Superstar Swedish house DJ, Avicii, has caused a stir by releasing a promo mix for 2013 that dares to tread from the beaten track. The set includes slightly more than the generic minimal to maximal/build up, big drop formula by incorporating elements of country and folk amidst live instruments and vocals.

Sadly, the move has met criticism from some corners of the EDM community who are crying doomsday because the tracks are largely indicative of the direction his new album will take. The divide is stark – one camp appears unable to cope with the concept that a two hour loop of ‘Levels’ mixed with some Skrillex is the extent of dance music. The other, meanwhile, appreciates his attempts to evolve the genre.

Avicii’s decision to drop such diverse material comes hot off the back of his similarly controversial Ultra Music Festival set, where a live band joined him on stage.

@tommiesunshine @Zedd This is one set I won't be downloading... Sorry @Avicii :-( #UltraLive @ultramusic #offnight #cantplzEVRY1 #lastnight

March 24, 2013 6:04 am via webReplyRetweetFavorite

@Sal_Put

Sale_Putain_Official

@Zedd thoroughly confused.

March 24, 2013 5:42 am via webReplyRetweetFavorite

@tommiesunshine

Tommie Sunshine

In an effort to set the record straight, the 23-year-old posted a statement outlining his thinking and long-term ambitions. Rightfully, he focused on the desire to diversify and “try something new”:

In a 75 minute set, I brought a 15 minute different breakdown with live musicians to a festival with nonstop dance music for 3 days straight 2 weeks in a row . I really wanted to switch things up and do something fun and different, as I always strive for, and this album is about experimentation and about showing the endless possibilities of house and electronic music. Its about how to incorporate acoustic instruments from different styles and influences you wouldn’t expect and still stay true to your own sound and musicality which for me has always been about the melodies and positive energy.

It appears the main driving force behind the barrage of discontent is the fear that the prince of the current EDM explosion has flown the nest, lured toward a mainstream pop-sound that blunted Swedish House Mafia, and one time trance pioneer Tiesto before them. However, these worries are surely mis-confounded, if anything the mix is evidence the man wants to claw back some wholesome artistic credibility following the Flo Rida collaboration.

Truly creative artists are always on the lookout for ways to expand thier scope and sound. EDM should embrace this bold bold move, as it is the only way the genre will stay fresh. Without such open mindedness, the build up experienced over the past four years will only lead to a deathly comedown, and nobody wants that.

Listen to the mix below

Here’s a live review of the band’s landmark gig at Alexandra Palace from November last year. I originally submitted it as part of the MA in Newspaper Journalism at City University. Now I’ve got my marks back, I am free to publish. Feel free to leave your thoughts in the comment section below!

As an ever expanding legion of fans made their way toward Alexandra Palace for The Vaccines’ largest show to date on Saturday, the venue seemed fitting. The London four-piece, who struck top spot with second album Come Of Age in September, appear destined to claim the indie rock throne vacated by the Artic Monkeys when they bounded off to America. Yet for all the building’s Roman majesty, it was the raucous and debauched performance inside that would have made Julius Caesar proud.

Click here to view the video on YouTube.

It became clear from the moment The Vaccines entered the stage to Quiet Riot’s ‘C’mon Feel the Noise’, just how much this homecoming gig meant to them both personally and as a career milestone. Rather than get swallowed up by the occasion, the band approached the night in wild eyed celebration, propelled by lead singer Justin Young. The crowd greeted them with equally frenzied excitement, gagging for release.

Thanks to a truly blistering opening salvo this urge was satisfied. Kick-started by lead single ‘No Hope’; its climactic drum driven opening exploded the place into pandemonium. Each line of the anti-hero anthem was sung by and back to Young (dressed in black denim) with increasing intensity, somewhat ironic given that the song attempts to expose his humble, uninteresting youth. Guitarist Freddie Cowan certainly helped keep the energy flowing, finishing the track off before instantly clattering into the young, dumb and very fun ‘Wreckin Bar (Ra, Ra, Ra)’. When a breathless Young finally paused to defiantly ask “Alexandra Palace, how the fuck are you doing”, the euphoric response said all. His quip “we’ve been all around the world, there ain’t no place like London” met with even more impressive cheers.

Teenage Icons: The band were in fine form

Songs like ‘I Always Knew’ with its Buddy Holly turned Spaghetti Western vibe, galloping along thanks again to Pete Robertson’s frantic drums, help reveal why The Vaccines already threaten to hit the mainstream despite only forming in 2010. A misty eyed tale of young, unrequited and unfulfilled love, the line “let’s to go to bed before you say something real/how you feel”, strikes a chord with the tender flesh amongst the audience. Festival favourite, ‘Wetsuit’, pinpoints another close emotion, the fear of growing up. All 10,000 take part in this angsty sing-along, including the elderly lady on the viewing platform – proving these feelings hold universal appeal. It’s not original but there’s currently nothing like them.

