Essential August '16

ESSENTIAL VIEWING THIS MONTH:

After the third installment of the Bourne-series - The Bourne Ultimatum in 2007 - it was said that this would be the final outing for leading man Matt Damon and director Paul Greengrass, who directed part two and three of the series. The franchise would go on with Tony Gilroy’s The Bourne Legacy in 2012, with Jeremy Renner in the leading role. It failed dramatically and many considered the series to be officially dead. That was, until Greengrass and Damon started picking up its scent once again. This month Bourne is back, in the simply titled JASON BOURNE. No doubt, it has lost some of its original impact and momentum, but regardless of its origin this is a spectacular action thriller as you’re likely to see. No one handles this style of action set pieces like Greengrass, and Damon (with the least amount of dialogue so far in the series) is as convincing as ever. It does feel a bit repetitive, which one can suppose is impossible not to, but still – this is terrific entertainment and thrill-ridden fun that will probably be enough to ensure another installment of some kind is bound to find its way to the screen soon enough.

One of the most fun and original movies you’ll see this season is ELVIS & NIXON. Liza Johnson’s true – believe it or not – story about the time Elvis himself decided to visit President Nixon at the White House to enquiry about the possibility of him becoming an undercover agent. It’s insane premise only works on account of the photograph that proves the story’s authenticity, and once you settle in for it you’re set for a galore of treats. Michael Shannon and Kevin Spacey are absolutely perfect in the titular roles, and play off each other wonderfully. It’s strange and quirky, but also filled with heart and soul – much thanks to Shannon’s understated and clever take on the iconic character.

Michael Shannon is also featured in another treat to arrive this month. MIDNIGHT SPECIAL is the fourth feature film from acclaimed director Jeff Nichols – and Shannon has been in all so far. This however is something very different than the gritty and realistic dramas the pair have delivered previously. A raw and poetic sci-fi tale of a father on the run with his son, a boy with special powers so strong they have attracted the attention of both a cult and a fearful government. Shannon is surrounded by a terrific ensemble, with Joel Edgerton and Kirsten Dunst providing solid support. But ultimately, this is a wonderful and exotic story about family and love, and the sacrifices one has to make in order to ensure the safety of those closest to you. The best sci-fi film of the year.

ESSENTIAL LISTENING THIS MONTH:

After serving nearly half a century as one of Norway’s finest troubadours and songwriters, veteran performer OLE PAUS announced in 2013 that his triple album Avslutningen would be his final release of new music. However, he didn’t say anything about releasing old material and this month sees the arrival of SANGER FRA GUTTEROMMET, a fun and playful collection of tunes recorded with and by his old musical companion Kjetil Bjørnstad in 1972. Some of the songs found life on later releases, but these versions are stripped down and in an obvious demo shape, accompanied by some delightful loose chitchat between the players in between songs. It is possible that this album will only please and serve no one but the die hard fans of either musician. But it is still a lovely and curious release that in time surely will find its place somewhere among the vast and impressive discography belong to both Paus and Bjørnstad.

For someone who has not even turned thirty yet, American singer / songwriter ANGEL OLSEN sings with a heavy pathos and confidence, that many more experienced performers probably would envy her. Still, under the slightly intimidating surface there is a vulnerability and clever showmanship on display that makes each of her songs explode in a ton of emotion each time. After a variety of different releases (singels, vinyl LP’s and even cassette tapes) she arrives with a delicious album release this month. MY WOMAN is a great collection of folk and indie rock tunes, delivered with range and conviction. It kicks off in a seductive and playful way before moving into a clever and eclectic style of rock that fits her voice and tune to perfection.

This writer first discovered LISA HANNIGAN through her appearances on Damien Rice’s album O more than ten years ago. She has since featured on more of his work, as well as toured with him. But the Irish singer and songwriter has also been making albums of her own. Her debut Sea Sew (2008) and Passenger (2011) arrived with great critical acclaim, but failed to make an impact on the charts. Her third record AT SWIM might change that. Her beautiful voice alone is worth the price of admission, but there is also much to enjoy here in terms of lyrics and production. Aaron Dessner, of indie darlings The National, produces the album and serves Hannigan as a precious singer but there is also a very poetic touch, with terrific lyrics and a lovely tone. The album arrives at a perfect time, as days shorten and the dark of evenings approaches, you won’t find better accompaniment than this.

Enjoy the single Fall, which also comes with a lovely music video.

Essential July '16

ESSENTIAL VIEWING THIS MONTH:

After the tremendous success of his previous film Boyhood two years ago, writer and director Richard Linklater has returned to his more informal and lighthearted roots with his new film EVERYBODY WANTS SOME!! A wonderfully charming and fun story about a group of baseball players getting ready for college, while fighting of the temptations that campus life has to offer. Centered around newcomer Blake Jenner, and featuring one of the most loveable ensembles of the year with all unknown actors, it is as simple as it is brilliant. Playing on little else than the magic of the years in between being teenagers and adults, it is filled with endless amounts of heart and soul – and a refreshingly somber and delightful energy.

The story of Tarzan has proven a tricky pony to successfully handle by Hollywood. From the early days of Johnny Weissmuller in the 30s to Disney’s animated attempt in the late 90s, none of the films about the lord of the apes has proven as classic as the tale itself. This might hopefully change with THE LEGEND OF TARZAN which hit theatres this month. Directed by David Yates, last seen helming the final three installments in the Harry Potter saga, it is a delightfully fun ride that does not take itself too serious, without taking anything away from its epic scale and set pieces. Alexander Skarsgård is not only physically impressive in the title role, but also carries the action and dramatic scenes well. He also creates one of the summer’s most surprising and enjoyable onscreen duos alongside Samuel L. Jackson, while Christoph Waltz provides fine support as his villainous self. Quite surprising, this might turn out to be the blockbuster hit of the summer.

Since ending the run of her majorly successful show 30 Rock three years ago Tina Fey has participated in a handful of movies, as well as co-creating the Netflix show Unbreakable Kimmy Schmidt, but her biggest and most personal move since then has to be WHISKEY TANGO FOXTROT. Based on the book The Taliban Shuffle: Strange Days in Afghanistan and Pakistan by Kim Baker (who Fey plays) and adapted by her 30 Rock associate Robert Carlock. Fey also produces, so it is clear that this is a story she’s been wanting to tell. Baker is one of a few female journalists doing wartime coverage in Afghanistan, making the dangers of the conflict itself just one of the challenges she has to overcome to make herself noted. Thankfully the film is rated R and comes packed with not only a realistic take on the war, but also the matter of sexism, delivered without holding anything back. Directors Glenn Ficarra and John Requa (Bad Santa, I Love You Phillip Morris) prove excellent choices to helm this, making it a memorable and very entertaining movie that sadly did not find the audience it deserves in the theatres.

ESSENTIAL LISTENING THIS MONTH:

It’s always exciting to hear a soundtrack before you actually see the film. Jeff and Michael Zimbalist’s PELÉ: BIRTH OF A LEGEND has yet to find distribution in these parts, but the soundtrack from composer A.R. RAHMAN is already available. Having first discovered Rahman when he provided the score for Slumdog Millionaire in 2008, it’s been a treat to take in his film music work over the past years, including 127 Hours (2010) and Million Dollar Arm (2014) to name a few. His latest soundtrack is filled with more exciting tunes stuffed with energy, emotion and elegance. A story such as this seems a perfect fit for his style of composing, and if the film itself can carry the joy and beauty of Rahman’s music it should be an equally exciting treat.

A lot can be said about NEIL YOUNG’s releases over the past decade. While some have been worthwhile and further proof of the man’s brilliance, some have been utter pointless and completely irrelevant to his impressive discography. It’s difficult just yet to decide where his latest release lands, this month’s EARTH. It’s a compilation record, a live album featuring thirteen songs from previous albums. The connection is that all the tracks are, as Young himself puts it, “songs about living here on our planet together”. This means you get the odd nature sound, rainstorm or bird chirp. An important antidote to a world gone mad, or itself madness? Decide for yourself, but with hard-hitting and glorious live versions of After the Gold Rush, Western Hero and Vampire Blues to name a few, it’s hard to turn down.

After steadily releasing a new album almost every year since his debut twenty years ago, LARS WINNERBÄCK has slowed down his impressive production rate over the past years. This month’s GRANIT OCH MÖRAN is his first album in three years – following his acclaimed Hosianna from 2013. Lately, Winnerbäck has slowly stepped out of his comfortable singer/songwriter and quiet pop alibi and created several tunes that could easily have filled the set list of any big stadium show from the likes of Springsteen or Fogerty. However, the core of the songs has always had a melancholic touch, but this has changed a bit with his new album. This seems to be a happier, more lighthearted singer who churns out tunes with confidence and great vigor. It suits him, and should fall in good grace with this fans when he takes to the stage for another upcoming tour this fall.
Enjoy the title track, and its lyric video here.

Essential June '16

ESSENTIAL VIEWING THIS MONTH:

After David Letterman retired last year his long serving staff were forced to find work elsewhere. For longtime producer Rob Burnett, his next move would be THE FUNDAMENTALS OF CARING which arrived exclusively on Netflix this month. Based on the novel by Jonathan Evison (Burnett adapted it himself), it follows a caregiver played by Paul Rudd who after a tragic personal loss takes on the demanding duties of patient Trevor, played by Craig Roberts. Together they create a fine onscreen duo, funny and engaging and playing well off each other. The story is told with a lot of heart, but does not pull any punches and also has a delightfully surprising raunchy edge. One of the best feel good films of the summer.

