ESSENTIAL VIEWING THIS YEAR:
1. Beasts of the Southern Wild
Benh Zeitlins first feature film is a clear standout of the year. A raw and emotional look at childhood, family and fate that is bound to shake your bones and melt your heart. A truly wonderful piece of extraordinary cinema, and the best film of the year.
2. Rampart
This brilliant film from Oren Moverman (only his second feature) is a true gem that deserved to reach a much larger audience. Carried by a towering performance from Woody Harrelson, perhaps the best of his career, this is gritty and honest filmmaking without any fear or hesitation.
3. Shame
Michael Fassbender provides this year’s strongest bit of acting in Steve McQueen’s intimate look at addiction and human dissolution. At times shocking and hard to watch, but in the end highly rewarding and emotional.
4. The Dark Knight Rises
The conclusion to Christopher Nolan’s trilogy might not match the second installment, but nevertheless this is another tremendous piece of blockbuster entertainment. Featuring one of the year’s most memorable villains in Tom Hardy and a highlight for Christan Bale’s take on the dark knight.
5. Moonrise Kingdom
Since his debut Bottle Rocket in 1996, director Wes Anderson has managed to create his own genre within independent American cinema. This is another enjoyable fable exploring family and first love, featuring some of the finest youngster performances in years.
Top three runners-up: Beginners – The Guard – Killing Them Softly
ESSENTIAL LISTENING THIS YEAR:
1. Dry the River – Shallow Bed
The first album from these Londoners is a smart and irresistible collection of folk and rock tracks, with delicate arrangements and poetic lyrics. Despite walking in familiar indie footprints they come off sounding both fresh and original, and for a debut album this is nothing less than tremendous. The best album of the year and a mouthwatering taste of what’s to come.
2. Sigur Rós – Valtari
The sixth studio album from Icelands finest band proved to be one of their best so far. With a modest eight tracks they provided the perfect soundtrack for this autumn. Their music has always been complicated, but at the same time easily moving and highly emotional. With Valtari Sigur Rós prove how far they have come without losing any of their original magic.
3. Regina Spektor – What We Saw From the Cheap Seats
With her sixth album Spektor has proven herself as not only one of, but at the moment the American singer / songwriter. Her skills on the piano should almost be enough, but as always she offers so much more. Both catchy and melodic and with a strong sense of purpose, this is perhaps the finest example of Spektors abilities as a songwriter.
4. Daughter – The Wild Youth EP
A simple four track EP is perhaps not considered worthy of a spot on an album chart, but the impact this record had on this writer throws every rulebook out of the window. This is only the second release (both EPs) from this British trio so one can only imagine what a full-on album will be capable of. But for now, these four modest tracks are some of the finest bits of melancholy to come out this year, and the track Youth is a strong contender for song of the year.
5. Bruce Springsteen – Wrecking Ball
It is tempting for the average record buyer to dismiss Springsteen in 2012, with all the new music and exciting sounds being released. But one can’t change the fact that the 63-year old Boss from New Jersey is still the finest producer of old school rock music, and after forty years in the business still manages to be the truest voice of the American audience. Wrecking Ball is a rock solid collection, with its title track in particular standing out as long-living anthem proving that the finest music to come from Springsteen might still be ahead of us. Really.
Top three runners-up: Rival Sons, Head Down – The Shins, Port of Morrow - Mumford & Sons, Babel
Roll on 2013.
Wednesday, December 19, 2012
Tuesday, December 4, 2012
"Adam"
adam always locks the door
keeps his feet off the cold linoleum floor
these streets always had it in for him
no other choices but to sink or swim
adam wanted to start a band
the unsung hero in a private wasteland
the pills in the cupboard all taste the same
he knows how many but can't pronounce their names
adam needs to leave his mark
easier to convince with a bite than a bark
an unsigned birthday card is pinned to the wall
where he sleeps to get away from it all
adam has been told that all is well
mom or dad could never tell
somewhere tonight someone told a lie
adam knows that even good men die
keeps his feet off the cold linoleum floor
these streets always had it in for him
no other choices but to sink or swim
adam wanted to start a band
the unsung hero in a private wasteland
the pills in the cupboard all taste the same
he knows how many but can't pronounce their names
adam needs to leave his mark
easier to convince with a bite than a bark
an unsigned birthday card is pinned to the wall
where he sleeps to get away from it all
adam has been told that all is well
mom or dad could never tell
somewhere tonight someone told a lie
adam knows that even good men die
Friday, November 30, 2012
Essential November '12
ESSENTIAL VIEWING THIS NOVEMBER:
After his directorial debut Gone Baby Gone in 2007 and the highly acclaimed The Town (2010), Ben Affleck has established himself as one of Hollywood's most trusted directors within the crime/drama genre. And his shoes are bound to get even more shiny with this month's Argo. Based on the article by Joshuah Bearman and the incredible true story about the classified CIA-operation that extracted six American diplomats from Iran in 1980. The story is not without humor, and this is surprisingly one of the things that Affleck handles best. The balancing act between the comedy within the insanity of the operation, the personal drama and the suspense is delivered in terrific fashion. Affleck may lead the pack, but he is helped by a superb ensemble of actors. Bryan Cranston, John Goodman and Alan Arkin all provide superb supporting acts, and combined they have created one of the most enjoyable Hollywood fares of the year.
Brad Pitt and director Andrew Dominik created one of 2007s finest films with The Assassination of Jesse James by The Coward Robert Ford, so it was no surprise to learn that they had teamed up again for this month's Killing Them Softly. This however, is something entirely different. With a modest budget of 18 million dollars (about half of Jesse James) this is simple, yet tremendously effective storytelling, fronted by a true movie star performance from Pitt. It is definitely not for everyone, and despite a relatively short running time it is not in any real hurry to get anywhere. But that doesn't really matter when it looks as good as this, courtesy of photographer Greig Fraser. Pitt is also assisted by a superb turn from Scoot McNairy (who incidentally also shines in Argo), and strong supporting work from Richard Jenkins and James Gandolfini. Taking his debut Chopper (2000) into consideration, Dominik stands comparisons to the legendary Terrence Malick, not spoiling his audience, but taking his time in creating close to flawless masterpieces that are certainly different, but always engaging in style and story.
One of the most memorable, moving and entertaining documentaries of the year has to be The Punk Syndrome. The Finnish film tells the story about Pertti Kurikan Nimipäivät, a hard rocking punk band where all four members share more than a love for music, they are also mentally handicapped. That does not stop them from living out the myth of rock and roll though. Directors Jukka Kärkkäinen and Jani-Petteri Passi allow for every member to tell their story and with their very personal and honest style, it does not take long for them to secure the audience's attention. Funny, heartfelt, thought provoking and truly inspiring it stands out as a true gem, that deserves to be seen by many.
ESSENTIAL LISTENING THIS NOVEMBER:
Ida Jenshus is one of Norway's brightest stars in the country/pop genre. Her first two albums were both rewarded with Spellemannsprisen (the Norwegian Grammy) and her newest album Someone To Love is bound to be a contender for next year's awards. Her recipe has not gone through too many changes since her debut three years ago, but listening to the end product one cannot think to wish for it either. This is another strong album, with well written tracks delivered by one of this country's finest female voices. Jenshus is a romantic; both in her lyrics and performance, and one will be hard pressed not to be moved by a majority of the albums twelve tracks.
With their previous album Hissingen Blues, released last year, making them a household name in their native Sweden, this month's Lights Out is looking to establish Graveyard as a major force of hard rock and roll. The new album is similar to its predecessor in many ways, mainly in sound and attitude. With obvious references to the greats of the 70s and 80s, the swedes are not in any way out to re-invent neither their riffs nor approach. There are touches of both psychedelic and emotional blues, but this is a genuine rock album as true as they come, out to do nothing more than shake your socks off.
It may have come out earlier this fall, but since this writer failed to discover it until now it deserves mention. Beacon is the second album from Northern Irish band Two Door Cinema Club. While their debut Tourist History (2010) managed to catch the attention of critics and audiences alike, their sophomore effort proves that they are more than a one trick pony. This is a terrific pop/rock record that is both catchy in riffs and seductive in style. The trio may wear their influences on their sleeves, but the quality of the songs are certainly strong enough for them to claim their own fame. The first single of the album, Sleep Alone, is a great example.
After his directorial debut Gone Baby Gone in 2007 and the highly acclaimed The Town (2010), Ben Affleck has established himself as one of Hollywood's most trusted directors within the crime/drama genre. And his shoes are bound to get even more shiny with this month's Argo. Based on the article by Joshuah Bearman and the incredible true story about the classified CIA-operation that extracted six American diplomats from Iran in 1980. The story is not without humor, and this is surprisingly one of the things that Affleck handles best. The balancing act between the comedy within the insanity of the operation, the personal drama and the suspense is delivered in terrific fashion. Affleck may lead the pack, but he is helped by a superb ensemble of actors. Bryan Cranston, John Goodman and Alan Arkin all provide superb supporting acts, and combined they have created one of the most enjoyable Hollywood fares of the year.