Vaccines emblazoned versions of James Dean’s red jacket hang from the merchandising stalls, as self-deprecating thunderbolt ‘Teenage Icon’ sees Cowan and Young standing on the speaker amps. Unerringly confident, the quartet walk off after delivering the huge ‘Blow It Up’, then emerge for an encore including the grunge ridden ‘Bad Mood’. It screams rock star, but make no mistake about it, the night belongs to sugary pop hooks wrapped in rock casing – debut album staple ‘Noorgard’ sending things down a storm.

Catch them now, before coming of age meets adulthood malaise. The 02 Arena is next.

]]> http://www.youknowthescore.net/live-review-the-vaccines/feed/ 0 http://www.youknowthescore.net/the-scribes-ill-literature/ http://www.youknowthescore.net/the-scribes-ill-literature/#comments Sun, 11 Nov 2012 01:53:05 +0000 Alex http://www.youknowthescore.net/?p=1766

The world is a pretty messed up place, and sometimes I do feel as if I’m the only sane person left.  Am I the only one who sits in despair at parts of mainstream culture? Perhaps I’m getting old before my time? Or perhaps, Mitt Romney, Murdoch, Jersey Shore, and Kim Kardashian – I’m right, and everybody else knows it, but don’t admit it.

Thank goodness then, for the Scribes’ Ill Literature. Lead single, ‘Monsters’, sees Shaun Amos, the chief lyricist, nail the corrosive underbelly I see daily and can’t avoid: ‘I walk with zombies, talk with monsters and ghouls with no conscience… I’m seeking reason in streets of undead’. The beat is just as assured and declarative, holding rhythm and focus despite piano and guitar samples embellishing the trip hop base.

All this sounds very akin to Dan Le Sac vs. Scroobius Pip I hear you cry. Although there are obvious similarities at first glance, the Bristol four piece, including co lyricist Loki Steele, beatboxer Lacey, and turntablist Kenny Hectyc alongside Shaun, are a grittier outfit.

Take ‘Pipe Dreams’, a synth driven social comment on the cycle of drug addiction and poverty. Pip would be proud; it’s the cousin of hard hitting narrative tracks like ‘Magicians Assistant’. However, the delivery isn’t overly emotive, just aggressively straight to the point: ‘…caught in the half life, I guess we all know what that’s like, friendships that capsize caught up on bad tides.’ This is clever, but bare boned wordplay – sharpened by its bluntness.

Click here to view the video on YouTube.

The ability to paint a very specific picture, yet make it relatable to broader, more universal emotions is a fantastic skill, sadly missing from commercial hip – hop these days. ‘Jonny Wayne’, a tale of a young Texan pushed to committing mass murder, does not pass judgement, instead offering an insight into the factors that led to his insanity.

Scribes also manage to pull off the personal cathartic angle on ‘Not a Dancer’. Underneath the humorous pretext of drunken raving, it is brutally confessional about the temptations of alcohol to overcome insecurity. Again, we’re made to look a little deeper, with refreshing thought and versatile beats.

Unfortunately, the standard doesn’t sustain the whole way through. ‘Buried’ and ‘Burning Bridges’ cover the same general thematic ground as ‘Monsters’ and it sounds equally as repetitive. However, the problem is scope, not talent. For that reason, Scribes’ Ill Literature is worth a listen; it surely only marks the start.

Rating: 7 out of 10

Ill Literature is out NOW.

“Winners of Best Urban Act 2011″ - Exposure Music Awards 
“Winners of Best Live Act 2012″ - EatMusic Radio Awards
“Album of the month” – Riviera FM

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From the Sundance Film Festival, London

Nobody walks in L.A., so the saying goes. None of its residents need to, as they all own shiny cars for transport: offering a mix of luxury and convenience that is just too tempting. Ry Russo-Young’s latest feature Nobody Walks, attempts to appropriate this analogy toward matters of life, love and relationships. Typical Sundance fare then? Not exactly. Even if the themes are stereotypical of the festival, other Sundance titles demonstrate much more subtlety and complexity.

Plot-wise, Nobody Walks treads classic femme fatale territory. Martine (Olivia Thirlby) is a 23 year old design student creating a short film about bugs to symbolise human behaviour. In order to finish the project, soundscapes need to be added; and it is here that paths cross with sound-mixer Peter (John Krasinki); husband to Julie (Rosemarie DeWitt), and step father to sixteen year old Kolt (India Ennega), a poet in the making and her baby brother, Dusty. Recently signed to a big Hollywood production, Peter has refurbished his home studio, and so invites Martine to stay and work with him at the family home over the summer. Her arrival sparks a surge of energy that awakens suppressed impulses in everyone. As such, the film looks to raise questions about sexual desire, commitment and the cohesion of the family unit when the equilibrium is disturbed.

Martine (Olivia Thirlby) presents herself as an artistic free spirit

If only the script and the character development matched up to the potential in the premise. The biggest problem is that it is difficult to empathise with, or feel any warmth toward the characters, who are self-absorbed, unappreciative and pretentious. Martine is the kind of girl who would make a young Blanch DuBois blush; she uses her sexuality to satisfy a deep rooted craving for attention, as much as to get what she wants, all without a genuine thought or care for who she hurts. Rather than take a bus from the airport, she seduces a man on the plane and gets him to drive her to Peter’s house as a final favour. It’s all ok though, because, you know, she’s just one of those alternative arty types, armed with the polaroid camera, Ray-Bans, faux leather jacket and elfish haircut to prove it. Excuse me while I groan with displeasure.