Since his debut Insomnia in 1997 director Erik Skjoldbjærg has gone on to prove himself as one of Norway’s most accomplished and exciting filmmakers in the thriller genre. His new film PYROMANEN is based on the award winning book Før jeg brenner ned by Gaute Heivoll, and it is another triumph for Skjoldbjærg. An atmospheric and almost claustrophobic tale of a pyromaniac terrorizing his own small native town. Gorgeously photographed by Gösta Reiland it is by far one of the most visually impressive films of the year, and it is played out wonderfully by a committed and talented cast. This is a film that is likely to keep on rewarding you upon several viewings, but its initial impact is still strong enough to call it the best Norwegian film of the year so far.

Another treat to come out of Scandinavia this month is the Danish film KOLLEKTIVET by director Thomas Vinterberg. Co-written by Tobias Lindholm (who was nominated for the Best Foreign Language film Oscar last year for A War) it is a story about a group of liberal souls who house up together in 1970s Copenhagen. It’s an entertaining piece, filled with humor and great characters, but it also deals with serious themes such as mental health and the consequences of a broken home life. Veteran actors Trine Dyrholm and Ulrich Thomsen are both sensational in the leads, in particular Dyrholm who steals most of it with her unbalanced and vulnerable Anna. It’s a tremendous performance that should earn her many accolades come award season. The film stumbles a bit in its final act, but is still an engaging journey not only to a fascinating century and way of life, but to a time when relationships where not so easily defined by the people around them.

ESSENTIAL LISTENING THIS MONTH:

Norwegian indie darlings HIGHASAKITE return this month with their third album. CAMP ECHO is another solid collection of pop songs, with a modern touch and high production value. The band’s sound is still vivid and emotional and the lyrics from leading lady Ingrid Helene Håvik are both poetic and personal. Having now firmly established themselves in their native country long ago one would hope that this terrific album will help them find a global audience that will ensure that they get all the positive attention that they deserve.

California rock outfit RIVAL SONS have received honorable mention on this site before and it’s time for more praise this month as they release their fifth studio album HOLLOW BONES. After the breakthrough that was their second album Pressure & Time in 2011, and the continued success of the third Head Down the following year, it seemed things came to a bit of a halt with their previous album Great Western Valkyrie in 2014. Their new record is still not as strong as their best outings, but still a comforting step up from their most recent. Their landscape is still set in the hot deserts of rock and roll greats, with recognizable nods to heroes such as Led Zeppelin and even The Doors. The album has a modest nine tracks (including a peculiar choice cover of Ike Turner’s Black Coffee) and rolls along quite nicely. This should put their fans at ease, but from a neutral point of view one can’t help feeling that their next album needs to offer a little more than this to return to past glories.

Ten years after their impressive debut album Everything All The Time, American folkrockers BAND OF HORSES put out their fifth studio album this month. The wonderfully titled YRUOK contains twelve tracks, and despite the quality varies a little too much from tune to tune, as a compiled record it is another strong outing. Their sound and character is still in familiar territory of melodic rock and soft folk tracks, with the firm and comfortable vocals of founder and front man Ben Bridwell at center stage. After the band’s previous album, the disappointing and forgettable Mirage Rock (2012) this is a reassuring return to form that they hopefully are able to build on.
Enjoy one of the finer tracks on the album, Solemn Oath, which also comes with a delightful lyric video.

Essential May '16

ESSENTIAL VIEWING THIS MONTH:

Iceland is not a place that comes up often in conversations about film, in particular when it comes to quirky comedies or heartfelt dramas. That should change this month with the arrival of festival favorite FÚSI. Written and directed by Dagur Kári, it is a heartbreaking and amusing tale about the good in people – a feat that perhaps is overlooked too often. Set in the brutal Icelandic wintertime it is a warm and engaging story, that is held together masterfully by its lead performance. Gunnar Jónsson is an absolute gem in the title role, delivering his few and simple lines with the weight of a mountain and the calm of a breeze. He communicates in volumes by a simple look or gesture, all the while never becoming a victim or the obvious «loser». It truly is a study in character acting. One of the season’s finest treats – do not miss it.

The story of jazz music legend Miles Davis was for a long time deemed impossible to film by Hollywood. It would take something – or someone – special to bring a modern version of it to the big screen. That thing – or one – turned out to be Don Cheadle. The acclaimed actor makes his directorial debut with MILES AHEAD, where he also produces, co-wrote the script and stars as Davis himself. A project Cheadle spent years getting off the ground – which is a satisfying thing in itself to finally see – that wears its heart on its sleeve. Instead of going the traditional biopic route, Cheadle opts to draw inspiration from the man himself, and the music genre he helped define. Filled with jump cuts, playing with its chronology, stopping for set pieces and the occasional out of place action sequence it truly comes across as a piece of jazz itself – caught on film. Cheadle is excellent in front of camera too, pulling out perhaps his finest performance to date in a playful but deeply heartfelt portrayal of the iconic musician. Ewan McGregor and Michael Stuhlbarg among others provide fine support, but this is Cheadle’s show and it is one that deserves to find both a large audience, and a major award or two.

One of the finest horror films of the year has to be THE WITCH. The feature film debut by writer and director Robert Eggers is a chilling and gut-wrenching experience from start to finish, that will be haunting you for weeks. Set in 1630s New England it tales the tale of a family torn apart by evil forces of the forest, in the forms of witchcraft and possession. With a modest budget of just $ 3 ½ million (it has currently made ten times that back at the box office, despite only having a very limited release) it is simple and efficient in its spooks, playing on the audiences own fears more than anything. Slowly building itself up to a climactic finale that is more terrifying than anything Wes Craven or Eli Roth could ever have imagined.

ESSENTIAL LISTENING THIS MONTH:

Despite never being an established fan of THE GRATEFUL DEAD I was curious to the news of DAY OF THE DEAD, a 5-disc tribute release set, due to the involvement of this writer’s favorite band The National. And what a tribute it is. Featuring nothing short of 59 tracks, from such various contributors as Kurt Vile, The War on Drugs, Bonnie Prince Billy, The Walkmen and Wilco – as well as several tracks from The National themselves. It is a widespread and powerful homage to the great California kings of psychedelic rock and eclectic country and folk music that should bring tears to the eyes of their proper fans. Every act involved bring their own energy and take to the table, making this a marathon release that is playful and full of surprises.

Considering that the one and only problem this writer had with legendary Norwegian rock band Ricochets was a childish hang-up with its lead singer TROND ANDREASSEN’s horrible English language, the news that he has now turned to his native tongue for his new solo album is both exciting and a relief at the same time. Regardless of all this, one thing that has never been an issue is Andreassen’s unquestionable skills as a songwriter and performer. INGENTING HELE TIDEN could easily have passed as an English language release still as its inspirations and sound is still wildly American, based around gritty rock and blues tunes that are belted out with passion and ambition. It moves up and down a little too often, making it a little difficult to take in through one sitting, but that may change over time as this is bound to receive plenty of playing time in both this writer’s and the armada of old fans’ ears.

The release of a new RADIOHEAD album has always been a big deal, in the music press particularly as the English rock band often seem as interested in how to release as to what to release. Thankfully, the arrival of their new album A MOON SHAPED POOL happened without too much fuss (some online teasing and website play aside) and the focus could be had mainly on the tracks on the album. And their ninth studio record is a comprehensive package, featuring eleven new songs that span from hard-hitting rock tunes to the more poetic and whispering electric ballads front man Thom Yorke seems to be more interested in at the moment. However, it is a solid album that has already hit home with its loyal fans (the record is only available digitally for now, but will be out on traditional formats later in June), but is doubtful to collect any new supporters from anywhere. Which is probably not a major motive anyway.

Burn the Witch, the opening track, sets the tone of the album up nicely and also comes with a rather terrific video directed by Chris Hopewell.

Love's Lonely Rover

I made a music video for my friends in The Northern Lies, a band from my hometown. The track is called Love's Lonely Rover and is taken from the band's second album White Desert Blues - which is out now.

The video was made with no budget or additional crew. I shot it with a Sony PXW-X70 camera (thanks Arthur Arnesen at Sikt Media for lending it to me!) as an experiment to see how big a story I could tell with one actor in just one location, without any accesories at all.

The video features the incredible Julia Bache-Wiig and you can check it out here!

The Northern Lies are:

Henry Johnsen - vocals, acoustic guitar

Håvard Stangnes - electric guitar, acoustic 12-string guitar

Ida Karoline Nordgård - vocals, bass

Mikael Pedersen Jacobsen - vocals, drums, percussion 

Erik Nilsson - piano

You can find out more about the band via their Facebook page, and do follow them on Twitter and Instagram at @thenorthernlies

Essential April '16

ESSENTIAL VIEWING THIS MONTH:

One of the most beloved children’s books is Rudyard Kipling’s THE JUNGLE BOOK. Published more than a hundred years ago, it still stands as one of the most popular of its kind. That is guaranteed to continue with the film adaptation from Jon Favreau which arrives this month. After a few independent films the director cut his blockbuster teeth with the first two Iron Man films, and his newest adventure is a delightful treat that feels like a heartfelt combination of both his previous genres. Shot entirely on green screen – in many ways a gutsy choice based on the nostalgic source material – it asks its audience to suspend all disbelief early on, but that should not be a problem considering the amount of fun entertainment on display here. The animation and live action flow together quite seamlessly, with a pitch perfect cast voicing the impressive characters created from scratch. It’s a wonderful cinematic adventure, with spotless heart and commitment that is bound to stand out as the family’s hit of the season.