Brad Pitt and director Andrew Dominik created one of 2007s finest films with The Assassination of Jesse James by The Coward Robert Ford, so it was no surprise to learn that they had teamed up again for this month's Killing Them Softly. This however, is something entirely different. With a modest budget of 18 million dollars (about half of Jesse James) this is simple, yet tremendously effective storytelling, fronted by a true movie star performance from Pitt. It is definitely not for everyone, and despite a relatively short running time it is not in any real hurry to get anywhere. But that doesn't really matter when it looks as good as this, courtesy of photographer Greig Fraser. Pitt is also assisted by a superb turn from Scoot McNairy (who incidentally also shines in Argo), and strong supporting work from Richard Jenkins and James Gandolfini. Taking his debut Chopper (2000) into consideration, Dominik stands comparisons to the legendary Terrence Malick, not spoiling his audience, but taking his time in creating close to flawless masterpieces that are certainly different, but always engaging in style and story.
One of the most memorable, moving and entertaining documentaries of the year has to be The Punk Syndrome. The Finnish film tells the story about Pertti Kurikan Nimipäivät, a hard rocking punk band where all four members share more than a love for music, they are also mentally handicapped. That does not stop them from living out the myth of rock and roll though. Directors Jukka Kärkkäinen and Jani-Petteri Passi allow for every member to tell their story and with their very personal and honest style, it does not take long for them to secure the audience's attention. Funny, heartfelt, thought provoking and truly inspiring it stands out as a true gem, that deserves to be seen by many.
ESSENTIAL LISTENING THIS NOVEMBER:
Ida Jenshus is one of Norway's brightest stars in the country/pop genre. Her first two albums were both rewarded with Spellemannsprisen (the Norwegian Grammy) and her newest album Someone To Love is bound to be a contender for next year's awards. Her recipe has not gone through too many changes since her debut three years ago, but listening to the end product one cannot think to wish for it either. This is another strong album, with well written tracks delivered by one of this country's finest female voices. Jenshus is a romantic; both in her lyrics and performance, and one will be hard pressed not to be moved by a majority of the albums twelve tracks.
With their previous album Hissingen Blues, released last year, making them a household name in their native Sweden, this month's Lights Out is looking to establish Graveyard as a major force of hard rock and roll. The new album is similar to its predecessor in many ways, mainly in sound and attitude. With obvious references to the greats of the 70s and 80s, the swedes are not in any way out to re-invent neither their riffs nor approach. There are touches of both psychedelic and emotional blues, but this is a genuine rock album as true as they come, out to do nothing more than shake your socks off.
It may have come out earlier this fall, but since this writer failed to discover it until now it deserves mention. Beacon is the second album from Northern Irish band Two Door Cinema Club. While their debut Tourist History (2010) managed to catch the attention of critics and audiences alike, their sophomore effort proves that they are more than a one trick pony. This is a terrific pop/rock record that is both catchy in riffs and seductive in style. The trio may wear their influences on their sleeves, but the quality of the songs are certainly strong enough for them to claim their own fame. The first single of the album, Sleep Alone, is a great example.
Sunday, November 25, 2012
Wednesday, October 31, 2012
Essential October '12
ESSENTIAL VIEWING THIS OCTOBER:
After earning praise and glory at both Sundance and Cannes earlier this year, Beasts of The Southern Wild arrives with plenty of expectations. And the first feature film from Benh Zeitlin does not only rise to the occasion, it turns out to be one of the real treats of the year. Based on the play Juicy and Delicious by Lucy Alibar, who co-wrote the screenplay with Zeitlin, Beasts is like nothing you've seen before. Set as a fable, but with unmistakeable roots in reality, it is nearly impossible to describe without using numerous clichès. Carried by an unforgetable performance from newcomer Quvenzhanè Wallis that is bound to break your heart, Beasts of The Southern Wild is guaranteed to make its mark as one of the finest American pictures of the year, and a sure favorite among the critics come award season.
Bond is back! After the truly awful Quantum of Solace (2008) it is a joy to report that Skyfall, the return of 007 is also a smashing return to form for the worlds favorite agent. Marking the 50th anniversairy of the franchise, director Sam Mendes brings a welcome touch of elegance and class back to the series. In his third outing Daniel Craig puts in a performance that should put all the sceptics to bed once and for all. His Bond is vulnerable, but hard. Tired, but determined. Craig is terrific and makes the James Bond of 2012 the most engaging take on the character since the glory days of Connery. And in Javier Bardem, Mendes has found the most memorable villain since Richard Kiel's Jaws in the 80s. Top it off with the finest camerawork in the franchise's history, by Coen brothers regular Roger Deakins, you get one of the finest action dramas of the year, that just happens to be a Bond movie.
This month has seen Homeland hit home for its second season. Five episodes in, the sophmore season proves to come packed with even more nerve, drama and excitement than the first one. The creators have really decided to go all out, focusing on thrills more than anything else, and with the terrific Damian Lewis and Claire Danes leading the line-up it does so with great success, making this the most intense and exciting show on television at the moment.
ESSENTIAL LISTENING THIS OCTOBER:
One of the most pleasant and enjoyable Norwegian releases this year is Mikhael Paskalevs self titled debut EP. The 25 year old singer / songwriter makes both catchy and memorable pop music, and brings charm and plenty of talent to a genre that is often overwhelmed by mediocrity. Despite a modest four tracks, the record contains plenty to enjoy. Paskalev wears both his indie and slightly more aggressive rocking boots well, and does more than enough to convince that he is one of the key talents to watch upon our own shores.
Come Home to Mama is the fourth album from Martha Wainwright, who with every single release has proved that her familys talent were not given exclusively to her brother or father. After her previous record, the sombre celebration of Edith Piaf, and 2005s brilliantly titled, and more intense, I Know You're Married But I've Got Feelings Too, her new album comes with a bit more sunshine and is considerably lighter on its feet. Wainwrights particular style, influenced by early folk and recent pop music especially, is both heartwarming and thoughtful and comes wrapped in newfound rewards with every visit.
Despite coming out earlier this year, the second EP from London outfit Daughter went unnoticed to this writer. The Wild Youths four tracks is a wonderful, and stronger, follow-up to the bands debut His Young Heart from last year. The trio play an emotional, honest and very attractive form of folk rock tunes, supported by well written lyrics and a lovely voice from frontlady and founder Elena Tonra. Their two EPs has made such an impact that their first full lenght album has become one of the most anticipated records to this writer. Have a listen to Youth, and you will quickly understand why.
After earning praise and glory at both Sundance and Cannes earlier this year, Beasts of The Southern Wild arrives with plenty of expectations. And the first feature film from Benh Zeitlin does not only rise to the occasion, it turns out to be one of the real treats of the year. Based on the play Juicy and Delicious by Lucy Alibar, who co-wrote the screenplay with Zeitlin, Beasts is like nothing you've seen before. Set as a fable, but with unmistakeable roots in reality, it is nearly impossible to describe without using numerous clichès. Carried by an unforgetable performance from newcomer Quvenzhanè Wallis that is bound to break your heart, Beasts of The Southern Wild is guaranteed to make its mark as one of the finest American pictures of the year, and a sure favorite among the critics come award season.
Bond is back! After the truly awful Quantum of Solace (2008) it is a joy to report that Skyfall, the return of 007 is also a smashing return to form for the worlds favorite agent. Marking the 50th anniversairy of the franchise, director Sam Mendes brings a welcome touch of elegance and class back to the series. In his third outing Daniel Craig puts in a performance that should put all the sceptics to bed once and for all. His Bond is vulnerable, but hard. Tired, but determined. Craig is terrific and makes the James Bond of 2012 the most engaging take on the character since the glory days of Connery. And in Javier Bardem, Mendes has found the most memorable villain since Richard Kiel's Jaws in the 80s. Top it off with the finest camerawork in the franchise's history, by Coen brothers regular Roger Deakins, you get one of the finest action dramas of the year, that just happens to be a Bond movie.
This month has seen Homeland hit home for its second season. Five episodes in, the sophmore season proves to come packed with even more nerve, drama and excitement than the first one. The creators have really decided to go all out, focusing on thrills more than anything else, and with the terrific Damian Lewis and Claire Danes leading the line-up it does so with great success, making this the most intense and exciting show on television at the moment.
ESSENTIAL LISTENING THIS OCTOBER:
One of the most pleasant and enjoyable Norwegian releases this year is Mikhael Paskalevs self titled debut EP. The 25 year old singer / songwriter makes both catchy and memorable pop music, and brings charm and plenty of talent to a genre that is often overwhelmed by mediocrity. Despite a modest four tracks, the record contains plenty to enjoy. Paskalev wears both his indie and slightly more aggressive rocking boots well, and does more than enough to convince that he is one of the key talents to watch upon our own shores.
Come Home to Mama is the fourth album from Martha Wainwright, who with every single release has proved that her familys talent were not given exclusively to her brother or father. After her previous record, the sombre celebration of Edith Piaf, and 2005s brilliantly titled, and more intense, I Know You're Married But I've Got Feelings Too, her new album comes with a bit more sunshine and is considerably lighter on its feet. Wainwrights particular style, influenced by early folk and recent pop music especially, is both heartwarming and thoughtful and comes wrapped in newfound rewards with every visit.