Fortunately for Martine, she hits the jackpot with Peter and Julie, who share the same supposedly free spirited outlook. However, once again the script relies on clichés to emphasise this. We are introduced to Julie’s experimental past by Martine swooning, ‘you’re the famous feminist author…it’s an honour, it must have been such an exciting time’. Elsewhere, the unconventionality of the family is characterised by the fact that they have ‘take out’ nights, where Kolt is supposed to make dinner for herself from the ‘take out bowl’. Oh it’s so desperately new age, it hurts. Of course, it is a lot easier to maintain this veneer when you live in a spacious modern home up in Beverley Hills, with non-stop sun and a huge pool in the backyard to cool off in. Peter even has a surfer boy assistant, David (Rhys Wakefield), to sort out the big challenges in life, like fetching milk from the supermarket or removing a dead lizard blocking the pool drain. ‘He just gets on with it’ he says adorningly to Martine, with a look of puzzled admiration.

 It turns out the similarities are also idiosyncratic, in that the family members and those connected to them likewise suffer from Martine’s inability to respect boundaries, resist temptation or refrain from nymphomaniac behaviour. Somehow, Martine fails to register all the hospitality shown to her and chooses to indulge: failing to show up at the studio on time for the first day of voice-over work, because she couldn’t help having a casual first night fling with David (in the family car, no less). Unbeknownst to them, the sexually blossoming Kolt, who harbours a teenage crush on David, watches all this from her window. This marks the first of a number of love triangles which quickly turn hexagonal.

Despite Peter’s adulation about her great talent, when Martine does finally get to work, she doesn’t seem particularly good at that either, unable to convey her ideas to the actors, who eventually lose their temper. In response, Martine (somewhat satisfyingly) runs to the toilet crying. Peter follows to console her, yet ends up inexplicably giving in to her seduction without a second thought. In less than 24 hours, Martine has had her way with both men of the house. Meanwhile, Julie, now a psychologist for the rich and famous, finds herself battling the erotic overtones made by one of her patients, Patrick (Justin Kirk). The tension builds that evening, when she antagonises Peter by inviting her ex-husband, Leroy (Dylan McDermott) over for dinner, revelling in the extent both men go to impress her. In bed, she later has the audacity to chastise Peter for ‘embarrassing her’ by focusing on Martine at the dinner table.

The lunacy of lust reaches its peak when the family, including Martine, attend a local party. Julie witnesses Peter and Martine getting close; in fact he’s already asking her to move to the area, but she turns him down. Consequently, when Julie happens to bump into Patrick, she invites his advances in a calculated fashion, before cutting him off at the crucial moment. By this time Martine has escaped with David to get her kicks, whilst Kolt, having learnt from the best in the business, finds her best friend, a wannabe Woody Allen who is madly in love with her, and cynically uses him to boost her fragile ego.

Peter (John Krasinki) is drawn to Martine (Olivia Thirlby) despite his marriage

It is this dearth of realism, coupled with vague character construction propelled by the stilted dialogue, which undermines the film’s ambitions.  Although Russo-Young, and co-screenwriter Lisa Dunham successfully manage to open up doors, they fail to walk inside and expose themselves, or the viewer, to the more complex dimensions that appear. By creating a world full of such unrelatable personalities, who make equally ill constructed decisions, it is impossible to emotionally engage. Simply, the gap between style and substance is too great. The reason why films of the same ilk, such as The Kids Are All Right, work is because at some level they connect with our world. Even if the characters are wealthy and sun-soaked, there remains some degree of humility and humanity. Sadly, there is none to be found here.

This is all the more disappointing, given that the non-verbal tension is built quite well, strengthened by the bold cinematography provided by Chris Blauvelt. Throughout, the foggy heat of sexuality is never too far way, thanks to carefully crafted camera-work. Particularly impressive is the scene where Peter and Martine finally make love, the situational aspect of their close proximity in the studio exploited to great effect. John Walter also does an excellent job of editing the scene, cutting between the explosion going on within soundproofed studio and the everyday activities of the other family members around the house. Undeniably vivid and arresting, it makes you wonder what could have been if only the same level of ingenuity existed in other areas.

As it is, we are left with little more than a infuriating and nauseating vanity fair. Although Kolt’s character provides some texture, this is undone towards the end when, after challenging her Italian tutor’s perversions toward her, through a poem she chooses to read to him, he loses control and calls her a prostitute. Fortuitously, Martine arrives to save the day and the pair subsequently bond, with Martine encouraging Kolt, explaining she is an attractive young girl who should make the best of this, without regret.

Attitudes like this are symptomatic of the people I spent half my teenage years trying to emulate and the other half trying to avoid. They pose, strut, and play the part, but under it all exhibit zero personality. By the same token, you can’t find subtext in a film, if at its core, it has nothing to say. If nobody nobody walks in L.A., the same can be said for film-making.