The biggest surprise of the year so far is THE TRUST, a low budget film closer to a B-movie than an independent starring Nicolas Cage and Elijah Wood – perhaps the most odd on-screen partnership ever. The pair plays two cops who accidentally stumble across a mysterious vault where the temptation of riches becomes too big to ignore. The film starts out as a loose and quirky buddy-movie that later turns darker and more dramatic, but up until a slightly disappointing third act this is tremendously enjoyable stuff. Written by Benjamin Brewer (who also co-directs with his brother Alex) and Adam Hirsch, it is a terrific script filled with small gems, snappy one-liners and memorable characters. The atmospheric Las Vegas outskirts serve the story well, wonderfully shot by photographer Sean Porter. Don’t let the awful poster and its very limited release fool you, this is not just another Nicolas Cage dud that has flooded the market recently, but a thrilling and hilarious caper that deservers to find a proper audience.

The new series in FX’s acclaimed American Crime Story is THE PEOPLE V. O.J. SIMPSON. It premiered in February and wrapped up a 10 episode run this month, to rave reviews and terrific ratings stateside. And rightly so, as this is the standout television drama of the year so far. Starting on the night of the murders of Simpsons ex-wife Nicole Brown Simpson and waiter Ronald Lyle Goodman it follows the chase, capture and trial of O.J. Simpson that spanned from June 1994 to October 1995. The show is refreshing in the sense that it is not afraid to mix its historical facts with wonderful elements of entertainment, making the most out both its now twenty year old setting in Los Angeles as well as the media-created frenzy surrounding all key players in the trial and case. Cuba Gooding Jr. is terrific as Simpson, but the finest moments are produced by Sarah Poulson as lead prosecutor Marcia Clark and Simpson’s table of attorneys featuring John Travolta, Nathan Lane, David Scwimmer and a career-high performance from Courtney B. Vance as Johnnie Cochran. Now that the show has finished, it offers you the possibility to binge in – which is good as this is television entertainment that is bound to get you hooked in from its very opening shot.

ESSENTIAL LISTENING THIS MONTH:

M83 announced its new album JUNK on March 1st and just a month later it was out in stores. It is the outfits seventh studio album, and first without longtime vocalist Morgan Kibby. However, founder Anthony Gonzalez has managed to keep things tight, with a strong rhythmic authority and fresh takes on his almost custom-fitted genre. The album is rich, and might have benefitted from a cut or two out of its generous fifteen track listing. The single Do It, Try It start things off right and from then on Gonzalez never stops or looks back. Because of its vastness the album might be better served in selections, but that does not mean the quality of its full scope is not great. The orchestrations are massive and there are plenty of beats to please its listeners, in particular for its fitting springtime release.

For her fifth solo release Norwegian singer / songwriter MARIT LARSEN decided to take all aspects of her music into her own hands, producing the record herself and releasing it on her very own label Håndbrygg Records. It is not a full album, but a five track EP that perhaps serves more of a taste of things to come than a complete addition to her discography. Entitled JONI WAS RIGHT – a heartfelt nod to one of her greatest inspirations Joni Mitchell – it is a lovely compilation of tunes dedicated to the firm pop beat and delicate sounding vocals of its leading lady. The songs play off each other well and the EP flies by in an instant, making it an obvious possibility that one will find more to enjoy the second or third time around it. Either way, this is another impressive and recommendable effort from a songwriter in her right element, who hopefully will treat us to a full album of equal quality the next time around.

The post-rock outfit EXPLOSIONS IN THE SKY has been mentioned on this site before, and this month there is another reason to celebrate them as they release their seventh studio album THE WILDERNESS. It’s been five years since their previous outing Take Care, Take Care, Take Care and despite taking their time between each release one does not have to fear that they have taken it upon themselves to re-invent their genre or sound. This is still hard-hitting guitar rock with an emotional core. The tunes are performed with intensity and vigor, as they blast through 45 minutes’ worth in just nine tracks. The arrangements are rich with detail, in particular during their most aggressive and almost violent riffs. There is a lot of wealth buried in these sounds that makes the entire album endlessly rewarding upon its every visit. Check out Tangle Formations, the third track off the album.

Essential March '16

ESSENTIAL VIEWING THIS MONTH:

After the array of combing forces from Marvel Studios’ comic books, it was only a matter of time before their fiercest competitor DC Comics did the same. This month the highly anticipated BATMAN V SUPERMAN: DAWN OF JUSTICE arrives, with Henry Cavill reprising his role as the Man of Steel and Ben Affleck taking on the dark bat of Gotham. The ladder casting choice caused quite a stir in the comments section of fan sites, but Affleck comes away from this with his honor intact as he provides a sober, firm and modern take on both Bruce Wayne and Batman. This will hopefully put to rest the memory of his previous comic book outing of Daredevil back in 2003. With Man of Steel (2013) director Zach Snyder created a mixture of the previous take on the superhero genre, with part fantasy from the first Superman series and part reality from Christopher Nolan’s more recent Dark Knight trilogy (Nolan still serves as executive producer on BvS). With this follow-up he continues to mix it up, but leaning more towards the fantasy route – in particular with the introduction of Gal Gadot’s Wonder Woman. The result is a great piece of blockbuster entertainment that stays loyal to its source (and their fans) while also pushing it to a new level in respect of technology and effects.

Ryan Reynolds worked for nearly a decade to get DEADPOOL his own franchise. This month his labor of love hit the screenings, becoming a smash hit and recently taking the throne of the highest grossing R-rated film of all time. It is easy to see why. Reynolds is simply irresistible, both as the light hearted Wade and then later as the title character. His style of humor combined with his impressive physicality and action abilities puts him up there as one of the most entertaining comic book characters of all time. The decision to “go meta”, breaking the fourth wall and allowing the audience in on the jokes that Deadpool knows he’s in a movie – and being played by Reynolds. The leading man is not afraid to laugh at himself – a feat not often found among actors taking on superhero roles. Director Tim Miller keeps it light and on a modest budget, he’s managed to pull of impressive action scenes and set-pieces, without a chip on his shoulder but instead with a smile on his face and well timed nods to other inspirations. This is a refreshing and tremendously entertaining addition to the ocean of superhero movies out there that is likely to be enjoyed just as much upon repeated viewings.

One of the most fascinating documentaries to arrive in a while is LISTEN TO ME MARLON, a modern and unique look at one of the all-time acting greats – Marlon Brando. Made in large parts with the use of Brando’s own audio tapes, where he talks about his life and craft, with all achievements and mistakes included. It makes for compelling viewing, with director Stevan Riley re-creating Brando’s profile in a mesmerizing experimental effect that allows the legendary actor to communicate beyond the grave and taking the audience onto a journey that transcends both dimension and time.  It is really quite something. In addition there is plenty of previously unseen footage, both from Brando’s personal life and the many film sets he appeared on – always taking center stage and impossible to ignore. Regardless of your feelings of him, as an actor or otherwise, this is simply must-see documentary filmmaking that will surely stand as the ultimate portrait of film acting’s most influential player.

ESSENTIAL LISTENING THIS MONTH:

The announcement of a new album from IGGY POP came as a big surprise earlier this year. In January Pop and album producer Josh Homme appeared on The Late Show with Stephen Colbert and revealed that the record would arrive in March. POST POP DEPRESSION is the seventeenth studio album from Iggy Pop. In addition to handling the production Homme also plays on the album alongside fellow Queens of the Stone Age alumni Dean Fertita and Arctic Monkeys drummer Matt Helders. It’s an interesting group, performing together nicely with a balanced mixture of energy and nostalgia. Pop has stated that the album is about legacy and realizing you’re coming to an end creatively. If so it is only natural that the soon to turn sixty-nine year old musician has decided to slow things down. The album contains a modest nine tracks, mainly featuring slow, but hard hitting rock tunes that arguably focuses more on lyrics than Pop’s previous solo albums. It won’t knock any doors down or establish Pop with a new set of potential fans, but it is a timely and appropriate addition to the discography of the second half of his career.

After achieving great critical acclaim as well as a decent amount of commercial success with his band Grant Lee Buffalo in the 1990s, lead singer and songwriter GRANT-LEE PHILLIPS has gone on to release twice as many albums as a solo artist since the turn of the millennium. They have varied quite heavily in quality and their resulting success. This month his eight studio album THE NARROWS arrive. Produced by Phillips himself it is an ambitious and wide stretching album with a generous number of thirteen tracks. The new record explores his interest in folk music to a more open level than before, despite always being a background element on his albums. The Narrows takes its time and goes through each track with diligence and attention to detail, making it a more compelling experience the second or third time around. It would have benefitted from a slightly tighter format, with one or two tracks from its middle section getting the boot, but this is still collectively a strong and enjoyable album that is arguably his finest outing since 2004’s Virginia Creeper.

After steadily releasing an album every other year since their establishment in 2006 The Gaslight Anthem announced last summer that they would go on an indefinite hiatus. Front man and main songwriter in the Group BRIAN FALLON shortly later announced that he had started work on his first solo album. It arrives this month in the form of PAINKILLERS. Fallon is responsible for every tune on the album, with the occasional co-writing credit from friends in the studio. It’s a comprehensive package with twelve songs that still clocks in just shy over forty minutes. Meaning that these are songs designed for – and inspired by – the radio. Fallon is a nostalgic who wears his heroes on his sleeves, with the likes of Springsteen, Petty or Fogerty echoing throughout, as it usually also did on his band’s albums. It is still a refreshingly honest and straightforward record, committed to the formula of the classic rock and pop tune. Fallon’s trademark hoarse and weary voice is still his most prominent feature, carrying each song with passion and intent. The album is a love letter to American music and its key players from the past five decades. If you’re looking for experimental or cutting edge tunes you should turn elsewhere, but if you enjoy well-crafted and traditional rock anthems performed with heart and soul this album is a terrific treat.
Check out Red Lights, this writer's favorite track on the album.

