In Colour

After a couple of killer singles and an excellent mashup with the late Gil Scott-Heron a few years back, Jamie xx’s long awaited debut has finally arrived. In Colour is a largely vibrant and ever shifting ode to the UK club scene which boasts excellent production, deep house beats and lush soundscapes. xx knows his way around well-crafted, engaging electronica, and the entirety of In Colour soars with both a refined subtlety and elegance.

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Muse - Drones

Prior to the release of Muse’s seventh LP Drones, the band stated that this album would be a more stripped back affair. This news was very welcomed as the band’s experimentation had seemingly been pushed to the limit with previous effort The 2nd Law. While not terrible by any means, the flow and cohesion present from previous material was disappointingly absent. Coupled with the diversity of the tracks, the end result played out like a compilation album which often bordered on self-parody.

With that in mind, it is with much pleasure to state that for the most part, the Muse of old are back. Drones is by far the most concise and consistent work the band have put together in over a decade. The three piece have also delivered on the promise of stripped back material, opting against the inclusion of electronic swirls and lush orchestrations that were a constant over their past two albums. In their place, Muse have injected a healthy dose of rock into the mix.

The Handler displays epic guitar riffage, hammering drums and the trademark Matt Bellamy falsetto in glorious fashion, with a tense build up at around the 2:20 mark, and a passionate pay off to match. Lead single Dead Inside has a distinctly 80’s vibe, minus the cheese. Mercy recalls the band’s older track Starlight, though with more edge. Reapers showcases some of the most impressive guitar work that Bellamy has put to tape thus far, and while the grandiose Citizen Erased sequel The Globalist could slot into one of Muse’s past three albums with ease, its placement here works beautifully in the grand scheme of the LP’s progression.

However, the main drawback to this otherwise great recording are the lyrics penned by Bellamy. Drones is a concept album and tells the story of a protagonist’s journey from abandonment, to his indoctrination to become a human drone, and the ultimate defection from his oppressors. Bellamy is known for his political leanings and conspiracy theorising within his lyrics, but he appears to have really missed the mark here. What should have been a highly powerful narrative is somewhat squandered due to lazily cooked up lyrics that fail to connect on an emotional level. Whereas the sweeping highs of the excellent musical backdrop did exactly that. Disappointing, though surprise isn’t entirely warranted. This is the band that wrote Knights of Cydonia.

Overall, Drones sees Muse mostly back in their element after a couple of slightly meandering efforts. The boys have crafted a suitably exciting and epic adventure that ticks all the right boxes in a musical sense, but not so much on the lyrical side of the spectrum. 

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Harts @ Amplifier Bar (12/06/2015)

Darren Hart, aka Harts, made his long awaited live show debut in WA to a handful of eager fans at the Amplifier on Friday evening. He mentioned that it took him three years to make his way out West. My goodness, was it worth the wait.

Armed with pedals, a synth, some nifty samples, two microphones and of course his guitar, Harts channelled the axe wielding prowess of the late, great Jimi Hendrix, along with the funk and R&B sensibilities of Prince to bring an amazing set to town.

Drawing from his impressive debut Daydreamer, and the newly released extended play Breakthrough, Harts smashed through pitch perfect renditions of a handful of tracks. Whether it was the funk laden playfulness of Lovers in Bloom, the bluesy rock of When a Man’s a Fool, or asking the audience “Are you with me for the ride?” (a thousand times yes) during Leavn It All Behind, Harts commanded attention. And attention he received. While drummer Emmanuel Bourakis was pounding away frantically on the kit, Harts was centre stage playing the absolute hell out of his six string, displaying skills far beyond his 23 years would suggest. Truly awe inspiring.

Penultimate track Tide showcased his skills even further with Harts’ playing a large portion with his guitar behind his head. The set was rounded out with a high volume and high energy cover of Purple Haze. His set was a little on the short side, but what an impression he made. You would be forgiven for thinking that Darren Hart was Jimi Hendrix reincarnated.

It almost seems criminal that despite the immense talent of Harts, and even an endorsement from Prince, he isn’t more popular. He is genuinely one of the most talented musicians kicking around on the scene these days, and it’s only a matter of time until stardom comes knocking. For Harts, the only way from here is up.

Photo credit: Amplifier Capitol

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Enter Shikari @ Metropolis Fremantle (18/05/2015)

It had been five years since UK four piece Enter Shikari had performed a headline show in the West, so it was understandable that the atmosphere inside Metropolis Fremantle seemed somewhat antsy. Having been privy to Enter Shikari’s live shows in the past, this feeling was certainly relatable.  