Despite coming out earlier this year, the second EP from London outfit Daughter went unnoticed to this writer. The Wild Youths four tracks is a wonderful, and stronger, follow-up to the bands debut His Young Heart from last year. The trio play an emotional, honest and very attractive form of folk rock tunes, supported by well written lyrics and a lovely voice from frontlady and founder Elena Tonra. Their two EPs has made such an impact that their first full lenght album has become one of the most anticipated records to this writer. Have a listen to Youth, and you will quickly understand why.
Sunday, October 21, 2012
Sunday, September 30, 2012
Essential September '12
ESSENTIAL VIEWING THIS SEPTEMBER:
It is an amazing thing to watch a TV show that aired its first episode several years before you were even born. Saturday Night Live returns this month to its record-breaking 38th season. And two shows in, it is most satisfying to verify that the late night sketch show does not appear to be slowing down at all. With the departure of Kristen Wiig the show has lost one of its strongest key players, but there is no reason to think talents like Nasim Pedrad or Kate McKinnon can't pick up the glove and keep the showing moving forward. Highlights still include Seth Meyers' Weekend Update, and veterans like Bill Hader and Jason Sudeikis still seem to be enjoying themselves more than ever, with the new blood of Jay Pharoah and Taran Killam adding energy and fresh characters to the mix. Saturday Night Live still deserves to be among every viewers top picks of the week.
Staying in TV, this September sees Boardwalk Empire return for its third season. Also just two episodes in, it is reassuring to see that both the pace and elegance of the show remains intact. Creator Terence Winter left himself plenty of challenges with the way he ended their sophmore season, but everyone looks more than up to the task of ensuring this HBO show remains one of the top dramas on American screens for another year. A wildly exciting addition to the cast this year is Bobby Cannavale, who has managed to leave an unforgetable impression with only a handful of appearances so far. There should be plenty to come from this outstanding piece of quality drama.
Norwegian filmmakers Joachim Rønning and Espen Sandberg got the reputation of bringing Hollywood to their home country with their previous outing, World War II drama Max Manus (2008). This year they have gone even grander in scale, while staying within the Norwegian history books. Kon-Tiki is the story of Thor Heyerdahls legendary expedition across the Pacific on a balsa wood raft in 1947. The filmmakers obviously have a flare for the extravagant, and make no attempts to camouflage their love for grande American cinema. Kon-Tiki still manages to make an emotional impact as well, thanks to strong performances and a well written script by Petter Skavlan. It does get a bit carried away towards the end, mainly by being too melodramatic, but thankfully that does not damage an otherwise impressive achievement too much.
ESSENTIAL LISTENING THIS SEPTEMBER:
London quartet Mumford & Sons release their second album this month. Babel is the follow up to 2009s celebrated Sigh No More. And their sophmore record is another impressive achievement. Twelve tracks of folk inspired indie alternative music that instantly makes you want to explore this lovely band even further. It comes with a positive sound, despite several of the lyrics being both dramatic and gritty. Even though the rock tracks make you want to bounce around, the band is at their most excellent when they tone it down to simple guitars and beautiful harmonies. With the single I Will Wait and the heartbreaking Below My Feet as standouts, Babel is a terrific album that is ready to surprise and persuade.
California rock outfit Rival Sons are not wasting any time, arriving with their third album in equally many years this month. Head Down is another record true to their original sound, with 70s inspired riffs, louder than life screams and a nostalgic sense of old school rock n' roll. It is shamelessly catchy, easy to enjoy and difficult to ignore. Yet, there is no questioning the quality of the craft and skills required to pull off such a well worn costume.
Charmer is the 8th studio album from Aimee Mann, who in spite of 20 plus years in the business (she fronted bands like The Young Snakes and 'Til Tuesday before going solo i 1993) still remains a bit of an underdog among American singer / songwriters. Her new album though is another verification that the now 42 year old singer is a force to be reckoned with. There may not be anything earthshattering about this, or any of her previous records for that matter, but once exposed to it every listener will find themselves intoxicated by her beautiful voice, charming performances and both witty and moving lyrics. The title track from this album is another great example. Truly a Charmer.
It is an amazing thing to watch a TV show that aired its first episode several years before you were even born. Saturday Night Live returns this month to its record-breaking 38th season. And two shows in, it is most satisfying to verify that the late night sketch show does not appear to be slowing down at all. With the departure of Kristen Wiig the show has lost one of its strongest key players, but there is no reason to think talents like Nasim Pedrad or Kate McKinnon can't pick up the glove and keep the showing moving forward. Highlights still include Seth Meyers' Weekend Update, and veterans like Bill Hader and Jason Sudeikis still seem to be enjoying themselves more than ever, with the new blood of Jay Pharoah and Taran Killam adding energy and fresh characters to the mix. Saturday Night Live still deserves to be among every viewers top picks of the week.
Staying in TV, this September sees Boardwalk Empire return for its third season. Also just two episodes in, it is reassuring to see that both the pace and elegance of the show remains intact. Creator Terence Winter left himself plenty of challenges with the way he ended their sophmore season, but everyone looks more than up to the task of ensuring this HBO show remains one of the top dramas on American screens for another year. A wildly exciting addition to the cast this year is Bobby Cannavale, who has managed to leave an unforgetable impression with only a handful of appearances so far. There should be plenty to come from this outstanding piece of quality drama.
Norwegian filmmakers Joachim Rønning and Espen Sandberg got the reputation of bringing Hollywood to their home country with their previous outing, World War II drama Max Manus (2008). This year they have gone even grander in scale, while staying within the Norwegian history books. Kon-Tiki is the story of Thor Heyerdahls legendary expedition across the Pacific on a balsa wood raft in 1947. The filmmakers obviously have a flare for the extravagant, and make no attempts to camouflage their love for grande American cinema. Kon-Tiki still manages to make an emotional impact as well, thanks to strong performances and a well written script by Petter Skavlan. It does get a bit carried away towards the end, mainly by being too melodramatic, but thankfully that does not damage an otherwise impressive achievement too much.
ESSENTIAL LISTENING THIS SEPTEMBER:
London quartet Mumford & Sons release their second album this month. Babel is the follow up to 2009s celebrated Sigh No More. And their sophmore record is another impressive achievement. Twelve tracks of folk inspired indie alternative music that instantly makes you want to explore this lovely band even further. It comes with a positive sound, despite several of the lyrics being both dramatic and gritty. Even though the rock tracks make you want to bounce around, the band is at their most excellent when they tone it down to simple guitars and beautiful harmonies. With the single I Will Wait and the heartbreaking Below My Feet as standouts, Babel is a terrific album that is ready to surprise and persuade.
California rock outfit Rival Sons are not wasting any time, arriving with their third album in equally many years this month. Head Down is another record true to their original sound, with 70s inspired riffs, louder than life screams and a nostalgic sense of old school rock n' roll. It is shamelessly catchy, easy to enjoy and difficult to ignore. Yet, there is no questioning the quality of the craft and skills required to pull off such a well worn costume.
Charmer is the 8th studio album from Aimee Mann, who in spite of 20 plus years in the business (she fronted bands like The Young Snakes and 'Til Tuesday before going solo i 1993) still remains a bit of an underdog among American singer / songwriters. Her new album though is another verification that the now 42 year old singer is a force to be reckoned with. There may not be anything earthshattering about this, or any of her previous records for that matter, but once exposed to it every listener will find themselves intoxicated by her beautiful voice, charming performances and both witty and moving lyrics. The title track from this album is another great example. Truly a Charmer.
Saturday, September 8, 2012
Shelby Street
Music video for "Shelby Street", taken from Bad County Officials debut EP - out now on Badlands Records.
Shot at Backbeat Kaffe & Vinyl and Bastard Bar on September 1st, the release date of the record.
Bad County Officials are Trygve Valnes, Gaute Mehus, Jøran Indseth and Torbjørn Andersen.
Check out the bands website and previous post Band Photo # 2.
Friday, August 31, 2012
Essential August '12
ESSENTIAL VIEWING THIS AUGUST:
In the category of great films that deserve better fates, this month features Jeff, Who Lives at Home. Starring Jason Segel and Ed Helms, both playing against type and turning in impressive performances. Directors Mark and Jay Duplass were responsible for Cyrus, one of last years finest comedies. This falls in the same sphere, but has a deeper script and a more emotional core. Featuring the always terrific Susan Sarandon in a deliciously crafted supporting role, Jeff, Who Lives at Home is truly one of this years best kept secrets, which is a shame.
The Farrelly brothers' take on The Three Stooges was always going to be up for a beating. And it has received plenty stateside, but in all fairness, this is far from what could be feared and instead comes off as a truly humble homage to the original trio. Chris Diamantopoulos, Sean Hayes and Will Sasso all do a fine job as the legendary characters, and it is Hayes who shines brightest as Larry. Everyone handle the physical comedy well, and like their directors there is a sense of great respect and admiration in what they do. Certainly worth a look, and it features Larry David in a nun outfit, so really how bad can it be?