Essential February '16

ESSENTIAL VIEWING THIS MONTH:

After a strong spell of adaptations in the 90s, Shakespeare has not really featured as the inspiration for many films over the past decade or so. So it is quite refreshing to see director Justin Kurzel take on MACBETH, arguably Shakespeare’s grittiest and darkest play. Michael Fassbender and Marion Cotillard star as the Lord and Lady and what a tremendous bit of casting it is. Fassbender, coming of an incredible year with Steve Jobs, Slow West and now this, is a force to be reckoned with – absolutely fearless and frightening, but also composed and layered. Cotillard is emotionally strong as always, demanding an overwhelming presence in every scene. The two play brilliantly off each other and pull out a pair of terrific performances. Kurzel gets a bit indulgent, but never too much. The battle scenes are a spectacle to behold, driven by brutal realism while the chamber set pieces are engrossing and wonderfully constructed around the written word.

THE LOBSTER didn’t get a theatrical Norwegian release but arrives On Demand this month. Yorgos Lanthimos, who achieved great critical acclaim for previous outings Dogtooth (2009) and Alps (2011), has created one of the most bizarre, yet mystifyingly moving pictures in years. Colin Farrell and Rachel Weisz sboth shine, playing against type and delivering two beautifully crafted performances. There is also great support to be found in the likes of John C. Reilly, Ben Whishaw and in particular Olivia Colman. The film is a wonderful depiction of the surreal and often mindboggling lengths humans go to in order to feel connected, loved and seen. There are moments that hit you with resounding relevance while also transporting you into a delightfully absurd universe, where all the madness suddenly makes sense. The Lobster is a tiny miracle, destined to live on while hopefully finding even larger audiences.

Louis C.K. has been mentioned on this site before several times, both for this television series and stand-up comedy. This month he arrived – out of the blue – with a brand new series entitled HORACE AND PETE. Shot entirely on a theater stage, with no live audience it is a bit of a departure in every sense. Not just for the amount of drama, which plays a larger part than usual for C.K., but also in approach and presentation. The show is written, acted and shot as a play – making it feel incredibly intimate and alive on screen. It is by far the darkest thing C.K. has ever written, with deep and disturbing drama at times, but there is also warmth to it. Much thanks to a superb cast, featuring Steve Buscemi, Jessica Lange, Edie Falco and in particular Alan Alda who delivers an incredible performance that is sure to stand as milestone this late in his amazing career. It is also worth mentioning how refreshing Louis C.K.'s distribution of this show is. It arrives with no previous promotion or advertisement, it can only be purchased via his website for a small fee of $3 an episode and there is no set format to running time or genre, as well as knowledge for how long it shall run, which makes it even more important to cherish.

ESSENTIAL LISTENING THIS MONTH:

Legendary R&B and gospel singer MAVIS STAPLES will turn seventy-seven this year, but is still active as an activist and musician. The ladder sees her release a brand new album this month. The optimistic and affirmatively titled LIVIN' ON A HIGH NOTE is her fourteenth album, arriving forty-seven years after her debut in 1969. It’s a rich and eventful record, featuring brand new music written specifically for Staples by such various great artists as Nick Cave, Neko Case, Justin Vernon and Jon Baptiste (who became a household name in America last year as the band leader for the Late Show with Stephen Colbert. The album is produced by M. Ward (who also contributes as a songwriter) and goes by a fittingly old school production, with clear cut tracks and arrangements. It has a mellow tone and feel, perhaps forced by the age of Staples, but regardless it suits both her voice and the sound of the album. A great treat for fans and a wonderful introduction to her vast catalog for those unfamiliar.

DEATH BY UNGA BUNGA is a Norwegian garage rock band that have been around for almost ten years now, slowly working their way into the mainstream’s attention and up the album charts. This month they arrive with their fourth studio album PINEAPPLE PIZZA. Their recipe (no pun intended) and approach hasn’t really changed much since their debut. It’s still about energetic and playful rock music, most often easy on the arrangements and heavy on the beat. Their new album does a familiar job of putting you in a good mood, but also displays the bands technical abilities more than ever. They’re sounding tighter than ever before, and even though all tracks remain light on their feet there is still a deep commitment to their music that comes across very well, probably making this their most accomplished album yet.

It’s always a bit scary to check out new bands made up by members of other bands that you already enjoy. Often referred to as “supergroups”, they have a tendency to just be an outlet for music that didn’t really fit in their already existing outfits – often for a good reason. LNZNDRF perhaps does not strike enough familiar chords to be called super-anything, but thankfully they are an exception to the rule. Featuring brothers Bryan and Scott Devendorf from The National and Ben Lanz from Beirut, they are a modest trio performing alternative and progressive rock music. Their self-titled debut album features eight tracks that become easier on the ear by each listen. It is a mix of genres indeed, but the root of the album is a delicious box of heavy instrumental music, almost orchestral, that manage to be both emotionally engaging as well as hard hitting. Difficult to describe - easy to enjoy.
Check out Beneath the Black Sea to give you an idea.

Essential January '16

ESSENTIAL VIEWING THIS MONTH:

When one sees what is considered a lot of films, the best feeling is always to be pleasantly surprised. That is certainly the case with this writer and this month’s CREED. By too many considered “just another Rocky movie”, which could not be further from the truth. This is the work of 29 year old writer / director Ryan Coogler, who have taken the Stallone’s legacy to a new level – and inspired the finest performance of the entire series from the man himself. Shot with a steady hand (particularly impressive in the boxing scenes within the ring) from a well-balanced and modern script, it comes with sharp dialogue and a natural finesse. Ahead of Stallone, Michael B. Jordan delivers a great performance in what will surely stand as a milestone in his career. This film is moving, entertaining and triumphant in every way – especially the ones you did not see coming.

Director Alejandro González Iñárritu is looking to surpass the tremendous success – measured in both ticket sales and awards – of last year’s incredible Birdman with this month’s THE REVENANT. A revenge drama set in the wilderness in the 1820s, where Leo Di Caprio sets out to seek justice from his hunting party who leave him for dead after he is nearly killed by a bear. The bear attack itself will without a doubt stand out as the scene of the year, a brutally impressive demonstration of state of the art CGI and live action that will leave you shaking. You have never seen anything quite like it or the rest of this film in fact. Infused by the cold elements and merciless realities of both Mother Nature and the nature of man, it is a cinematic experience that makes the most of every possibility in the art of filmmaking. It’s a fierce piece of entertainment and simple storytelling that absolutely holds no bar to what can and can’t be done on film.

Charlie Kaufman has established himself as one – if not the – most original filmmaker working in America today. His award-winning screenplays for Being John Malkovich, Eternal Sunshine of the Spotless Mind and Adaptation alone are worthy the status of modern classics while his directorial debut Synecdoche, New York was both inspired and frustrating at the same time, but nevertheless utterly compelling. This month sees the release of another masterpiece from the now nearly sixty year old filmmaker. ANOMALISA is animation unlike anything you’ve seen before, but regardless of the genre or shape of its characters it is simply a brilliant piece of storytelling that demonstrates a genius at work. When it comes to character development and dialogue this surely already has to be the best film of the year. Featuring tremendous performances from David Thewlis, Jennifer Jason Leigh and Tom Noonan (the fact that you only hear their voices simply underlines the impact of their work) and a haunting soundtrack by Carter Burwell. It is another stroke of genius from Kaufman, nothing less.

Note: the month of January – being in the midst of award season – often comes with plenty of American quality so if there ever was a time for honorable mentions within the same month it would be here. So do also check out ROOM, SPOTLIGHT, THE BIG SHORT and THE HATEFUL EIGHT in particular.

ESSENTIAL LISTENING THIS MONTH:

It would be impossible to write a post about music in January 2016 without including DAVID BOWIE. His latest and final album BLACKSTAR might not have found its way onto the majority of people’s lists of essential releases this month had it not been for the sad and surprising news of his death on January 10th. But then again, it might have. Released just two days before his death it has inevitably now become a musical last will and testament and the content of the album - lyrically in particular - now comes with a major level of melancholy. But to the album itself, this is still unmistakably the Bowie we’ve come to expect over the past few decades. It’s a balanced and controlled album, performed with precision and experience. A modest eight tracks make each song valuable and meaningful, with Lazarus and the title single as the standouts. It’s a strong album that is remarkably simple, considering it came from one of the most complicated and multi talented artists of this past century. A worthy swansong, filled with emotion and final proof of Bowie’s abilities.

Madrugada dominated the Norwegian rock scene - as well as becoming a well-known and respected band throughout Europe – in the millennium’s first decade until they dissolved in late 2008. Lead singer SIVERT HØYEM has gone on to establish himself as a strong solo artist since then and have shaken the framework of his former band a long time ago. His new album that arrives this month can still be seen as a kind of fork in the road as it is his sixth release, spanning over a twelve year solo career meaning he has now been more productive on his own than back in his Madrugada days – records wise. LIONESS is another great album from the charming singer & songwriter that marks a bit of change in both pace and mood from his previous outings. After his darkest album – in both sound and lyrics – Long Slow Distance (2011) and the strong, but almost mechanical Endless Love (2014) this should easily be considered a more accessible album – and not in a bad way. It would be a stretch to call it a circular positive album, but it does seem like Høyem has cut himself a bit more lose and allowed for a slightly brighter touch. The fact that the veteran singer is now a father of three and turned forty just a week prior to the record’s release might have something to do with it. But regardless the reason, it is an outfit of a lighter color that suits him well and allows for a more laidback approach to the listener.