Kicking off the musical platter for the evening were the hardcore stylings of Sydneysiders Hellions. Bar set closer 23, their tracks failed to resonate. There were moments during Hellions’ performance that felt as though they were building to something, but eventually all was lost in a messy sea of loud guitars, drums and harsh vocals.

Hands Like Houses on the other hand were a complete contrast. Opening with the energetic Introduced Species, the Canberra band were on song for their entire set. Blazing through a number of tracks from their two impressive long players, the band’s musicianship was breathtaking, all rounded out by frontman Trenton Woodley’s impeccable vocal range.

A hard act to follow, but Enter Shikari were always the main attraction of the night. Emerging on stage to a dazzling light show, the slow electronic build and eventual eruption of The Appeal and The Mindsweep I, the band were already in their element. The track climaxed with a venue wide chant of “You are not alone”. Indeed we weren’t.

The anthemic Radiate saw frontman Rou Reynolds don a guitar for some chorus strumming, as well as a stealthy appearance atop of the bar which sent everyone in the vicinity into a slight frenzy. Staying put for a few laughs and banter with both the audience and his fellow band members, Reynolds soon unleashed the furious opening lines of Ghandi Mate, Ghandi before making his way back to the stage.

Taking a breather between tracks, the quartet hammered through a killer version of The Last Garrison which upon completion, annexed perfectly into the high octane electronics of Juggernauts. The environmentally themed duo Myopia and Torn Apart soon followed. The former causing some serious head banging and the latter’s epic chorus prompting one of many crowd singalongs. Older track Mothership sent the venue into a stir with all its energetic glory, and Anaesthetist closed out the main set in a big way: the pounding of sampled drums, glitchy electronics and Rou Reynolds’ trademark freestyle vocals.

A quick exit from the stage only resulted in the crowd wanting more. Ask and ye shall receive. The four emerged from backstage, rattled off the crunching Solidarity and finished things off once more with the hilarious Slipshod. The band said their goodbyes and departed. At this point, the house lights and music were brought up, but the crowd were far from done. A massive chant of “Sorry You’re Not” rang out throughout the venue for a good couple of minutes. Slowly, the band appeared from backstage yet again, playing an impromptu version of fan favourite, Sorry, You’re Not A Winner. You would have been kicking yourself if you were one of the many attendees who departed following their first encore.

Enter Shikari are never ones to disappoint in a live setting. Their stage show is energetic, often chaotic, but the quality of their performance never suffers as a result. The band’s mix of killer riffs, punchy electronics and socioeconomically charged lyrics all work fantastically well on stage and this show was no different. Let’s hope it isn’t another five years between drinks.

Photo credit: Luke Baker Photography

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Susanne Sundfør - Ten Love Songs

Keeping in line with the musical goldmine that has been on export from Norway as of late, Susanne Sundfør’s latest offering maintains the trend with flying colours. Ten Love Songs is Sundfør’s fifth recording, and her maturity as a songwriter is only getting stronger with every release.

As with previous works, Ten Love Songs sees the 29 year old drawing largely on an art pop canvas, displaying splashes of pulsating electronica, stirring baroque pop and lush orchestration to often dizzying effect. The aforementioned proves a wondrous backdrop to Sundfør’s exquisite vocal delivery.

There is a lot going on throughout Ten Love Songs. When taking a break from the infectious synth pop of Fade Away, Kamikaze and Accelerate, the Norwegian is lulling listeners into a brooding trance with Silencer and Memorial. The latter serving as a 10 minute epic, complete with a stirring piano and orchestral section that feels quietly reminiscent of a movement breaking up a composition of two parts. You would be hard pressed to find a more beautiful track of 2015. 

Sundfør stated that when she was making this album, her main intention was to have the songs revolve around violence. The initial thought versus the end product isn’t entirely dissimilar. Lyrically, her songs do draw on aspects of violence in various forms. Though, rather than focusing on violence in a traditional sense, these themes are explored within the context of love and relationships. This shifting lyrical and musical tone work enormously well together and it makes for a captivating listen.

Ten Love Songs is intelligent pop music at its best. While unconventional at times, the record is full of emotional & musical heft and takes chances where others may not. This is often sorely lacking in the pop music of today. Susanne Sundfør knows her art, and knows it well. 

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5 Films in 5 Days

A Girl Walks Home Alone At Night

When a feature is accompanied by the tagline “The First Iranian Vampire Western”, it is bound to turn heads. The debut film by Ana Lily Amirpour that tells the story of a vampire in an Iranian ghost-town, made the rounds at a number of film festivals last year and garnered unanimous critical acclaim. The praise is indeed warranted. Amirpour has created a highly engrossing feature that successfully blends horror, romance and classic western in a distinctly noir setting. Though the film relies largely on atmosphere rather than a sprawling narrative, it never suffers as a result. Beautifully shot, scored and acted, A Girl Walks Home Alone at Night is a true film experience.