Rating: 4 out of 10

Last month YKTS attended the Human Rights Film festival. More information about the event can be found here

The sex industry is known as ‘the world’s oldest profession’, however as photo-journalist, Mimi Chakarova’s, harrowing documentary, The Price of Sex, shows, this is an ill-informed, convenient turn of phrase which absolves responsibility and distracts from reality. For the estimated 2.5 million girls caught up in human sex trafficking each year, this ‘industry’ instead represents the oldest form of oppression.

What makes the documentary so affecting is how it places the individual, the human, who for so long has been bluntly objectified, at the centre of proceedings. Opening to a black screen and subtitled dialogue with Vika, one of the women who is most open about her story, the darkness suddenly subsides and we see her face. This is key, for all the women interviewed, because it gives them their identity – making their voices impossible to ignore. Vika sits composed and determined, utterly beautiful, explaining how the first  English words she learnt were ‘how much’. Lured by the promise of a relatively secure, highly paid waitressing job in Dubai, Vika quickly found herself in too deep. By the time she realised what was going on, it was too late. As her handlers put it, ‘you will serve…but in a different way’. Her oldest customer was 81, the youngest only 12.

Vika’s tale of entrapment is strikingly similar to the other 1.5 million Eastern European girls trafficked since the fall of the Berlin Wall. Chakarova, herself Bulgarian born, pinpoints post-war instability as a key proliferating factor for trafficking in the satellite states. As a child who grew up in the immediate aftermath, Chakarova’s investigation holds strong personal relevance. Utilising numerous contacts built up over a decade, the documentary casts its net wide, revealing the breadth and depth of the interconnected trafficking nexus: from Moldova to Dubai, pimps to complicit authorities.

Photo credit: Mimi Chakarova

In exploring the sordid underbelly of each region, the work is well researched; recognising Transnistria, an unrecognized territory tucked between Moldova and Ukraine, as an increasingly popular stop-over location for traffickers. Equally as astute is the use of media to illustrate the points; photographic stills combining with eye opening undercover footage to achieve maximum impact. Due to Chakarova’s inside knowledge gained from the research, she is able to record from inside the hornet’s nest, even posing as a member of a prostitution ring to expose Turkey’s infamous Aksaray district. These insights prove invaluable in the effort to break down the facade and reveal the reality as pimps circle the clubs, tightly controlling the district, knowing confidentiality is key to business. However, once through the door, the clubs are far from subtle: the female toilets packed as the women get changed for the long night ahead. Time is money.

Crucially, the documentary manages to invalidate the common counter argument that the women are to blame for  their predicament. Interviews with girls such as Olesea, give an insight into how the vulnerable are preyed upon and quickly rendered powerless. Frequently beaten by her husband and hailing from the poorest region in Europe, she jumped at the chance to begin a new job abroad following her divorce. Unfortunately for Olesea, her neighbours who offered the job were being bribed by the local traffickers. Upon arrival in Turkey, the handlers took her passport and promptly sold her on. From this point onward, she was forced to repay her ‘debt’ by having sex without receiving any payment for as long as the pimp deemed appropriate.  Even when she fell pregnant, the abuse still continued, a hole carved into her bed to allow her to lie ‘comfortably’ on her front. Pregnant women are highly sought after by brothel regulars, and therefore command a higher price.

It is not that these women do not want to leave, but rather that they have no way of contacting home. The majority of girls, just like Olesea, come from economically destitute areas, ravaged by migration to the West. For those older generations left behind, there is no link to the new, digital information age. As a result, the only way these girls can break free is either by risking their lives in an escape attempt, or, to put it crudely, decreasing their commodity value.  In Olesea’s case, imminent child-birth saw her sent back home. Elsewhere, Jenea, in her desperate bid for freedom, tried to climb down the side of the building. Tragically, a fall from the third floor left her with permanent, irreversible trauma to her spine. Despite the pimps paying off hospital staff and securing her return to the brothel – where she was compensated with extra cigarettes and a lighter workload of 15, rather than 30 customers per day – her injuries rendered her damaged goods. In return for her release, the pimps demanded her sister temporarily took her place as penance to make up some of the lost profit.

Photo credit: Mimi Chakarova

Chakarova also manages to weave these emotive stories into an apt study of the broader reasons behind how such an unregulated, environment is allowed to exist. The study of Dubai is particularly poignant. Although the country maintains a strict Muslim allegiance, its booming business sector, with 80% foreign born, makes it the playground of the Middle East. Consequently, the sex trade is much more open there than anywhere else explored, so much so that it has become integral to the social fabric of the state. Perhaps this explains why, when a government official is interviewed, his attitude is simply to transfer the blame onto globalisation, ‘you brought it here’. These unhelpful attitudes are reinforced by the widespread corruption across authorities. The documentary reveals how police officers are frequently customers themselves and therefore turn a blind eye. Toward the end of the documentary, Chakarova manages to interview some police officers who are regulars at local brothels, who defend their actions, ‘we help them, they work hard’. This translates into an easy ride for the men once inside the courtroom, who often do not bother attending. Instead the women are held responsible – Olesea serving six months for her sins.