This writer ranked London trio DAUGHTER’s debut album If You Leave the third best to come out in 2013. So it is with great anticipation – and not without fear of disappointment – that we this month welcome their follow-up NOT TO DISAPPEAR. Thankfully, it is a strong and efficient sophomore record that not only reminds you of the band’s potential, but their already well established delicious sound. It would be unfair to compare it to their debut after just a couple of weeks’ exposure, but even though it does not already have the immediate impact of its predecessor it is a delicate and soulful collection of tunes. Founder and singer Elena Tonra still has the ability to tear your heart to shreds with just a few bars and her haunting voice is the key element carrying every track on the album. It comes with great arrangements as well, and there is an even smoother production value to the full record – without compromising the bands original raw and emotional sound that really made their first EPs such an overwhelming experience.

Check out the single Doing the Right Thing, which comes with a gorgeous video from Iain Forsyth and Jane Pollard, the directors of last year’s Nick Cave documentary 20,000 Days on Earth.

Essential December '15

ESSENTIAL VIEWING THIS MONTH:

The words «highly anticipated» are often used to describe upcoming films, but it’s hard to imagine a more fitting occasion than regarding the film that arrived on December 16. And thankfully, the anticipation met the expectations. STAR WARS: THE FORCE AWAKENS is a near-perfect reboot of the biggest franchise in cinema history. Director J.J. Abrams has found a terrific balance between nostalgia, affection and desire for new adventures. Unlike the most recent trilogy of Episodes I, II and III, this Episode VII has a more traditional approach. Despite taking full use of modern advantages and technology, the film still has a traditional feel and look – even though the use of CGI and visual effects is tremendously impressive. The cast – both the familiar and new faces – provide a great ensemble of entertaining and engaging characters, giving both young and old fans of the franchise someone to root for. The Force Awakens is a most welcome return to the galaxy far far away.

The past decade has been a curious one for modern film making's greatest Steven Spielberg. With a peculiar mixed bag of hits (Munich, Lincoln) and misses (War of the Worlds, Indiana Jones and the Kingdom of the Crystal Skull, The Adventures of Tintin) one has been tempted to think his best days are behind him – but also reminded of his brilliance. This month’s BRIDGE OF SPIES is a stellar example of the ladder. Starring Tom Hanks, in another great turn as your ordinary everyman, who when tried is able to accomplish great things. There is also great work on display in the supporting roles, with Mark Rylance taking the major honors in a terrific turn as the main spy in question. The film is an absolute masterpiece in composition, photography and directing. Without question Spielberg’s finest since Munich (2005).

After several documentaries on major companies and big industry, director Davis Guggenheim this year turned his attention to the power of one single person. HE NAMED ME MALALA is an up close and personal portrait of Malala Yousafzai, the teenage girl from Pakistan who was shot by the Taliban for speaking out about young girls’ right to an education. It’s an accomplished piece of work, put together nicely, with beautiful animation to illustrate Malala’s childhood stories and rare footage of Malala at home with her family (where she remains a teenage girl, fighting with her younger brothers) to her entrance on the world’s greatest stages, including her already historical speech at the UN on her 16th birthday. This is obligatory viewing for youngsters in school particularly, but an important lesson for the older generations also.

ESSENTIAL LISTENING THIS MONTH:

Unlike many other major recording artists, BRUCE SPRINGSTEEN has kept the amount of re-releases, bootleg material and so-called “best of” compilations to a minimum, considering his massive back catalogue. However, he has produced a few boxsets to celebrate some of his early albums. Namely, Born to Run (1975) and Darkness on the Edge of Town (1978), which came in celebration of their 30th anniversaries, both with abundant accompanying bonus materials and documentaries. This month the turn has come to The River (1980). Entitled THE TIES THAT BIND: THE RIVER COLLECTION, it features the original double album (remastered of course), the originally planned single version of the album and a disc of outtakes, with plenty of never before heard songs. But the real treat is its accompanying films. The documentary on the making of the album is not as thorough as previous, but the concert film from Tampa, Arizona in 1980 – featuring one of Springsteen’s most legendary live shows, is as good as it gets when it comes to a modern rock performance.

An original soundtrack by ENNIO MORRICONE is an occasion in itself. In particular as it is for Quentin Tarantino’s much anticipated epic THE HATEFUL EIGHT. It’s Morricone’s first original western soundtrack for thirty-four years, so Tarantino should almost be given an award just for convincing the now 87 year old Italian to come out of hiatus to provide the score for this. It’s an interesting collection of music. It does not smack you to the ground as an obvious masterpiece, comparable to Morricone’s more classic work, but it is still a great soundtrack that packs a punch and accompanies the mystery of Tarantino’s story masterfully. As always with a Tarantino soundtrack there are occasional excerpts of dialogue in between numbers, but Morricone’s score do not suffer one bit and the album is a terrific experience to enjoy in one full sitting.

CAGE THE ELEPHANT will celebrate their 10 year anniversary as a band in 2016. In their first decade they released four albums, including this month’s TELL ME I'M PRETTY. The rock outfit from Kentucky has been generous with their sound over the course of their previous records. They’ve dipped their toes into both funk and blues, as well as more heavy and punk influenced rock music. Their latest release is probably their most accessible yet, which only works as a positive in this writer’s opinion. Produced by Dan Auerbach from The Black Keys, it is a more straightforward and vintage sounding rock album, that builds its momentum as it goes. There is lightness to it, despite drummer Jared Champion not being afraid to really let it rip occasionally. The lyrics are more playful this time around and the vibe in general seem to be more about a good old time than anything else, with makes this a wonderful collection of tunes that strike a chord immediately and puts a smile on your face and a beat in your step.
Check out the band performing Mess Around, the first single from the album, on The Late Late Show with James Corden earlier in December.

Essential 2015

It's that time of the year again, time to take a look back at the finest films and music released this year. Complete review of each title can be found under the monthly issued "Essential" columns below.

ESSENTIAL VIEWING THIS YEAR:

1. AMY, dir: Asif Kapadia

2. BIRDMAN (OR THE UNEXPECTED VIRTUE OF IGNORANCE), dir: Alejandro Gonzàlez Iñárritu

3. WILD TALES, dir: Damián Szifron

4. INHERENT VICE, dir: Paul Thomas Anderson 

5. WHIPLASH, dir: Damien Chazelle

6. MAD MAX: FURY ROAD, dir: George Miller

7. THE END OF THE TOUR, dir: James Ponsoldt

8. MISSISSIPPI GRIND, dir: Anna Boden & Ryan Fleck

9. A MOST VIOLENT YEAR, dir: J.C. Chandor

10. BONE TOMAHAWK, dir: S. Craig Zahler

ESSENTIAL LISTENING THIS YEAR:

1. LEON BRIDGES, COMING HOME

2. CALEXICO, EDGE OF THE SUN

3. EL VY, RETURN TO THE MOON

4. RYAN BINGHAM, FEAR AND SATURDAY NIGHT

5. THE WAINWRIGHT SISTERS, SONGS IN THE DARK

6. DANIEL NORGREN, ALABURSY

7. THE AIRBORNE TOXIC EVENT, DOPE MACHINES

8. ELLE KING, LOVE STUFF

9. JAMES TAYLOR, BEFORE THIS WORLD

10. THE DECEMBERISTS, WHAT A TERRIBLE WORLD, WHAT A BEAUTIFUL WORLD

2016, get to work.

Essential November '15

ESSENTIAL VIEWING THIS MONTH:

One of the finest cinematic pairings of the year has to be Ryan Reynolds and Ben Mendelsohn. In MISSISSIPPI GRIND the two bring out the best in each other, resulting in a standout performance in both their careers. Worth seeing for either one, but together they’re simply too good to pass up. Helmed by directors Anna Boden and Ryan Fleck who have created some of the finest American Indies over the past decade, in particular Half Nelson (2006) and It’s Kind of a Funny Story (2010), and once again they’ve crafted a terrific character piece that deals with addiction, friendship and affliction. The script is tight, with sharp and efficient dialogue. A treat from start to finish.

Viggo Mortensen has turned in some spectacular performances over the years. After the success of the Lord of the Rings trilogy, he opted for the road less travelled, with independent, risky and foreign pictures instead of what surely was an ocean of mainstream opportunities. This months’s FAR FROM MEN may be one of his best yet. An emotional war drama that takes a modest budget and simple setting and turns it into one of the most beautiful films of the season. As the school teacher forced to take part in a conflict he has no interest in, Mortensen is quiet and understated, without losing any of his natural intensity. It really is a performance to behold. Accompanied by stunning cinematography and a haunting score by Nick Cave and Warren Ellis, Far from Men is a minor masterpiece.

As far as directorial debuts go, BONE TOMAHAWK has to be one of the most fascinating and compelling in a long time. Writer and director S. Craig Zahler has gathered the unlikely ensemble of the year with Kurt Russell, Patrick Wilson, Richard Jenkins and Matthew Fox starring in this original and outrageous western. While it starts calm and suiting, the wild of the west is turned on to full effect for the final act and the result is simply astonishing. Not only is Zahler’s screenplay filled with entertaining quips and set-ups, but his abilities from the director’s chair seem far too skilled for a debutant – making it even more impressive. It is a massive shame that this beauty arrived straight to DVD in most countries, so do yourself a favor and seek it out. You’ve never seen anything like it before.