Staying in comedy, a great TV series that has yet to find its way to Norwegian screens is Inside Comedy. The original Showtime series features David Steinberg conducting interviews with well known comedians. The level of interest may vary quite a bit depending on the guest, but Steinberg however harmless, still manages to make the interviews compelling and funny for the most part. Highlights include Martin Short, Steve Carell and Robin Williams. For a fan of the past decades American comedy, this almost qualifies as a must-see.
ESSENTIAL LISTENING THIS AUGUST:
Dylan LeBlancs album debut Paupers Field was one of 2010s most celebrated releases, in certain circles. This month his sophmore album, Cast The Same Old Shadow, finds its way to the stores. LeBlanc stays in familiar territory, and even though it probably does not match his first, at least not at the first encounter, this is a lovely and well crafted album. The tender voice from Alabama takes his time and is not in any rush to impress or overwhelm, despite a modest ten tracks. As we face autumn and darker evenings, the timing is perfect for this release and you'll be hard pressed to find better company to the ever colder nights approaching.
Norwegian outfit Oslo Ess made their debut Uleste Bøker og Utgåtte Sko one of the last years most talked about records back home, despite fairly modest sales. This month they return with the sequel, the superbly titled Verden på Nakken, Venner i Ryggen. The recipe is the same, but as often with second albums, the sound is bigger and greater. The band is still on the run, leaving girlfriends, jobs and broken lives in the dust. One could argue that they should have tried to stretch even longer, but as the saying goes, "If it ain't broke..." The band played samples of this at the Norwegian Wood festival in June, in one of the best rock shows this writer has seen all summer.
Every once in a while one comes across songs or an artist that find their way underneath your skin far too easily. That is the case with American singer Elle King this month. Her first release may only be a four track EP, but it grows with each listen and is now on its way to become one of this years finest releases as far as this writer is concerned. Her voice, both rustic and sharp, is bound to break young boys souls and upset the blood of girls alike. A superb EP that promises for an even greater album, that for this mans sanity better not be far off.
Make room in your heart. Here she is with No One Can Save You.
In the category of great films that deserve better fates, this month features Jeff, Who Lives at Home. Starring Jason Segel and Ed Helms, both playing against type and turning in impressive performances. Directors Mark and Jay Duplass were responsible for Cyrus, one of last years finest comedies. This falls in the same sphere, but has a deeper script and a more emotional core. Featuring the always terrific Susan Sarandon in a deliciously crafted supporting role, Jeff, Who Lives at Home is truly one of this years best kept secrets, which is a shame.
The Farrelly brothers' take on The Three Stooges was always going to be up for a beating. And it has received plenty stateside, but in all fairness, this is far from what could be feared and instead comes off as a truly humble homage to the original trio. Chris Diamantopoulos, Sean Hayes and Will Sasso all do a fine job as the legendary characters, and it is Hayes who shines brightest as Larry. Everyone handle the physical comedy well, and like their directors there is a sense of great respect and admiration in what they do. Certainly worth a look, and it features Larry David in a nun outfit, so really how bad can it be?
Staying in comedy, a great TV series that has yet to find its way to Norwegian screens is Inside Comedy. The original Showtime series features David Steinberg conducting interviews with well known comedians. The level of interest may vary quite a bit depending on the guest, but Steinberg however harmless, still manages to make the interviews compelling and funny for the most part. Highlights include Martin Short, Steve Carell and Robin Williams. For a fan of the past decades American comedy, this almost qualifies as a must-see.
ESSENTIAL LISTENING THIS AUGUST:
Dylan LeBlancs album debut Paupers Field was one of 2010s most celebrated releases, in certain circles. This month his sophmore album, Cast The Same Old Shadow, finds its way to the stores. LeBlanc stays in familiar territory, and even though it probably does not match his first, at least not at the first encounter, this is a lovely and well crafted album. The tender voice from Alabama takes his time and is not in any rush to impress or overwhelm, despite a modest ten tracks. As we face autumn and darker evenings, the timing is perfect for this release and you'll be hard pressed to find better company to the ever colder nights approaching.
Norwegian outfit Oslo Ess made their debut Uleste Bøker og Utgåtte Sko one of the last years most talked about records back home, despite fairly modest sales. This month they return with the sequel, the superbly titled Verden på Nakken, Venner i Ryggen. The recipe is the same, but as often with second albums, the sound is bigger and greater. The band is still on the run, leaving girlfriends, jobs and broken lives in the dust. One could argue that they should have tried to stretch even longer, but as the saying goes, "If it ain't broke..." The band played samples of this at the Norwegian Wood festival in June, in one of the best rock shows this writer has seen all summer.
Every once in a while one comes across songs or an artist that find their way underneath your skin far too easily. That is the case with American singer Elle King this month. Her first release may only be a four track EP, but it grows with each listen and is now on its way to become one of this years finest releases as far as this writer is concerned. Her voice, both rustic and sharp, is bound to break young boys souls and upset the blood of girls alike. A superb EP that promises for an even greater album, that for this mans sanity better not be far off.
Make room in your heart. Here she is with No One Can Save You.
Thursday, August 16, 2012
Monday, August 13, 2012
Big Man Tribute
Last month, on July 24th, I went to see Bruce Springsteen perform at Koengen in Bergen. It was my fifth live encounter with The Boss and his legendary E-Street Band. The show was tremendous, as Springsteen played a three and a half hour set, proving once again that he stands without peers in todays music industry.
There were many highlights in the impressive set. The very first song, an acoustic version (and tour premiere) of "Long Walk Home" with Springsteen appearing alone on stage to start the show. An explosive "Rosalita (Come Out Tonight)" and a beautifully executed "Racing In The Streets" also deserves mentioning. But none made a deeper impression than what happened during "Tenth Avenue Freeze-Out", which was the second last song in the set.
This "Wrecking Ball" tour was Springsteens first since the death of E-Street Band member Clarence Clemons in June last year. As part of their set, Springsteen and the band have paid tribute to their lost companion with a long pause midway through the song "Tenth Avenue Freeze-Out". The last verse of the song starts with: "When the change was made uptown/And the Big Man joined the band". After uttering the line Springsteen raises his hand and the band stops playing as a slideshow of photos featuring Clemons rolls across the big screen on stage. What follows is several minutes of applause from the audience, paying tribute to the Big Man, who is deeply missed by Springsteen, the band and their fans.
Prepared that this might happen, I managed to record most of it, just after Springsteen stops the music. It was a powerful and emotional moment for every real fan, and a beautiful way to celebrate the life and music of Clarence "Big Man" Clemons.
There were many highlights in the impressive set. The very first song, an acoustic version (and tour premiere) of "Long Walk Home" with Springsteen appearing alone on stage to start the show. An explosive "Rosalita (Come Out Tonight)" and a beautifully executed "Racing In The Streets" also deserves mentioning. But none made a deeper impression than what happened during "Tenth Avenue Freeze-Out", which was the second last song in the set.
This "Wrecking Ball" tour was Springsteens first since the death of E-Street Band member Clarence Clemons in June last year. As part of their set, Springsteen and the band have paid tribute to their lost companion with a long pause midway through the song "Tenth Avenue Freeze-Out". The last verse of the song starts with: "When the change was made uptown/And the Big Man joined the band". After uttering the line Springsteen raises his hand and the band stops playing as a slideshow of photos featuring Clemons rolls across the big screen on stage. What follows is several minutes of applause from the audience, paying tribute to the Big Man, who is deeply missed by Springsteen, the band and their fans.
Prepared that this might happen, I managed to record most of it, just after Springsteen stops the music. It was a powerful and emotional moment for every real fan, and a beautiful way to celebrate the life and music of Clarence "Big Man" Clemons.
Tuesday, July 31, 2012
Essential July '12
ESSENTIAL VIEWING THIS JULY:
It's difficult to remember a film arriving with higher expectations than The Dark Knight Rises, the conclusion to director Christopher Nolans Batman-trilogy. With the massive success of the first two, in particular the most recent The Dark Knight (2008), it is tempting to say that Nolan has raised the bar unreasonably high, even for him. And after taking in the final chapter, it is fair if one should require another viewing or two before making the final judgement on this ones place in the trilogy. Leaving that alone, there can be no argument made against the sheer entertainment value and skill behind this massive movie. Nolan has embraced more of the comic book element in this, and builds around every act and character with greater imagination than in the previous installments. As with its predecessor, this too features a memorable villain. Tom Hardys "Bane" is fearsome and impressive both physically and emotionally. It is a wonderful creation. Christian Bale is also allowed to shine more this time around, as his Bruce Wayne is reduced to a prisoner for a large portion of the film, both of his own and Bane's doing. In conclusion, The Dark Knight Rises is a more than satisfying ending to the greatest comic book film series ever. So there.
The thought of a new Mel Gibson movie hasn't had the same thrill over the past years, for several reasons. That's why the arrival of Get The Gringo comes as a genuine joy. As the ageing criminal being confined to a Mexican prison, Gibson is back to his charming and carreer-saving best. The film also known as How I Spent My Summer Vacation is the directorial debut of Adrian Grunberg, who comes from various assistant jobs on several of Gibsons own pictures. Gibson, who also co-wrote the script, delivers his best performance in years and there is an excitement surrounding many aspects of this film. Not only is it endlessly entertaining, it also comes off as fresh and original, despite the somewhat simple plotline. With mainly unknown supporting players, this film rests fully on the shoulders of Gibson, and thankfully he delivers in spades. Thankfully.