Such misplaced persecution is perhaps the greatest crime, because it reinforces the culture of female degradation inherent in society. Most significantly, the women caught up in the nexus internalise these messages of worthlessness. One interviewee turned down the chance to return home, explaining, ‘this is my life now’. Jenea, now using a wheelchair, even expressed regret at being born, ‘death can’t be worse than this’ she exclaimed.  Simply, the mental wounds never heal; even the women who do manage to return home do so in disgrace, made pariahs of the community. To take inspiration from Rousseau, woman rather than man ‘is free but remains everywhere in chains’.

Click here to view the video on YouTube.

The Price of Sex finishes by tentatively examining the steps that could be taken to fix the problem. Ultimately, all the answers demand a fundamental mind-set change toward male/female relations. Women like Olesea and her mother, who stood up to the pimps following her return home due to her imminent child-birth, need to be congratulated and supported. Her son needs to be proud, not ashamed. The closing shot sees Vika asked how things could be improved, she almost loses her composure, a million words in her gaze: ‘next question’ she replies. Vika and Chakavora have fulfilled their responsibilities by exposing the brutality and injustice. It is the responsibility of the world to react.

Listen to a Q and A with Mimi, held after the screening. Be aware this was recorded on my phone so the volume may need to be turned up:

Want to help? Visit www.priceofsex.org to learn more about the making of the documentary, the problem of trafficking and how to get involved with aid organisations.

As you may (or may not) have noticed, there have not been as many music reviews posted on YKTS lately. This is not because I have fallen out of love with music, far from it, but because I have been writing for altsounds.com. View my entire body of work on my altsounds profile. Reviews below include: The Who, Madonna, Example, Alesso, Happy Refugees, Sebastian Ingrosso, 2 Bears….

Madonna – Girl Gone Wild

‘A confirmation of submission rather than another avant garde reinvention’…read the full review here

The Who – Quadrophenia (“Deluxe Edition”) [Re-release]

‘The album is no ordinary LP – it is a body of work that operates in isolation, above today’s standards’…read the full review here

Dan Mangan – Oh Fortune

 ’By focusing on diversifying sound and scope, Mangan too frequently neglects the detailed, witty storytelling that made him unique’…read the full review here

Sebastian Ingrosso and Alesso – Calling (Lose My Mind) (feat. Ryan Tedder)

‘It might be stating the obvious, but this vocal version is entirely unnecessary’…read the full review here

Tribes with Spycatcher at New Slang, Kingston [Live]

‘Is this tribe worth following?’….read the full review here

The 2 Bears – Work

‘A classic, in every sense of the word’…read the full review here

Happy Refugees – Return to Last Chance Saloon

‘One, final triumphant breath of life’…read the full review here

Adele and James Corden as BRIT’s hell-raisers? Oh where did it all go wrong!

‘I am beginning to feel that I am living through the most conservative artistic mainstream since the early 1950’s’…read the full article here

Example – Midnight Run

‘Some variety would go a long way; all night parties can’t last forever’…read the full review here

Vengeance – Crystal Eye

‘It ends proceedings in the most appropriate manner: all guns blazing’…read the full review here

The Quiet Busker – The Flaneur

‘…both believable and engaging in its honest simplicity’…read the full review here

Paul Smyth returns with another guest review. Do you agree?

Lana Del Rey comes from money. Her dad is a millionaire. Now, to review her album……without prejudice.

When I first saw Lana Del Rey on Jools Holland’s Later… I could not believe my eyes and didn’t fully trust my ears.  I didn’t really hear Jools’ introduction (I try to avoid listening to his blush inducing words at all time), so as she sang I wondered: Who is she? How old is she? Where does she come? Is she made of ice? Fire? Is David Lynch her father? I sent texts to friends (male and female) telling them to turn their TVs on or over NOW and the next day she was the talk of the office – the last time that happened was after Conor O’Brien appeared on the show singing  Becoming a Jackal.

I am not sure if Conor comes from money, I am guessing not, as he has not been vilified by huge chunks of the press, but far from poor Lana has been hammered. If she had been a working class girl who had crawled out of the gutter, her talent would surely be better received. Yes, I understand she has said some silly things (the “gangsta Frank Sinatra” line comes to mind), but what she says and how she sings should not be confused.

Strike a pose: Calculated and flirtatious or innocently seductive?

Lana’s singing voice is at times a mix of innocence and luxury, with the occasional whip (or leather feather duster) of wickedness. The music is film-pop, tinged with occasional R&B . Madonna is definitely an influence (‘Dark Paradise’ and ‘Summertime Sadness’) and on the hook in your “Radio” the line “I finally found you” could have been written and sung by the old lady of pop, though these days she doesn’t seem capable of dreaming up a lyric like “lick me up and take me like a vitamin”. On ‘Blue Jeans’ there is a Cyndi Lauper like childish lilt to her voice, the whiff of which disappears in an instant on hearing the opening lines of ‘Video Games’ – it’s as if her mother has walked into the room and taken over the microphone.