ESSENTIAL LISTENING THIS MONTH:

After composing score for Paul Logan’s short film Be Comfortable, Creature in 2011 and David Gordon Green’s feature Prince Avalance in 2013 suppose it was only natural that EXPLOSIONS IN THE SKY would provide the soundtrack for this year’s MANGLEHORN, a film written by Logan and directed by Green. As on Prince Avalance the band is joined by guitarist DAVID WINGO, and their new score is another great record of mainly instrumental tunes. It serves the film well, but also has no problem standing on its own. As always with EITS there is an emotional core to each track, poetic and strong. At times the score almost haunts itself, and it is definitely best served as a whole album in one sitting. It is just the band’s fourth soundtrack (they’ve provided score for Green twice, as well as two for director Peter Berg), but if Hollywood ever needs a film to have an additional layer of perfectly composed emotion, they should look no further.

Montage of Heck, the documentary about KURT COBAIN that arrived earlier this year, has already been mentioned on this site. Now, several months later the soundtrack has been made available. MONTAGE OF HECK: THE HOME RECORDINGS is naturally not as accomplished or impressive as any Niravana release, but as a companion piece and musical document of the life and music of Cobain it is an absolute treasure. It’s an emotional listen. Cobain is often audibly under the influence or in emotional turmoil, so much at one point that one actually thinks that perhaps this is not something that should be heard by the general public. Mainly consisting of Cobain alone with his guitar, recording demos that would most often not result in anything, but there are traces of his genius and abilities throughout. It is mainly a record for the fans, but also anyone with an above average interest in an essential part of modern rock music’s history.

Martha Wainwright has always been the favorite from the vastly talented Wainwright family to this writer. This month, she joins forces with yet another talented family member, her half-sister Lucy Wainwright Roche. Together they are simply THE WAINWRIGHT SISTERS. Their first album together, SONGS IN THE DARK, is a rich compilation of sixteen tracks with everything from childhood lullabies to Woody Guthrie covers. It’s a simple album, but still comes across as incredibly tender and heartfelt. Their voices get equal opportunities to shine on their own, but it is when they join forces that the real magic happens. As a duet they are simply gorgeous, with soft and suiting harmonies that hit you straight in the gut.
Here is a video of them performing El Condor Pasa, the opening track of the album, in London this October, one of only a few live performances they’ve done.

Essential October '15

ESSENTIAL VIEWING THIS MONTH:

The adaptation of David Lipsky’s book about his five days spent with writer David Foster Wallace for his Rolling Stones article was always going to be tricky. But director James Ponsoldt, alongside a tremendous starring duo, pulls it off and in so has created one of the finest films of the season. THE END OF THE TOUR is a smart, delicate and moving story about art, creativity, depression and the beauty of a great conversation. It is endlessly enjoyable, much thanks to Jason Segel and Jesse Eisenberg, both providing some of their finest work to date (the film is guaranteed to be a – if not the – standout of Segel’s career). It’s incredibly well written, which one supposes is a given, and directed with grace and a creative touch to a on paper very structural idea. A triumph for everyone involved.

Ridley Scott’s films of late have been a mixed bag, to say the least. Considering the legendary director is now close to eighty years old it is quite remarkable that he has managed to remain so productive. In fact, this past decade has arguably been the most potent of his career despite its share of hits and misses. THE MARTIAN is a highlight though. A well-crafted and surprisingly light on its feet space odyssey, centered round a stellar turn from Matt Damon. Spending most of his screen time alone, he is the perfect blend of arrogant and amusing – a combination he’s nailed to perfection before, but never with this much vigor. The film is beautifully shot, perhaps Scott’s most visually compelling piece ever that despite its two and a half hour running time never allows you to slip out of his – literally – universe. It’s a superb blockbuster, made with a skill set most filmmakers Scott’s age will never have come close to.

Tom Hardy has over the past years made his way towards the very top in the category of tough, hard hitting and charming leading men in Hollywood. From Bronson to Bane, he’s never made a false step – or at least one that was not a hundred percent convincing. In LEGEND, he really has his work cut out for him in not just one, but two very challenging roles as he plays the legendary Kray twins, who ruled the London underworld of crime in the 1960s. Hardy’s performance is a massive triumph, a ruthless and agonizing take on one part, while charming and controlling on the other. He is endlessly watchable, and simply impossible to take your eyes off. Director Brian Helgeland’s script occasionally suffers from one to many clichés, but overall it’s a great take on a period of Britain that still remains one of its most interesting.

ESSENTIAL LISTENING THIS MONTH:

JESSE MALIN is one of those New Yorkers who has kept it going for ages, never really becoming a household name anywhere outside his native city, but still producing an impressive amount of solid rock albums – still without any poor releases. OUTSIDERS is his eight studio album, and the singer/songwriter who is now pushing fifty, is showing no signs of slowing down. Malin’s recipe is simple, but thorough. He wears his inspirations on his sleeve (Springsteen, Waits, Earle) and is loyal to his beloved dirty rock genre. Outsiders is another solid collection of tunes, presented by a skilled and confident voice with the back-up of head to toe professional musicians. It doesn’t hit the peaks of his finest work released during his most productive period, such as The Heat (2004) or Glitter in the Gutter (2007), but this is still a notable and respective addition to an already impressive resume.

It’s always great to write about acts from this writer’s hometown on this site, and this month finds another reason to do so, with the release of IN THE LIGHT OF THE SINKING SUN – the debut album from REPTILE MASTER. The band themselves declare they're on a mission to "spread the gospel of doom", and this stuff certainly isn’t for the fainthearted. It’s a modest album, with eight tracks clocking in just shy of forty minutes, but within there is plenty to enjoy. There is a great attitude to their sound; aggressive, but also sensitive, in particular when it comes to the arrangements. There is a terrific attention to detail and the production is first class (not always the case on a debut album from a band not signed to a major label). This should have fans of the genre way outside their domestic borders take note, and hopefully the album will find an audience that will encourage the band and make sure that they’ll return with an even bigger and heavier second outing in the near future.

The National have been mentioned on this site before, as on many other sites that have described them as one of the most original and fascinating indie rock bands of the past decade. That is one of several reasons why the debut album of new outfit EL VY has had many people waiting in excitement. Pronounced like “Hell pie” (according to their website bio), it is also the plural of Elvis. The band is a duo, consisting of The National lead singer Matt Berninger and Brent Knopf, perhaps more known for his rock project Ramona Falls. Their debut album is called RETURN TO THE MOON, a variety of tracks spreading across several genres. It fuses rock, electronica and simple pop to one big melting pot of delicious and great sounding music. Original, creative and entertaining, this is bound to stand as one of the year’s most welcome records. Check out the lyric video for Need a Friend, directed by Matt’s brother Tom Berninger.

Essential September '15

ESSENTIAL VIEWING THIS MONTH:
One of the finest Indies of the season is Me and Earl and the Dying Girl. It’s based on the novel by Jesse Andrews (who also penned the screenplay) and stars three fairly unknown youngsters. It’s a delightfully quirky tale about youth, friendship and death that has plenty of laughs, but also a believable and moving dramatic edge. Most of the credit should go to director Alfonso Gomez-Rejon, a slightly surprising choice for the job. His resume is mostly filled with lighter TV work (he’s directed several episodes of Glee and American Horror Story), but he finds his footing here without missing a beat. It’s put together wonderfully, with inventive photography and snappy editing. A great treat after a summer filled with blockbusters and heavier popcorn fodder.

It’s easy to write off Victoria as an experiment rather than a cinematic experience. With its much talked about “one take” throughout its 140 minutes running time it certainly has you paying attention and perhaps looking for flaws (the ultimate curse for any experimental filmmaker). But after settling in you’ll find it hard to think about anything other than the characters involved and the consequences of their wild night out that is the starting point for this wild ride. Director Sebastian Schipper obviously has ambition, but is careful not to forget the importance of details and emotion. Besides its technical achievement, the films other triumph is its heart. It will require you to be patient, but if you let yourself go and tag along with the ensemble you’ll find yourself feeling thankful for long after leaving the cinema.

The Overnight is the most bizarre and absurd comedy of the year so far. And that is all in a good way. A family playdate that goes completely off the rails is the setting for this tiny gem of a modern comedy classic. Featuring a terrific ensemble, starring Jason Schwartzman, Adam Scott, Taylor Schilling and Judith Godréche, who play off each other perfectly in every setting provide some of the most hysterical and outrageous moments you’ll see in an American  independent picture. It’s only director Patrick Bruce’s second feature (his first was last year’s very interesting Creep), but he handles the drama as well as the comedy with steady and sober motivation, making it seem natural and logical – despite being everything but that!

ESSENTIAL LISTENING THIS MONTH:
Singer and songwriter Luke Elliot has arrived with a boom this month, below this writer and many others radar for sure. The New Jersey born musician has turned into somewhat of a Norwegian national treasure when you look at the reviews and buzz surrounding his new album Dressed for the Occasion. After two five-track Eps it’s his first full-length album, produced by John Agnello, who’s responsible for a handful of successful Norwegian records by bands such as Madrugada and Turbonegro, as well as major acts like Dinosaur jr., Sonic Youth and Kurt Vile, is truly a treat. A great mixture of folk, dark country and rock tunes that flow out with grace and an impressive ease, reeking of confidence and skills. A tremendous debut album that deserves to find a large audience on both sides of the Atlantic.