Now in its third season, Louie, remains one of the main reasons to still watch cable television. Slowly growing to become the jewel in FXs crown, this seasons finds Louis C.K. perhaps in a more sombre and serious mode, but that does not happen at the expense of any laughs. Quite the contrary. The show is funnier than ever, and many of its best bits happen when Louie is left on his own. Be it sunbathing in Miami or having a solo lunch in a diner. As a director, and mainly a writer, C.K. is on his way to become a truly original American voice, and one can only hope there will be many more seasons to come. Recently cast in the new Woody Allen movie, perhaps the greatest honour of any American comedy writer, Louie is definitely going places.
ESSENTIAL LISTENING THIS JULY:
Underwater is the title of the new album from American singer and songwriter Joshua Radin. He's been mentioned before on this site, and even though one would be hard pressed to speak with an element of news to this release, it still does not take away any of its simple beauty. Radin keeps it clean, making his voice the primary force of every track, and as an album there is a quiet tranquillity to this collection. Perhaps dependent on finding its audience in the right mood, but if you are, you're in for a genuine treat.
Having already mentioned The Dark Knight Rises it is fitting to also include its soundtrack this month. After having co-written the score for the previous two in the series with James Newton Howard, composer Hans Zimmer this time goes at it alone. And luckily, the album does not seem to have suffered from it. Many of the themes are recurrent from the earlier soundtracks, but seven years after the release of Batman Begins (2005), it strikes you that the tunes and harmonies of Zimmer has become major influences on every action score since its debut. The Dark Knight Rises is presented as the epic conclusion to the legend, and while taking in the music behind it all, it becomes clear that Zimmer deserves his share of the credit.
One of the best concerts so far this summer has been The Gaslight Anthem at the Norwegian Wood festival in Oslo in June. Already a favorite to this writer, there were high expectations to the release of their fourth studio album, Handwritten, which arrived last week. The quartet from New Jersey are working out from a familiar formula, but they do it with a commitment and energy that is both admirable and engaging. Remaining clear that rock music is a positive, a thought lost on too many American outfits, they blast of from start to finish, stopping by various corners of blues, ballads and anthems. Featuring one of the coolest young voices in rock today, Brian Fallon, The Gaslight Anthem are here to entertain you, romanticise you - and ultimately move you deeply.
Enjoy the second single, and titular track of the album, Handwritten, which also comes with a rather lovely video.
It's difficult to remember a film arriving with higher expectations than The Dark Knight Rises, the conclusion to director Christopher Nolans Batman-trilogy. With the massive success of the first two, in particular the most recent The Dark Knight (2008), it is tempting to say that Nolan has raised the bar unreasonably high, even for him. And after taking in the final chapter, it is fair if one should require another viewing or two before making the final judgement on this ones place in the trilogy. Leaving that alone, there can be no argument made against the sheer entertainment value and skill behind this massive movie. Nolan has embraced more of the comic book element in this, and builds around every act and character with greater imagination than in the previous installments. As with its predecessor, this too features a memorable villain. Tom Hardys "Bane" is fearsome and impressive both physically and emotionally. It is a wonderful creation. Christian Bale is also allowed to shine more this time around, as his Bruce Wayne is reduced to a prisoner for a large portion of the film, both of his own and Bane's doing. In conclusion, The Dark Knight Rises is a more than satisfying ending to the greatest comic book film series ever. So there.
The thought of a new Mel Gibson movie hasn't had the same thrill over the past years, for several reasons. That's why the arrival of Get The Gringo comes as a genuine joy. As the ageing criminal being confined to a Mexican prison, Gibson is back to his charming and carreer-saving best. The film also known as How I Spent My Summer Vacation is the directorial debut of Adrian Grunberg, who comes from various assistant jobs on several of Gibsons own pictures. Gibson, who also co-wrote the script, delivers his best performance in years and there is an excitement surrounding many aspects of this film. Not only is it endlessly entertaining, it also comes off as fresh and original, despite the somewhat simple plotline. With mainly unknown supporting players, this film rests fully on the shoulders of Gibson, and thankfully he delivers in spades. Thankfully.
Now in its third season, Louie, remains one of the main reasons to still watch cable television. Slowly growing to become the jewel in FXs crown, this seasons finds Louis C.K. perhaps in a more sombre and serious mode, but that does not happen at the expense of any laughs. Quite the contrary. The show is funnier than ever, and many of its best bits happen when Louie is left on his own. Be it sunbathing in Miami or having a solo lunch in a diner. As a director, and mainly a writer, C.K. is on his way to become a truly original American voice, and one can only hope there will be many more seasons to come. Recently cast in the new Woody Allen movie, perhaps the greatest honour of any American comedy writer, Louie is definitely going places.
ESSENTIAL LISTENING THIS JULY:
Underwater is the title of the new album from American singer and songwriter Joshua Radin. He's been mentioned before on this site, and even though one would be hard pressed to speak with an element of news to this release, it still does not take away any of its simple beauty. Radin keeps it clean, making his voice the primary force of every track, and as an album there is a quiet tranquillity to this collection. Perhaps dependent on finding its audience in the right mood, but if you are, you're in for a genuine treat.
Having already mentioned The Dark Knight Rises it is fitting to also include its soundtrack this month. After having co-written the score for the previous two in the series with James Newton Howard, composer Hans Zimmer this time goes at it alone. And luckily, the album does not seem to have suffered from it. Many of the themes are recurrent from the earlier soundtracks, but seven years after the release of Batman Begins (2005), it strikes you that the tunes and harmonies of Zimmer has become major influences on every action score since its debut. The Dark Knight Rises is presented as the epic conclusion to the legend, and while taking in the music behind it all, it becomes clear that Zimmer deserves his share of the credit.
One of the best concerts so far this summer has been The Gaslight Anthem at the Norwegian Wood festival in Oslo in June. Already a favorite to this writer, there were high expectations to the release of their fourth studio album, Handwritten, which arrived last week. The quartet from New Jersey are working out from a familiar formula, but they do it with a commitment and energy that is both admirable and engaging. Remaining clear that rock music is a positive, a thought lost on too many American outfits, they blast of from start to finish, stopping by various corners of blues, ballads and anthems. Featuring one of the coolest young voices in rock today, Brian Fallon, The Gaslight Anthem are here to entertain you, romanticise you - and ultimately move you deeply.
Enjoy the second single, and titular track of the album, Handwritten, which also comes with a rather lovely video.
Monday, July 30, 2012
Saturday, June 30, 2012
Essential June '12
ESSENTIAL VIEWING THIS JUNE:
With classic films such as Bottle Rocket, Rushmore, The Royal Tenenbaums and The Life Aquatic with Steve Zissou, writer and director Wes Anderson has almost created his own genre within American independent cinema. His latest, Moonrise Kingdom, is another strong addition to his impressive catalogue. A beautiful and heartfelt story about family and first love that showcases all of Andersons strengths. An impressive cast featuring Bruce Willis, Ed Norton, Frances McDormand, Bill Murray also include two leading turns from newcomers Jared Gilman and Kara Hayward.
Few sci-fi movies have experienced a bigger build-up prior to its release than Ridley Scotts Prometheus. By many considered a companion piece to his Alien (1979), this is a most welcome return to the genre by a truly dedicated director. It may not redeem everyones expectations, but it is still a superb blockbuster treat. Featuring one of the most credible casts of the year including Michael Fassbender, Noomi Rapace, Idris Elba, Guy Pearce and Charlize Theron and some of the finest CGI seen on screen in a long time this is a thoroughly enjoyable fare that should generate more than enough dollars to ensure another chapter in some shape or form.
After leaving TV in 2006 having done seven successful seasons of The West Wing, and going on to conquer the big screen with his Oscar-winning script for The Social Network and Moneyball (which also earned him a nomination), one wondered what Aaron Sorkin would do next. The answer was a return to the small screen with The Newsroom, which premiered on HBO this month. One should be careful to establish a show as a success based on a 70-minute pilot (and having the solo season series that was Studio 60 fresh in mind), but it is hard not to imagine this becoming one of the seasons biggest hits. Starring Jeff Daniels, Emily Mortimer and Sam Waterston as the key players in a cable television news show, this is as classic Sorkin as it gets. Snappy dialogue, fast-paced scenes, political themes, pop culture referances and a light comedic touch. In its first episode We Just Decided To it comes off as having plenty more to offer.
ESSENTIAL LISTENING THIS JUNE:
Five years after their previos record, The Black and White Album, swedish garagerock outfit The Hives return. The easily entitled Lex Hives is the bands fifth studio album, and even though it is hard to find much news within the records twelve tracks, there is still plenty enough to make you realize just how much you've missed them. Fronted by the catchy single Go Right Ahead, this is straightforward rock & roll fun with a playful and charming band determined to re-establish themselves as the biggest band on the planet. Don't stand in their way.