‘Video Games’ is a gem, if it were a video game it would be Space Invaders. Moreover, I can imagine  ‘National Anthem’ being covered on X-Factor, it has a chorus that the spring birds in the trees would envy. Yes, there are some cheesy lyrics here, but if your lover said ‘Tell me I’m your national anthem’ to you, it would bring a smile to your face, wouldn’t it? Be honest. ‘Carmen’ is a cliché, ‘Million Dollar Man’ a little irritating, but ‘Summertime Sadness’ will stick in your head for weeks on end, well at least until the summer. Again, the song has a flavor of Madonna, but when Lana sings “I got that summertime sadness” I believe her.

Lana has a voice that lends itself to discipline, at times I feel as if I am being gently instructed as I listen to Born to Die. The colour red comes to mind, constantly. Yes, there is a now-I’m-going-to-shock-you feel to the album, but, it is like “a kiss on an open mouth” and the listener has to decide whether they wish to kiss back. I love the fact I am never sure where I am when listening to this album, LA, the Hamptons, NY, picket fence America, Alaska, the 1950’s, 1980’s, 2012? I don’t trust her, but that is part of the appeal. The fakery is essential. Finding the truth within this album might be part of Lana’s game? Her video game? Is she a bad girl? Is she pretending to be a bad girl?

The video cannot be shown at the moment. Please try again later.

On the last track of the album Lana sings “get us while we’re hot” and I wonder if this album is it for her, if this is Lana at her hottest? She surprised us all with Born to Die and so will never be able to do that again. However, I for one hope she doesn’t give up because although I was left wondering “Who’s that Girl?” after repeated plays of this difficult to define album, it was a rewarding state of confusion.

All of the songs on this album were co-written, so perhaps some of the critics that have given Lana a hard time for coming from money, should maybe investigate the upbringing of Justin Parker and the other co-writers that have contributed to this album before her next album is released? If Justin comes from Harlem or Rusholme maybe they will review her next album a little more kindly? I am pretty sure Joe Strummer came from money and that didn’t seem to matter, so let’s give loaded Lana a chance eh?

Rating: 9 out of 10

This review was originally written for the Richmond and Twickenham Times

The last of Shakespeare’s problem plays is made instantly accessible by Director John Roth, who does a wonderful job of streamlining the work to keep it flowing. Immediacy defines the production, the Open Stage cultivating an intimacy which helps engage and clarify this notoriously difficult to interpret dark comedy. Indeed, the sparse set helps ease the movement from scene to scene as we travel from France to Italy.

Rebel star: Barry Evans as Parolles

A tale of the ill-suited couple Helena and Bertram, All’s Well provides moralism with a twist: hinting at a more unpleasant view of human relations that contrasts with earlier, sunnier comedies like Twelfth Night and As You Like It.   Our heroine is unusual in that rather than battling social class in the quest for unrequited love, she instead manipulates these conventions to overcome Bertram’s own reservations toward her. John Roth opts for an angelic rather than Eve – inspired representation of Helena, a measured and sympathetic portrayal provided by the impressive Jenna Powell. Val Wilding is equally accomplished as a thoughtful Countess, successfully conveying split emotions between affection for the admirable Helena and understanding of her son’s lack of moral fibre. This performance is key to symbolising the play’s overarching theme – a battle of the generations – maintaining virtue alongside materialism and love against lust.  Fortunately, these heavy undertones are balanced by Barry Evans’ effervescently humorous, almost show stealing performance as Parolles. If John Roth’s production has a fault, it lies in Bertram’s easy final acceptance of his situation, grating against the uneasy reservation implied by Shakespeare’s concluding lines.

However, in truth it would be wrong to single out one performance since the entire cast contribute to what is an excellent production, admirably attempting to convey the play’s Jekyll and Hyde sensibilities. A fantastic night of entertainment, which can be enjoyed  by those not regularly drawn to Shakespeare and which should put it in contention for nomination at the RSC World Shakespeare Festival in Stratford this summer.

]]> http://www.youknowthescore.net/alls-well-that-ends-well-hampton-hill-playhouse/feed/ 1 http://www.youknowthescore.net/ones-to-watch-2012-film/ http://www.youknowthescore.net/ones-to-watch-2012-film/#comments Sat, 18 Feb 2012 23:18:56 +0000 Alex http://www.youknowthescore.net/?p=1552

YKTS features a selection of the best films and documentaries to look out for this year.

 

Shame

 

 

‘Shame presents a snapshot of a man battling internal demons, whilst realising all actions can never solely be confined to the individual. It is bold, unsettling and disarmingly authentic; offering no apologies for this. The biggest insult will be if the brutal realism shames this cinematic triumph out of contention come award season.’

Read the full YKTS review here

 

Click here to view the video on YouTube.

 

Martha Marcy May Marlene

 

 

Despite being a contender for the most convoluted movie title in history, this psychological thriller directed by David Surkin and starring Elizabeth Olsen, is as disturbing as it is captivating. Surkin introduces us into a world of paranoia and delusion, driven by Martha’s (Olsen) recent experiences in an abusive cult.

The direction is ambitious, switching between Martha’s present state, now escaped, and the struggles of her past. Thankfully, the cinematography, script and camera-work match these objectives.