Legendary American singer Darlene Love returns this month, with her first album of new music in over 25 years. With its charming title Introducing Darlene Love (a gutsy move considering she passed 70 quite a few years ago) it is a great reminder of just how special she is, not just as a voice but a performer. Produced by Steven van Zandt and released through his Wicked Cool Records, who has gone to great lengths when finding songwriters to provide Love with material. Bruce Springsteen and Elvis Costello are just a few of the contributors. It’s a great collection that probably could have benefitted from a slight trim. With fourteen tracks it could easily have sharpened its sound and pace with one or two of the middle tracks removed, but considering the stage of her career we should just be thankful for any amount of new music being performed by Darlene Love.

Any fan of Beirut has learned not to be spoiled when it comes to new music. Since their debut album in 2006 there has only been an additional two full-length records – until this month. No No No is their fourth, and it is a terrific follow-up to their critically acclaimed The Rip Tide from 2011. Listed as the best album of the year by this writer, it proved Zach Condon and company had moved on from minor indie darlings to major orchestral players with grand ideas and an impressive soundscape. Their new album is more of the good stuff. Like its predecessor it comes with a modest nine tracks, each one a treat both lyrically and in its melody. It’s also perfectly timed for the season. The darkness of autumn and the cold of approaching winter will be no match for this delicious collection of heartwarming tunes.
Here is the opening track Gibraltar, with its delightful video directed by Brother Willis.

Essential August '15

ESSENTIAL VIEWING THIS MONTH:
The Mission: Impossible franchise has had a very interesting development over the years. Unlike most other successful film series, instead of nourishing the familiar and sticking to a popular recipe, Tom Cruise and his accomplices try to start fresh every time around. One of the keys to this is hiring a new director for each film. For its fifth installment – Rogue Nation – they’ve put Chris McQuarrie at the helm, who first rose to fame with his Oscar-winning script for The Usual Suspects (1996). This is just his third directorial outing, after his debut The Way of the Gun in 2000 and Jack Reacher (also carried by Cruise) in 2012. McQuarrie brings a great degree of charm and old school action to the table, and despite set pieces in this type of film often have a familiar taste to them, they come off as fresh and stylish – much thanks to Cruise and his supporting players, where special mention has to go to Swedish actress Rebecca Ferguson who completely dominate every scene she’s in.

Despite the fact that he’s turning eighty later this year, Woody Allen still remains admirably active as a filmmaker. He has kept the same pace throughout his career, which means turning out a new film pretty much every year. Considering his debut is now close to fifty years old itself, that’s quite an achievement. His newest Irrational Man lands in familiar Allen territory. A murder mystery (without the mystery) camouflaged in a modern comedy, light on its feet and with a sharp tongue. Joaquin Phoenix and Emma Stone lead the way in a brilliant cast, with Phoenix in particular having a field day in one of his most laid back and amusing roles to date. It may lose itself a bit in the third act, despite a tremendously satisfying ending, but for the first hour or so this is one of the most enjoyable films you’ll see this year, as long as you allow for it to take its time and lead you a bit in its desired direction. Which of course you will, it is Woody Allen after all.

One should be careful to entitle any film “the best of the year” in any way or genre as long as we’re still just at the back end of summer, but this writer is confident that Amy deserves the title of best documentary of the year. Director Asif Kapadia has taken the legacy of the iconic Amy Winehouse to a completely different place with this moving, fascinating and deeply heartbreaking film about the British singer and songwriter. Like with his BAFTA-winning Senna (2010) Kapadia makes his film entirely out of archival footage, with the voiceovers of key players as a backdrop. The amount of previously undisclosed footage is astonishing, particularly considering that its subject was a person that spent much of her life in the public’s eye. At times it is almost too much to take, when you know the inevitable outcome, but Kapadia makes sure that this is not just a sob story of tragic fate. Amid its heartbreak is a sober and carefully crafted story about family, addiction and talent, where the end result still allows for the ladder to be celebrated, despite having come to an end far too soon.

ESSENTIAL LISTENING THIS MONTH:
This year marks the 20th anniversary for A.M., the debut album from Wilco. This month they release their ninth studio album Star Wars (this writer still has not decided what to make of this title). Regardless, it is another terrific collection of rock tunes in the genre they’ve so comfortably managed to keep calling “Alternative”.  Led by front man Jeff Tweedy who still handles the songwriting job in the band, it comes across as a safe release, but not in a negative sense. They still fare within their Americana grounds, but with a little more edge around their guitars and rough touches throughout the production of the album. The band from Illinois have through their latest releases seemed more interested in keeping their existing fans happy, rather than experiment in order to gain new ones. This in today’s industry is actually something of a relief. The band even let fans download the album for free for a limited time when first announcing the title. If that does not encourage further support from your loyal fans, what does?

After six studio albums in English, Norwegian singer / songwriter Vidar Vang has turned a corner to make his seventh outing the first in his native tongue. Vårres egen lille krig (roughly translates into Our Own Little War) is probably the thirty-eight year old’s most interesting one to date, and not just because of his switch in language. Despite being a more than qualified writer of songs in English, the lyrics feel more honest and intimate in Vang’s own language. This would perhaps be natural, but not necessarily beneficiary. However, there seems to be more going on, more emotion at stake and more frustration on the loose from Vang’s book of lyrics this time around. The lyrics do their lifting, but they don’t carry the album on their own. It also sounds terrific and moves at a very enjoyable pace. Produced by Vang himself, alongside Cato Thomassen (their fourth collaboration), it serves up both low key ballads delivered by acoustic guitars, as well as heavy and almost grandiose anthem like rock tunes, like its opening track Ingenmannsland which sets the record off to a flying start.

Anna Bulbrook first came to this writer’s attention as part of the Los Angeles based alternative rock band The Airborne Toxic Event (mentioned before on this site), where she mainly handles the viola and keyboards, as well as backing vocals. From these there has never been a doubt that her voice would have no problem carrying a band on her own, which she now does as The Bulls release their debut EP Small Problems this month. The band is mainly a duo, where Bulbrook is joined by Mark Sallis, most known for handling the bass in the London rock band The Duke Spirit. Together they have created a terrific outfit that produce melodic and modern pop tunes, with hints of both electronica and alternative rock. The record is only a modest four tracks, but it carries itself with confidence and ambition which will make it even more exciting to see what they can pull off with a full-length studio album, which hopefully isn’t too far away. The single Come Unwound gives you an idea of their sound, and it also comes with a rather beautiful music video directed by Evan Mathis.

Essential July '15

ESSENTIAL VIEWING THIS MONTH:
After thirty active years there have been more than a handful of documentaries about Athens, Georgia’s most famous rock band R.E.M. To take on a brand new one, four years after the band split up in 2011, is not an obvious endeavor seeing how all the band members (with the exception of a small project here or there) have remained mostly quiet since their departure. R.E.M. by MTV however is a fresh and entertaining take on the band, starting from the very beginning and moving forward with great pace and covering most of their stages, if some do pass by a little too fast. Made by Alex Young, who makes his directorial debut with the film, it is not only a reminder of a great and still influential band, but an era that now has come and gone. MTV was once an institution when it came to distributing good music and letting audiences discover new bands through their shows and stages. For this alone, the film works as a nostalgic trip, but above all it is another significant document on one of the most important American bands of their generation.

One of the most pleasant surprises of the season is Danny Collins, a sharp and charming dramatic comedy starring Al Pacino in the title role as an aging rock star determined to change his ways. Much credit has to go to Dan Fogelman, who makes his directorial debut with this, after serving as a writer for many successful comedies and animation films over the past decade. The film is funny, warm and even manages to be moving towards the end. Pacino and his supporting characters – with Annette Bening and Bobby Cannavale as the standouts – all have great chemistry together and it is one of the finest ensembles of the year. It does get a bit carried away with its motives and ambitions towards the end, but it does not take anything away from what is a great and lovely surprise.

The Church of Scientology has been a source for many explorations in several formats. Books, films and news shows have all had a stab at this controversial religion since it originated in the early 1950s. Alex Gibney, the Oscar-winning director of Taxi to The Dark Side (2007) and Enron: The Smartest Guys in the Room (2005) among others is the latest to take a crack at it, with a frank and critical documentary for HBO, engaging former members that have now left the church. Going Clear: Scientology and The Prison of Belief is a fascinating and thorough look at the religion, despite being virtually one-sided with critics as the church itself declined any involvement with the film. It is at times disturbing and hard to believe, even though the criticism at times feels too repetitive from the film's limited talking heads. However, there is an impressive amount of archive material to back it all up. Gibney has provided an entertaining documentary, never afraid to use gritty realism and tragic personal fates as means to get there.

ESSENTIAL LISTENING THIS MONTH:
The fact that James Taylor’s new album is his first featuring original material in more than a decade should be enough to catch the attention of anyone with a remote interest in American music. Before This World is indeed worth checking out, and not just for the curiosity of what the now 67 year old singer/songwriter is in fact capable of. The album (Taylor’s seventeenth all together) consists of ten tracks, all layered up in a suiting production, with cool yet charming and subtle flare. Taylor recorded the album in his own barn, with just his bass player and percussionist as company. The result is a soft sounding and very enjoyable record that is a worthy comeback for the legendary American songwriter.

This writer has never been a fan of cover albums in general, but an exception has to be made when it is the work of Iron and Wine & Ben Bridwell. The first being the stage name for singer /songwriter Sam Beam and the ladder is singer and front man of acclaimed folk/rock outfit Band of Horses. Sing Into My Mouth features songs originally recorded by greats such as Talking Heads, John Cale, Spiritualized and Bonnie Raitt to name a few. It’s a quite original collection of artists and bands to draw inspiration from, but the end result is a well composed and brilliantly put together record that has a nice flow and is crowded by beautiful moments. Beam and Bridwell work lovely together and if not on paper, on tape they are a perfectly sensible pairing for duets and collaborative arrangements.