A new album from Patti Smith can be approached with different sets of emotions. Even though her albums have been so spread out that any new release deserves to be cherised, the quality of her recent work has been variable. Banga however has many of the qualities you would look for in a classic Smith record: an understated production, a raw and unpolished vocal, poetic touches and a mixture of genres. Her eleventh studio album carries a strong heart and an obvious desire to be heard. With twelve tracks it could have benefitted from trimming one or two, but there is plenty in here to enjoy, with This Is The Girl (reportedly a song about Amy Winehouse) as a rock solid standout in the crowd.
One of the most pleasant surprises this month is What We Saw From The Cheap Seats, the new album from Regina Spektor. The singer and songwriter has long ago established herself as a talent to be reckoned with, but with her sixth studio album, she should be on her way out of the talent section and on route to become one of the leading female artists in America. The eleven tracks on board all come off fresh and inspired, leaving you enthusiastic not only about the album but the future of the genre knowing Spektor is here to stay. The superb first single All The Rowboats is a terrific example, and is masterfully performed on The Late Show below.
With classic films such as Bottle Rocket, Rushmore, The Royal Tenenbaums and The Life Aquatic with Steve Zissou, writer and director Wes Anderson has almost created his own genre within American independent cinema. His latest, Moonrise Kingdom, is another strong addition to his impressive catalogue. A beautiful and heartfelt story about family and first love that showcases all of Andersons strengths. An impressive cast featuring Bruce Willis, Ed Norton, Frances McDormand, Bill Murray also include two leading turns from newcomers Jared Gilman and Kara Hayward.
Few sci-fi movies have experienced a bigger build-up prior to its release than Ridley Scotts Prometheus. By many considered a companion piece to his Alien (1979), this is a most welcome return to the genre by a truly dedicated director. It may not redeem everyones expectations, but it is still a superb blockbuster treat. Featuring one of the most credible casts of the year including Michael Fassbender, Noomi Rapace, Idris Elba, Guy Pearce and Charlize Theron and some of the finest CGI seen on screen in a long time this is a thoroughly enjoyable fare that should generate more than enough dollars to ensure another chapter in some shape or form.
After leaving TV in 2006 having done seven successful seasons of The West Wing, and going on to conquer the big screen with his Oscar-winning script for The Social Network and Moneyball (which also earned him a nomination), one wondered what Aaron Sorkin would do next. The answer was a return to the small screen with The Newsroom, which premiered on HBO this month. One should be careful to establish a show as a success based on a 70-minute pilot (and having the solo season series that was Studio 60 fresh in mind), but it is hard not to imagine this becoming one of the seasons biggest hits. Starring Jeff Daniels, Emily Mortimer and Sam Waterston as the key players in a cable television news show, this is as classic Sorkin as it gets. Snappy dialogue, fast-paced scenes, political themes, pop culture referances and a light comedic touch. In its first episode We Just Decided To it comes off as having plenty more to offer.
ESSENTIAL LISTENING THIS JUNE:
Five years after their previos record, The Black and White Album, swedish garagerock outfit The Hives return. The easily entitled Lex Hives is the bands fifth studio album, and even though it is hard to find much news within the records twelve tracks, there is still plenty enough to make you realize just how much you've missed them. Fronted by the catchy single Go Right Ahead, this is straightforward rock & roll fun with a playful and charming band determined to re-establish themselves as the biggest band on the planet. Don't stand in their way.
A new album from Patti Smith can be approached with different sets of emotions. Even though her albums have been so spread out that any new release deserves to be cherised, the quality of her recent work has been variable. Banga however has many of the qualities you would look for in a classic Smith record: an understated production, a raw and unpolished vocal, poetic touches and a mixture of genres. Her eleventh studio album carries a strong heart and an obvious desire to be heard. With twelve tracks it could have benefitted from trimming one or two, but there is plenty in here to enjoy, with This Is The Girl (reportedly a song about Amy Winehouse) as a rock solid standout in the crowd.
One of the most pleasant surprises this month is What We Saw From The Cheap Seats, the new album from Regina Spektor. The singer and songwriter has long ago established herself as a talent to be reckoned with, but with her sixth studio album, she should be on her way out of the talent section and on route to become one of the leading female artists in America. The eleven tracks on board all come off fresh and inspired, leaving you enthusiastic not only about the album but the future of the genre knowing Spektor is here to stay. The superb first single All The Rowboats is a terrific example, and is masterfully performed on The Late Show below.
Friday, June 8, 2012
Band Photo # 2
This week I photographed Bad County Officials, a band from my hometown Tromsø. They play rock, country and blues, and will release their first EP on August 31. The bands members are Trygve Valnes (guitar and lead vocals), Torbjørn Andersen (bass guitar and vocals), Jøran Indseth (guitar) and Gaute Mehus (drums). Check out the bands Facebook and MySpace page - and stay tuned.
Here is a selection of my photographs of the band.
Here is a selection of my photographs of the band.
© Dalseth 2012
Thursday, May 31, 2012
Essential May '12
ESSENTIAL VIEWING THIS MAY:
Director Oren Moverman has managed to get the very best out of actor Woody Harrelson over the past few years. First in 2009’s The Messenger, mentioned earlier on this site, which earned them both Oscar nominations, and again in this months Rampart. Harrelson is absolutely terrific as the dirty cop roaming the streets of a grittyLos Angeles
One of the finest and most original comedies this year has to be The Guard. Featuring two pitch perfect performances by Don Cheadle and Brendan Gleeson, earning the ladder a Golden Globe nomination, and a wonderful script by writer and director John Michael McDonagh. McDonagh, the brother of Martin, who also brought out a superb performance from Gleeson in the delicious In Bruges (2008). Featuring strong support from the always reliable Mark Strong, this is a quirky and offbeat take on a familiar story, that allows every participant to shine. A wonderful achievement, and further confirmation that Gleeson has no problem carrying a picture on his own.
Still going strong, The Avengers is proving to become one of the biggest box office hits of all time. And thankfully, it deserves to be just that. And director Joss Whedon deserves most credit for that. What on paper seemed like an impossible job, putting all of Marvels biggest characters together, and making each one feel both welcome and required. In the wrong hands this could easily have become The Robert Downey, jr Show or an excessive use of effects to disguise the difficult job at hand. This one has plenty of both, but it is in the way Whedon mixes it all together one becomes impressed. The Avengers is an almost flawless piece of popcorn entertainment, and delivers on surprisingly many levels. Every member of the star studded cast comes out a winner, and include a delicious villain in Tom Hiddlestone’s Loke, and you have what is surely looking to become the biggest success of the year. That is, unless the Bat or Spidey come up with something equally impressive. Which is an absolute possibility.
ESSENTIAL LISTENING THIS MAY:
After having declared their previous album, Broken, the best album of 2009 it goes without saying that the return of Soulsavers is indeed a much anticipated visit. With The Light The Dead See they have created another rock solid album, that even though falls a bit short of its predecessor is a very enjoyable record. As always there is both melancholy and energy to be found and at times the words come of closer to poetry than song lyrics. This time around long time collaborator Mark Lanegan has handed over the vocal duties to Dave Gahan, who quickly establishes himself as a fitting singer of these wounded blues. An album that ultimately feels a little too inaccessible, but without a doubt will grow stronger with further visits.
After many years of separation, this writer and Sigur Ròs have reconnected and grown more fond of each other than ever this past year. So the timing of their latest album Valtari could not be better. Easily recognisable as classic Sigur Ròs, the album is seductive and emotional in more ways than one, and definitely needs time to nurture and grow in the property of its owner. The band fromIceland
Having toured with Sivert Høyem on several occasions, the acquaintance of Kreg Viesselman seems inevitable. And what a lovely first meeting it has become. If You Lose Your Light is a terrific album, filled with pop and rock tracks that are easy on the ears, but offers depth and wisdom if you investigate further. Mainly through his beautiful lyrics, Viesselman is reflective and engaging, making this record a wonderful mix of soulful ballads and catchy tunes. I can’t wait for our second date.
Check out If You Think You Knew Me Once and join the club.
Director Oren Moverman has managed to get the very best out of actor Woody Harrelson over the past few years. First in 2009’s The Messenger, mentioned earlier on this site, which earned them both Oscar nominations, and again in this months Rampart. Harrelson is absolutely terrific as the dirty cop roaming the streets of a gritty
One of the finest and most original comedies this year has to be The Guard. Featuring two pitch perfect performances by Don Cheadle and Brendan Gleeson, earning the ladder a Golden Globe nomination, and a wonderful script by writer and director John Michael McDonagh. McDonagh, the brother of Martin, who also brought out a superb performance from Gleeson in the delicious In Bruges (2008). Featuring strong support from the always reliable Mark Strong, this is a quirky and offbeat take on a familiar story, that allows every participant to shine. A wonderful achievement, and further confirmation that Gleeson has no problem carrying a picture on his own.