Naturalistic and atmospheric, the film offers subtle chills which build to break the viewer’s resistance. Olsen is outstanding alongside John Hawkes, who brilliantly executes the predatory instincts of the charismatic cult leader, Patrick.

A brilliantly crafted film, exploring how the desire for family life, love and connection can so easily be manipulated.

 

Click here to view the video on YouTube.

 

The Artist

 

 

It cleaned up at the BAFTA’s and will surely do so again at the Oscars. Just like the best dance music, sometimes the most effecting and expressive forms of emotion are communicated without words. Yes, it might be unusual in today’s age but director Michel Hazanavicius ensures this is no bad thing. Fantastic performances all round, especially from the two central characters, George Valentin (Jean Du Jardin) and Peppy Miller (Berenice Bejo); make this wonderfully nostalgic work a fantastic reminder of the best that cinema has to offer.

 

Click here to view the video on YouTube.

 

The Dark Knight Rises

 

 

Expectation for a film has never been so high. Christopher Nolan has much riding on this final chapter to what could end up as the definitive Batman series. However, given how well he coped with the pressure after the last outing, by producing Inception – it is unlikely he is going to let anyone down.

Heath Ledger may no longer be with us but Tom Hardy, who plays the evil villain Bane in this instalment, was very good in Bronson a few years back.

Here’s to hoping for another awe inspiring Nolan Blockbuster this summer.

 

Click here to view the video on YouTube.

 

American Reunion

 

 

‘Jim, Michelle, Stifler, and their friends reunite in East Great Falls, Michigan for their high school reunion.’ Not much more needs to be said…

 

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On The Road

 

 

I spent much of my final year at University engrossing myself in 1950’s American culture. An addiction to Mad Men combined with the option to study a whole module on the period, led me to write my dissertation about the era.

Unfortunately, I never found enough time to look into On The Road as much as I wished.  Thankfully, I made up for this over the summer and could contextualise everything I had studied about Kerouac and the Beat Generation. The themes within the book resonate deeply with me, as does the philosophy of the generation as a whole, so I hope this film does not waste an excellent opportunity to create something special. Indeed, it was interesting to read a letter by Kerouac to Marlon Brando, outlining his ideas for a cinematic adaptation.

A number of factors worry me: firstly, the film needs to be historically accurate and remin true to the book to hold credibility. Secondly, the decision to cast the Kristen Stewart and Kirsten Dunst could back fire hugely. Nevertheless, Sam Riley, who was show stopping in the Ian Curtis biopic, Control, is set to play Sal. The film should also benefit greatly from the hand of Walter Salles, who previously directed Motorcycle Diaries.

 

Emma Norton runs her own blog on film and documentaries, which you can view by clicking here. We both studied History and Politics at University but seem equally adverse to any kind of political career! Below, Emma has listed a number of the must watch documentaries for this year. Follow Emma on Twitter:  www.twitter.com/emmmanorton

 

Bones Brigade

 

 

Skateboarding and surfing documentaries are awesome. The people who sit in the interviews have some of the best stories to tell. So I’m pleased to see that Stacy Peralta, maker of Dogtown, Z-Boys and Riding Giants is back with another offering. Bones Brigade looks set to be another interesting and entertaining view into the world of professional skateboarding and skating culture, I’m very much looking forward to it!

Check out more of the synopsis for the film here.
 

Click here to view the video on YouTube.

 

Detropia
 

 

Detroit is really a city en-vogue at the moment, well, for film-makers it seems. Johnny Knoxville teamed up with the folks at Palladium boots to make a great little documentary about former ‘Motor City’, and now, directors Heidi Ewing and Rachel Grady have made their own feature length film about Detroit and its inhabitants. The city has a fascinating past and present: once the thriving urban heart of America’s motor industry, Detroit is now a symbol of America’s faltering economy: a decaying, semi-abandoned, crime-ridden hole. Or is it? Hopefully this film will reveal some answers.

From out of the ashes, parts of Detroit are starting to come alive. Artists, musicians, creatives and the like are starting to transform the city into a mecca for alternative living; moving into abandoned buildings and remodelling them into art studios, buying up old stores and vamping them up into bijoux bars and restaurants.

Having got a gimpse of the beauty and sadness of the abandoned city, I am very much looking forward to seeing the full film and learning the full story of Detroit.

 

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Jiro Dreams of Sushi

 

 

I’m a big fan of documentary films about Japan. I find Japan fascinating, and so I am naturally intrigued by this upcoming documentary, Jiro Dreams of Sushi. It is an involving story about a man, Jiro Ono, who is considered to be the best Sushi chef in the world. He has been making Sushi for over half a century, yet he stills strives to perfect and improve his art further. The film follows the life of Jiro, and his son, Yoshikazu, who has studied under his father’s strict guidance and has a long way to go before he can take over his father’s business (no pressure there then!) Alongside a clearly fascinating character study, this film is shot beautifully, it’s clear from the trailer that director David Gelb has thought carefully about how to frame the story; ‘We wanted the film to feel as elegant as the sushi itself; as if Jiro himself were making the movie.’

 

Click here to view the video on YouTube.