The Myth of the American Sleepover

The debut from director David Robert Mitchell is a sweet coming of age story set over the final weekend of summer before the new school year starts for a group of teenagers. One of the elements that sets this film apart from your standard coming of age drama is the completely natural performances from the entire cast, the majority of which had never acted in a feature film. The Myth… is also an incredibly honest snapshot of the awkwardness, wonder and heartbreaks of adolescence which would have been entirely relatable at some point or another.

Spring

Spring is the second feature from the directing duo of Aaron Moorhead and Justin Benson, after their excellent debut Resolution. Evan is the main protagonist in Spring, and following a bar fight he decides to take some time out, in Italy of all places. While there he meets the mysterious Louise who has a dark secret. This was quite an interesting film in that on one hand, there is this great fleshed out relationship drama in play between Evan and Louise. While on the other hand, there is a surreal blend of horror and sci-fi thrown into the mix. As was the case with Resolution, the cinematography is again handled gorgeously by Moorhead. He was really able to capture the beauty of Italy while keeping with the film’s shifting narrative tone and atmosphere. The mish mash of genres works for the most part, but for mind, I would have been content if Spring focused solely on the relationship of its two main leads.

Faults

Riley Stearn’s debut feature Faults is, in a nutshell, unnerving viewing. Claire (Mary Elizabeth-Winstead) is in the grips of a cult called Faults. Her parents reach out to a cult expert, Ansel (Leland Orser) in an attempt to reconnect with their daughter. What starts out as a wry and rather humorous film, slowly descends into something entirely different, sinister and very dark. A majority of the proceedings are set within the confines of a motel room, but the dynamic between the two leads prevents this unpredictable psychological drama from ever being anything less than engaging. The quietly building score sets tension nicely in many scenes and the photography, namely the great use of the slow pan, is a real treat for the eyes. Faults is a highly impressive calling card for first time film maker Riley Stearn.

It Follows

In a time when horror is too often associated with buckets of gore, torture porn and cheap jump scares, it is so refreshing when a strikingly original film such as It Follows comes along. The film revolves around a young woman who, after a sexual encounter, is followed by a supernatural entity. Despite the simplistic premise of It Follows, it is truly terrifying at times and when it isn’t, the atmosphere is generally uneasy and tension heavy. This is all the more amplified by the visceral and intense film score by Disasterpeace, the fantastic cinematography (those slow pans and lingering shots… my goodness) and the great performances by the entire cast. This is director David Robert Mitchell’s first foray into the world of horror, and it is very exciting to think that It Follows could be the start of a much needed new vision within this genre. The whole film has a distinct retro vibe, and is often reminiscent of classic horror’s from the 70’s and 80’s. One of the best and most effective horror’s to come out over the past decade.

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Funeral for a Friend - Chapter and Verse

Over the past few years, Welsh post-hardcore act Funeral for a Friend have undergone quite the resurgence. It was very much welcomed as the experimentation present on their third and fourth LP’s came across as being a mixed affair at best with wavering consistency. Credit where credit is due though. None of their albums sound overly similar. Their music has constantly changed throughout their career, and the evolution continues with the band’s seventh effort, Chapter and Verse.

Following the short and punchy Conduit in 2013, the hardcore element is even more prevalent on Chapter and Verse, with some tracks serving as the heaviest and most brutal cuts the quintet have dished up thus far. That being said, there are still moments that recall the Funeral of old which may be enough to keep those fans who demand another Casually Dressed or Four Ways to Scream Your Name happy.

The instrumentation is fantastic throughout, with a focal point on the drumming of the now departed Pat Lundy. Laying down plenty of high energy beats, double kick and ridiculous fills, his class behind the kit is immense. Front man Matt Davies has changed his vocal style over the past couple of albums and while it may sometimes seem that his delivery is a bit raw and rough, on the whole it resonates greatly as an accompaniment to the directional shift that the band have taken. On the lyrical scale, Davies’ words are a mostly personal affair, and tracks regarding religion, misogyny, family ties and the banality of the 9-5 lifestyle are of a particularly strong ilk.

While Chapter and Verse is not Funeral for a Friend’s most impressive recording, it is another solid offering from a band who have managed to not only remain relevant since their inception, but also emerge relatively unscathed from the emo movement of the early to mid-2000’s. And that in itself is worth some praise.