Still going strong, The Avengers is proving to become one of the biggest box office hits of all time. And thankfully, it deserves to be just that. And director Joss Whedon deserves most credit for that. What on paper seemed like an impossible job, putting all of Marvels biggest characters together, and making each one feel both welcome and required. In the wrong hands this could easily have become The Robert Downey, jr Show or an excessive use of effects to disguise the difficult job at hand. This one has plenty of both, but it is in the way Whedon mixes it all together one becomes impressed. The Avengers is an almost flawless piece of popcorn entertainment, and delivers on surprisingly many levels. Every member of the star studded cast comes out a winner, and include a delicious villain in Tom Hiddlestone’s Loke, and you have what is surely looking to become the biggest success of the year. That is, unless the Bat or Spidey come up with something equally impressive. Which is an absolute possibility.
ESSENTIAL LISTENING THIS MAY:
After having declared their previous album, Broken, the best album of 2009 it goes without saying that the return of Soulsavers is indeed a much anticipated visit. With The Light The Dead See they have created another rock solid album, that even though falls a bit short of its predecessor is a very enjoyable record. As always there is both melancholy and energy to be found and at times the words come of closer to poetry than song lyrics. This time around long time collaborator Mark Lanegan has handed over the vocal duties to Dave Gahan, who quickly establishes himself as a fitting singer of these wounded blues. An album that ultimately feels a little too inaccessible, but without a doubt will grow stronger with further visits.
After many years of separation, this writer and Sigur Ròs have reconnected and grown more fond of each other than ever this past year. So the timing of their latest album Valtari could not be better. Easily recognisable as classic Sigur Ròs, the album is seductive and emotional in more ways than one, and definitely needs time to nurture and grow in the property of its owner. The band from
Having toured with Sivert Høyem on several occasions, the acquaintance of Kreg Viesselman seems inevitable. And what a lovely first meeting it has become. If You Lose Your Light is a terrific album, filled with pop and rock tracks that are easy on the ears, but offers depth and wisdom if you investigate further. Mainly through his beautiful lyrics, Viesselman is reflective and engaging, making this record a wonderful mix of soulful ballads and catchy tunes. I can’t wait for our second date.
Check out If You Think You Knew Me Once and join the club.
Friday, May 25, 2012
Monday, May 21, 2012
"Sundays"
the stereo plays
the stereo always plays
it carries a tune
like i carry your name
counting the blessings
but coming up short
these washed out sheets
in a bedroom or court
will it make you regret
can it help me forget
does it taste like poetry
or a half lit cigarette
blood is boiling
when lovers stop and stare
the only difference
is the lack of perfume in the air
the stereo always plays
it carries a tune
like i carry your name
counting the blessings
but coming up short
these washed out sheets
in a bedroom or court
will it make you regret
can it help me forget
does it taste like poetry
or a half lit cigarette
blood is boiling
when lovers stop and stare
the only difference
is the lack of perfume in the air
Monday, April 30, 2012
Essential April '12
ESSENTIAL VIEWING THIS APRIL:
The return of Mad Men to the small screen arrived with a small portion of scepticism for this viewer. After four seasons every show has a natural need to develop further and take some turns. Judging by the first six episodes of sesason five there was no need to worry. Creator Matthew Weiner has wisely decided to make matters a touch darker and after having firmly established the whole ensemble there are plenty of new challenges for the familiar characters. Its most recent episode, Far Away Places, is one of the most inspiring hours of television this writer has seen in a long time. Halfway through the season, it is a firm and reassuring collection so far and hopefully it will continue to impress.
It is hard not to be impressed by the impact of Mark Wahlbergs carreer over the past years. From his Oscar nominated turn in The Departed to the hilarious detour of comedy in The Other Guys. But it is mainly as a producer he has developed the most. His company Closest To The Hole Productions have given us great TV shows such as Entourage and Boardwalk Empire, and this month he both stars and produces Contraband, a surprisingly fresh and engaging thriller. Directed by Baltasar Kormàkur, the star of the original Reykjavik - Rotterdam, it finds Wahlberg in familiar familyman territory, but a tight script and a delicious style of both sober and exillarating direction, make this one of the most impressive thrillers to come out of Hollywood all year.
Ricky Gervais has had two major outings this month. The return of his The Ricky Gervais Show for a third season on HBO, and his one-off pilot Derek which premiered on Britains Channel 4 a few weeks ago. The ladder is a surprising change of pace for the comedian. It is written as a comedy surely, but there is an emotional core to this that is stronger than anything Gervais has ever done before. It demands you to view the comedian as something completely different, and it is not without its challenges, but if you devote yourself to allowing Gervais impress you in a whole new light, then the reward is mindblowingly satisfying.
ESSENTIAL LISTENING THIS APRIL:
Norwegian outfit Jack Stillwater has admittedly been an unknown band to this writer for most of their lifetime. However, the release of their sophmore album Muddy River this month has changed all that. It is an impressively well put together album with tremendous quality. The quality of each track varies a bit, but this is almost to be expected from a band at the point they are currently at in their career. Influences like Lyle Lovett and Tom Petty come to mind and this album does not in any way try to disguise its inspirations found in American country and rock music. A terrific album and a great surprise from when and where you least expected it.
The fifth studio album from Brendan Benson is called What Kind of World, and it is another storng and reliable outing from the guitarist and frontman who has been known mainly through The Raconteurs over the past years. The follow up to 2009s terrific My Old Familar Frind does not strike with the same immidiate impact as its predecessor, but it is well worth a listen never the less. Even though Benson follows a familiar formula and will openly admit he does not carry the worlds most distinguised voice, he manages to be both inspiring and impressive in his tunes.
The self proclaimed biggest rock band in Sweden Kent return this month with their tenth studio album, an impressive achievement for any band this day and age. Jag Är Inte Rädd För Mörkret starts off sounding like something that could grow to become one of their finest yet, but unfortunately the feeling does not last. Halfway through the album becomes a little bit too familiar ground and the tracks do not live up to the promise of becoming instant classics. But there is still plenty to enjoy, in particular for the bands most loyal fans. The opening 999 is a grande and delciously pompous pop anthem that will terrorise radios and young peoples hearts in the coming summer. Just for that it is worth a listen.
The return of Mad Men to the small screen arrived with a small portion of scepticism for this viewer. After four seasons every show has a natural need to develop further and take some turns. Judging by the first six episodes of sesason five there was no need to worry. Creator Matthew Weiner has wisely decided to make matters a touch darker and after having firmly established the whole ensemble there are plenty of new challenges for the familiar characters. Its most recent episode, Far Away Places, is one of the most inspiring hours of television this writer has seen in a long time. Halfway through the season, it is a firm and reassuring collection so far and hopefully it will continue to impress.
It is hard not to be impressed by the impact of Mark Wahlbergs carreer over the past years. From his Oscar nominated turn in The Departed to the hilarious detour of comedy in The Other Guys. But it is mainly as a producer he has developed the most. His company Closest To The Hole Productions have given us great TV shows such as Entourage and Boardwalk Empire, and this month he both stars and produces Contraband, a surprisingly fresh and engaging thriller. Directed by Baltasar Kormàkur, the star of the original Reykjavik - Rotterdam, it finds Wahlberg in familiar familyman territory, but a tight script and a delicious style of both sober and exillarating direction, make this one of the most impressive thrillers to come out of Hollywood all year.
Ricky Gervais has had two major outings this month. The return of his The Ricky Gervais Show for a third season on HBO, and his one-off pilot Derek which premiered on Britains Channel 4 a few weeks ago. The ladder is a surprising change of pace for the comedian. It is written as a comedy surely, but there is an emotional core to this that is stronger than anything Gervais has ever done before. It demands you to view the comedian as something completely different, and it is not without its challenges, but if you devote yourself to allowing Gervais impress you in a whole new light, then the reward is mindblowingly satisfying.
ESSENTIAL LISTENING THIS APRIL:
Norwegian outfit Jack Stillwater has admittedly been an unknown band to this writer for most of their lifetime. However, the release of their sophmore album Muddy River this month has changed all that. It is an impressively well put together album with tremendous quality. The quality of each track varies a bit, but this is almost to be expected from a band at the point they are currently at in their career. Influences like Lyle Lovett and Tom Petty come to mind and this album does not in any way try to disguise its inspirations found in American country and rock music. A terrific album and a great surprise from when and where you least expected it.
The fifth studio album from Brendan Benson is called What Kind of World, and it is another storng and reliable outing from the guitarist and frontman who has been known mainly through The Raconteurs over the past years. The follow up to 2009s terrific My Old Familar Frind does not strike with the same immidiate impact as its predecessor, but it is well worth a listen never the less. Even though Benson follows a familiar formula and will openly admit he does not carry the worlds most distinguised voice, he manages to be both inspiring and impressive in his tunes.
The self proclaimed biggest rock band in Sweden Kent return this month with their tenth studio album, an impressive achievement for any band this day and age. Jag Är Inte Rädd För Mörkret starts off sounding like something that could grow to become one of their finest yet, but unfortunately the feeling does not last. Halfway through the album becomes a little bit too familiar ground and the tracks do not live up to the promise of becoming instant classics. But there is still plenty to enjoy, in particular for the bands most loyal fans. The opening 999 is a grande and delciously pompous pop anthem that will terrorise radios and young peoples hearts in the coming summer. Just for that it is worth a listen.