 

Shut up and Play the Hits

 

 

This trailer hit me like a freight train. It’s a rare thing when two and a half minutes of preview footage alone can make the hairs stand up on the arms and neck. I suppose it could have something to do with the fact that I am a big fan of LCD Soundsystem and, like many others, I grieved very much when they decided to call it a day at the height of their career. This trailer is so exciting because it takes me back to seeing the band live, when they were always mind-blowing. MP3 format alone cannot do Murphy and his crew justice,  so hopefully this film will bring a little glimpse of the magic that the band had when they played live onto the cinema screen.

Now, if you’ll excuse me, I’m going to go watch the trailer on repeat and get really exciteable.

 

Click here to view the video on YouTube.

 

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‘This is the right decision’ stated the FA after accepting Fabio Capello’s resignation as England manager last week. For the first time in my life I find myself applauding the men in suits, and let me tell you, it is certainly a strange feeling.

Cast your mind back to June 2nd 2010, the day before the squad flew out to South Africa. That morning, Capello signed a new contract, thereby superseding the ‘break’ clause included in the previous agreement. After a highly efficient qualifying campaign, the FA suffered a rush of blood; Capello meanwhile kept cool and took advantage. This is not surprising, it is common sense to secure yourself £6 million a year, along with a guaranteed payout – especially on the eve of your first major international tournament. In the words of Warren Buffet ‘I will tell you how to become rich. Close the doors. Be fearful when others are greedy. Be greedy when others are fearful’.

Suit up: Director of Football Development Sir Trevor Brooking, Club England Managing Director Adrian Bevington, FA Chairman David Bernstein and General Secretary Alex Horne during a press conference at Wembley. Bernstein admitted phonecalls with Capello had been a struggle due to his poor grasp of English.

In hindsight, the Italian will probably look back on the contract decision as the wisest financial decision of his life. The England World Cup debacle is well documented: 3 goals in 3 group matches against USA, Algeria and Slovenia before a brutally humiliating, deserved 4-1 thrashing at the hands of Germany. Add to that the inability to curate team spirit or placate tensions and it becomes clear that the failures of the campaign were systemic. Capello’s reign can be summarised as a marriage of mis-communication, plagued by an inability to relate or convey himself to the players. The aloof style, combined with his stubborn character proved incompatible with the fractured, intense bursts of international duty compared to club management. Similarly, communication between employer and employee remained lost in translation, the ill-fated Capello Index a shining example of a man distracted by the opportunity of personal gain.

Once Franco Baldini, Capello’s trustworthy right hand man and commonly perceived player mediator, left for Roma last July – the “iron ruler” has cut an increasingly isolated figure. However, it is hard to shake the feeling that Baldini jumped from ship which was evidently sinking; the FA keeping Capello on at the helm for financial convenience as much as anything else. Indeed, Capello himself swiftly confirmed that he would ‘absolutely’ walk away from the job after Euro 2012. Both continued to appear ill at ease, sweating uncomfortably in their picture perfect poses.

Tainted leaders: Terry and Capello are isolated figures. (Photograph: Tom Jenkins for the Guardian)

Given the above, Capello’s hasty exit is unexpected rather than surprising. The catalyst to his exit, the John Terry saga (II), exemplified his lack of appreciation for the England job and the sanctity of England’s multi-cultural society. A recap: Terry is alleged to have hurled racist abuse at Anton Ferdinand, Rio Ferdinand’s younger brother. The latter temporarily replaced Terry as captain after it emerged the Chelsea stalwart solicited a long term affair with Vanessa Perroncel, the ex-girlfriend of his club and country colleague Wayne Bridge. To claim Terry is innocent until proven guilty should not justify his continued selection as an England player, let alone captain. Firstly, the accusations jeopardise Terry’s standing amongst his own national team-mates; thereby undermining the squad as a whole. Secondly, the dubious morality aside, in any other profession Terry would face immediate suspension. Football has played by its own rules for far too long. Whereas previously Terry could claim dispensation between his private and professional sphere, in this instance both have collided, threatening to corrupt not only Terry as a leader and player but also those around him. In the current fractious race climate surrounding the game – sparked by the Ferdinand accusations – the FA need to take a strong stand on racism, even if FIFA remain embarrassingly timid.

Therefore, there should be a sense of optimism rather than desolation following Capello’s departure. Harry Redknapp, the prime candidate to be the next national coach, holds the utmost respect for the England job, frequently describing it as the pinnacle of any Englishman’s managerial career; in marked contrast to Capello’s final statements. Most importantly, he can communicate with the players, commanding immediate mutual respect, understanding and appreciation. Moreover, any doubts about his ability to manage at the highest level were dispelled by Tottenham’s fantastic performance in last season’s Champions League, as well as this year’s Premier League campaign.

Clear and effective: Harry Redknapp is the best man to take over the England job

Nobody need suggest England are going to win Euro 2012 but this early dawn represents real hope of an improvement, by which England may just start to compete and fulfill their potential. Many questions still need to be answered but as Redknapp himself recently stated: ‘I am a fantastic football manager, not a hard-headed businessman’. This is exactly what England have been missing.