The folk rock act Sun Kil Moon is not one that’s easy to get to know. After several failed attempts by this writer to properly engage in their stuff, their seventh studio record Universal Themes released this month would be the one to finally succeed. It’s an outfit of music that’s hard to describe by comparisons or relatives, it simply needs to be heard to be understood (or at least tried to be!). Despite its non-commercial approach and mix of genres throughout – or even within each track – this album is still one that sticks with you, including a decent amount of time after you’ve first heard it. That is if you can get past the ridiculous song titles. Here, enjoy the album’s final track This Is My First Day And I’m Indian And I Work At A Gas Station.

Essential June '15

ESSENTIAL VIEWING THIS MONTH:
As far as sequels go, the golden rule now is just to never expect anything to be better than the original. In particular if you’re one, two or three films into a franchise. This mindset works especially well if you decide to take in Jurassic World. Arriving fourteen years after Jurassic Park III and more than twenty since Spielberg set the world on fire with the first film, it has been on the shelves just long enough to delight nostalgic fans as well as pleasing the younger crowd who will visit the park for the first time. By any summer blockbuster standard, it works great. The thrills, laughs and modest drama are all present and arrive at an acceptable rate. Director Colin Trevorrow, who got the job with just one feature film release on his resume (2012s enjoyable and quirky romantic comedy Safety Not Guaranteed), take on the franchise determined to make his mark. It’s cleverer than its most recent predecessor and miles ahead of original sequel 1997s The Lost World (still Spielberg’s most sloppy and predictable film), while paying a fitting tribute to the original in both subtle and not so subtle form. Overall, it’s a pleasant surprise and well worth going into, even with some expectations.

Norway’s most dedicated and stubborn rock and roll band for the past thirty years have finally got their own documentary! Tilbake til Muotathal (Return to Muotathal) is the story of Backstreet Girls, a group of now fifty-something men still living the mythical rock and roll lifestyle, refusing to compromise in any way. Despite being packed full of rock music, drinks and drugs and all other things you’d expect the most surprising this about this film is its emotional punch. Well camouflaged beneath the band’s rough exterior there is a moving and engaging story to be told, in particular to the fates of singer Bjørn Müller and guitarist Petter Baarli. Still, this film is mainly about the good times and at a modest running time well below an hour and a half this is a great ride from start to finish. Directors Morten Kjølberg and Stian Andersen (mostly known for his great photography) also make it look great, without trying to be flashy. The nitty gritty is as present as you’d expect, but the directors also indulge the band with some great music video material – in particular towards one of the film’s main events; their anniversary show at a sold out Rockefeller in Oslo.

2015 has so far been a dull year for TV. Hopefully that will change this summer with the second installment of True Detective. With the massive critical and commercial success of the first series, the pressure is certainly on. Creator and writer Nic Pizzolato has gone back to the drawing board, with an entire new cast and storyline. The only connection between this and the first season is the environment; crime, dark souls and cops with way too much on their plate. Currently just two episodes in it’s not possible to lay a final judgement on the show, but it is still safe to say that it does not have the immediate impact of the first season. This was not to be expected either. But there is plenty going on here with the potential to develop into great hours of television. Colin Farrell has a field day in the leading role (or…?), and there is fine support to be found in Rachel McAdams and perhaps surprisingly Vince Vaugh – playing against type and with a becoming modesty that you rarely see in his work. There is still plenty of time to mess this up, but for now, it’s hard to think of something more interesting to wait for every week this summer.

ESSENTIAL LISTENING THIS MONTH:
After their two first albums Lungs and Ceremonials arrived within just two years of each other (2009 and 2011), it has taken Florence + The Machine four years to release their third record. Long overdue among their fans I’m sure, but thankfully the wait has not been in vain. How Big, How Blue, How Beautiful is another great collection of indie rock and pop tunes, with a more laid back approach to its lyrics, in particular compared to their debut Lungs. Frontwoman and undoubtedly head of all ceremonies Florence Welch run her band with steady hands, keeping things tight and engaging from their mellow pop ballads to its cracking opening tune Ship to Wreck (without question one of the best opening tracks of any album this year). At times you’d wish they keep their beat and tempo more consistently, as the album moves like a rollercoaster with ups and down overlapping each other. Perhaps it is better taken in through your own preferred playlist, but as a whole this is still another great win for the British orchestra.

After the success of their debut album My Head is an Animal in 2011, Icelandic folk pop outfit Of Monsters and Men return with their follow up this month. Beneath the Skin does not share its predecessor’s original impact, but it still holds its own. It actually does not feel like a sequel album, but more of a companion piece, with both themes and melodies reminiscent from their debut. It’s still easy listening, with soft and accessible tunes that have no other intention than to soothe and lightly entertain. That is not to say that there are not quality musicians at work here. Their sound and collective skills complement each other and there is great enjoyment to be found in taking in the whole album from start to finish. With “the difficult second album” now out of the way, I have a feeling the next outing from this band will determine their lasting status.

The debut album from Leon Bridges has already received rave reviews State side and for good reason. Coming Home is a throwback to the finest of 1960s soul and gospel music, with a modern touch and a very becoming sense of nostalgia. Too much of the ladder could easily have sent this down the wrong way, but Bridges keeps his tunes smooth and stylish throughout the record. It’s clear that the Texas born singer knows his musical history and his inspirations (Otis Redding and Al Green come to mind) are well worn on his sleeve. Considering he’s just 25 years old there are hopefully plenty more good albums to come.
The delicious Smooth Sailin' should give you a good idea about just what this guy is about.

Essential May '15

ESSENTIAL VIEWING THIS MONTH:
One of the best family adventure films to arrive in years is Disney’s Tomorrowland. It’s a visual masterpiece loaded with great ideas and tons of fun. It’s wonderful to see a film that targets young and mature audience at an equal level, without compromising plot or effects in order to please one or the other. Director Brad Bird, who now has one of the most impressive resumes in Hollywood with this tied on to The Incredibles (2004) and Mission: Impossible - Ghost Protocol (2011), has created a delightful piece of entertainment. Co-written by Lost’s Damon Lindelof it is not only a thrilling ride, but a moving and inspiring tale of childhood, dreams and ambition. Tomorrowland is already looking to be this summer’s finest blockbuster.

On paper, another Mad Max movie from now 70 year old director George Miller seemed like a terrible and very risky idea. But early promotions and trailers indicated that this might in fact be the veteran’s finest work yet. And indeed it is. Mad Max: Fury Road is a spectacle like nothing you’ve ever seen, and probably will see for a long time. It works from its action and adventure genre, but flips every rule on its head and goes absolutely ballistic when it comes to stunts, action and visual sensibility. Lead on by brilliantly cast Tom Hardy and Charlize Theron, this lives up to the traditional term of “a roller coaster ride” of a movie, that starts off blasting and doesn’t stop until you’re out of breath and yet craving for more. The hit of the summer!

For something completely different, let’s turn to Noah Baumbach’s While We’re Young. The director of indie darlings such as The Squid and The Whale (2005) and Frances Ha (2012) has made another enjoyable and charming comedy that remains light on its feet while still being a sharp take on urban life in the 21st century. Ben Stiller and Naomi Watts are great as the forty-something couple that meet young and hip Adam Driver and Amanda Seyfrid, and become inspired to take on life in the big city in a way they never dared to before. It shifts in genre towards the third act, in a not 100 percent successful move, but this is still one of the finest and unarming comedies so far this year.

ESSENTIAL LISTENING THIS MONTH:
It’s been quiet around The Killers since the release of their latest album; 2012s Battle Born. Part of the explanation lies with front man Brandon Flowers, who’s spent the past two years getting his second solo album ready, and this month it arrives. The Desired Effect shares many similarities to his solo debut Flamingo (2010). With that it was obvious that Flowers wanted a lighter and more playful touch to his own material, and this feeling remains throughout his sophomore effort. By some he’s been accused of being too slick, a little too soft around the edges. That may be so, but there is still much more going on here than to just dismiss it as typical “solo record stuff”. Flowers is still in possession of a terrific voice that still stands out among today’s biggest acts. And through his grandiose sound and multi-layered production, there is a genuine songwriter hard at work to fulfill his potential and in doing so leaving no stone unturned.

After having spent the majority of the past three years on the road, English rock outfit The Vaccines is finally ready to present their third studio album. English Graffiti is a welcome return to top form after a slightly disappointing second record. Their debut What Did You Expect from The Vaccines? (2011) was a great kick in the nuts for the British rock scene and after having established their sound and fan base they are now ready to challenge their audience. The new album can only be described as “more complicated” than their previous work, but there is nothing complicated in the enjoyment of it. You’ll find their trademark hard-hitting dead fast rock tunes, but there are also elements of 80s pop and even quiet folk. It’s a great collection that keeps you on your toes, and with the exception of one or two duds, it’s tremendous fun from beginning to end. More of everything please.

It’s strange to think that My Morning Jacket have been active for nearly twenty years now. However, they’ve not been spoiling their fans with a truckload of albums. This month sees the arrival of their seventh studio record. The Waterfall is another collection of great tunes, where the psychedelic is tuned unusually low and their main ambition seem to be creating a good vibe all around. It’s one of their most accessible albums in years. To call any MMJ album easy listening would be an overstatement, but this one does not fall far from it. It’s incredibly easy on the ears and has a very collective sound, with one song tying the next one into it. After a first few listens it’s tempting to call this their best album since their masterpiece Evil Urges (2008).
The first single of the album, Big Decisions will easily be the finest tune you’ll hear today.