Sunday, April 29, 2012
Sunday, April 15, 2012
The Perfect Score # 1
I recently revisited some of the soundtracks in my record collection and it got me thinking how much a well composed score can influence a scene, or even an entire movie. There are many classic soundtracks and even more songs that will forever be associated with single scenes in a film. Obvious examples could include "Stayin' Alive" (Saturday Night Fever), "You Never Can Tell" (Pulp Fiction), "In Your Eyes" (Say Anything) or "Don't You (Forget About Me)" (Breakfast Club). There are also instrumental scores and themes that will automaticly draw you to a movie title or scene. The themes from "The Godfather", "The Good, The Bad And The Ugly" or "Jaws" are all valid examples.
Here are some moments where the music has played a key part in making the scene memorable, and proving how much a well crafted score can influence the art of filmmaking.
The Shawshank Redemption - Andy arrives at Shawshank
Frank Darabont's 1994 classic has many memorable moments. No one perhaps more strong and impressive than this scene in the films first act. Serving both as an introdution to Morgan Freeman's character Red and the spectactular fortress where our two main players are confined for most of the movie. Thomas Newman's score plays over Roger Deakins' stunning cinematography perfectly. Simply breathtaking.
The best part: About 30 seconds in as the camera passes the bus and begins its climb over the prison walls.
Youtube: http://www.youtube.com/watch?v=Ab4GtCg4r-o
Sunshine - Capa's jump
Danny Boyle's 2007 space odyssey is one of the most overlooked classics of the past decade. The film both looks and sounds great, and John Murphy's epic score plays a big part. At no point more than in the films climax, as Cillian Murphy's Robert Capa as the only remaining survivor has to abandon his vessel. The intensity of Murphy's performance and the dramatic overture blends together with overwhelming effect.
The best part: At 3:05 as Capa takes his leap and Boyle isolates his scream to let the music guide his fate. Absolutely superb.
Youtube: http://www.youtube.com/watch?v=clG_1sqOsBs&feature=relmfu
The Life of David Gale - The videotape
Alan Parker's 2003 film certainly has its flaws and failed to convince both critics and audiences ten years ago. There are still qualities to enjoy though, in particular the music from Jake and Alex Parker. Their theme "Almost Martyrs" stood out as the soundtrack's strongest, and has since been used plenty in trailers and promos. As Kate Winslet's reporter Bitsey Bloom finds a videotape that will finally reveal the accomplice in the murder of a female activist and prove her theories wrong, the music has tremendous impact. A bit pompous and melodramatic sure, but the effect is thrilling never the less.
The best part: At 1:20 when Bloom's worst fear proves to be true.
Youtube: http://www.youtube.com/watch?v=CItKToiwvoE&feature=related
Inception - Cobb returns home
Director Christopher Nolan has always been clever with his use of score to describe emotion and mood. 2010's Inception was the best film of the year according to this writer and Nolan once again turned to veteran composer Hans Zimmer for music duties. After their mission's climax, Leonardo DiCaprio's Cobb and his crew returns home and against all odds reunites him with his children. Zimmer's grande orchestration and heavy arrangements make for a powerful listen on its own, but set against pure movie star quality such as DiCaprio it becomes a different animal entirely.
The best part: When Cobb makes his way out of the airport at 1:45, the electric guitars come in, and he passes his associates on his way to the start of his new life. And at 2:55 when we go nearly silent - to equal effect.
Youtube: http://www.youtube.com/watch?v=icXizIos4dw
Friday Night Lights - The defeat
This classic sports flick from 2004 by Peter Berg features a soundtrack by instrumental rock outfit Explosions In The Sky. There are many memorable moments and themes in the film, but none more powerful than in this scene. Having finally reached their state final the Panthers fail to win the championship and have to watch their opponents celebrate. The music is simple yet heavy and the guitar driven score has an emotional core and sensitive heart, just like the young men who come together in defeat.
The best part: Around 1:55 the players console each other just as the drums kick in. Perfect melancholy.
Youtube: http://www.youtube.com/watch?v=oHJVJ_MEyQI
Here are some moments where the music has played a key part in making the scene memorable, and proving how much a well crafted score can influence the art of filmmaking.
The Shawshank Redemption - Andy arrives at Shawshank
Frank Darabont's 1994 classic has many memorable moments. No one perhaps more strong and impressive than this scene in the films first act. Serving both as an introdution to Morgan Freeman's character Red and the spectactular fortress where our two main players are confined for most of the movie. Thomas Newman's score plays over Roger Deakins' stunning cinematography perfectly. Simply breathtaking.
The best part: About 30 seconds in as the camera passes the bus and begins its climb over the prison walls.
Youtube: http://www.youtube.com/watch?v=Ab4GtCg4r-o
Sunshine - Capa's jump
Danny Boyle's 2007 space odyssey is one of the most overlooked classics of the past decade. The film both looks and sounds great, and John Murphy's epic score plays a big part. At no point more than in the films climax, as Cillian Murphy's Robert Capa as the only remaining survivor has to abandon his vessel. The intensity of Murphy's performance and the dramatic overture blends together with overwhelming effect.
The best part: At 3:05 as Capa takes his leap and Boyle isolates his scream to let the music guide his fate. Absolutely superb.
Youtube: http://www.youtube.com/watch?v=clG_1sqOsBs&feature=relmfu
The Life of David Gale - The videotape
Alan Parker's 2003 film certainly has its flaws and failed to convince both critics and audiences ten years ago. There are still qualities to enjoy though, in particular the music from Jake and Alex Parker. Their theme "Almost Martyrs" stood out as the soundtrack's strongest, and has since been used plenty in trailers and promos. As Kate Winslet's reporter Bitsey Bloom finds a videotape that will finally reveal the accomplice in the murder of a female activist and prove her theories wrong, the music has tremendous impact. A bit pompous and melodramatic sure, but the effect is thrilling never the less.
The best part: At 1:20 when Bloom's worst fear proves to be true.
Youtube: http://www.youtube.com/watch?v=CItKToiwvoE&feature=related
Inception - Cobb returns home
Director Christopher Nolan has always been clever with his use of score to describe emotion and mood. 2010's Inception was the best film of the year according to this writer and Nolan once again turned to veteran composer Hans Zimmer for music duties. After their mission's climax, Leonardo DiCaprio's Cobb and his crew returns home and against all odds reunites him with his children. Zimmer's grande orchestration and heavy arrangements make for a powerful listen on its own, but set against pure movie star quality such as DiCaprio it becomes a different animal entirely.
The best part: When Cobb makes his way out of the airport at 1:45, the electric guitars come in, and he passes his associates on his way to the start of his new life. And at 2:55 when we go nearly silent - to equal effect.
Youtube: http://www.youtube.com/watch?v=icXizIos4dw
Friday Night Lights - The defeat
This classic sports flick from 2004 by Peter Berg features a soundtrack by instrumental rock outfit Explosions In The Sky. There are many memorable moments and themes in the film, but none more powerful than in this scene. Having finally reached their state final the Panthers fail to win the championship and have to watch their opponents celebrate. The music is simple yet heavy and the guitar driven score has an emotional core and sensitive heart, just like the young men who come together in defeat.
The best part: Around 1:55 the players console each other just as the drums kick in. Perfect melancholy.
Youtube: http://www.youtube.com/watch?v=oHJVJ_MEyQI
Saturday, March 31, 2012
Essential March '12
ESSENTIAL VIEWING THIS MARCH:
The release of a new Martin Scorsese picture is an occasion in itself. This time perhaps even more special as it is something of a stretch for the veteran director. With Hugo Scorsese for the first time is shooting for a young audience, even though this film will find fans of all ages. Based on the book by Brian Selznick it is set in 1930s Paris and follows Hugo Cabret (newcomer Asa Butterfield), an orphan who lives in a train station. It is clear that Scorsese has enjoyed himself while making this picture. His style is still evident, but appears to be more playful and improvised, fitting as the story is mainly told through the eyes of a child. It is beautifully photographed by Robert Richardson and wonderfully put together by Scorseses regular editor Thelma Schoonmaker. Truly a cinematic treat.
Despite having turned 65 Steven Spielberg remains more active than ever and has released films at an impressive rate this past decade. His latest War Horse is another impressive feature, even though it will probably not be standing as one of the Spielberg Greats. Still there is much to enjoy here. Set up against the first World War and the relationship between Albert and his beloved horse, who is taken away to serve in battle. Based on the novel by Michael Morpurgo, this is pure Spielberg territory. As always he tells his stories using big images and with the help of his regular cinematographer Janusz Kaminski it is a breathtakingly beautiful picture. Accompanied by John Williams' lovely score and featuring stellar performances from the likes of Emily Watson, Petter Mullan and Tom Hiddlestone. Pure quality from the most influential filmmaker over the past 30 years.
Christopher Plummer bagged the best supporting Oscar for his performance in Beginners, and rightly so. But there is plenty more to find in writer and director Mike Mills' superb independent film. Alongside the always excellent Ewan McGregor, the pair come across as one of the most enjoyable screen partners in a long time. Plummer is the father who reveals that he not only is dying, but has been a closet homosexual for most of his life. Mills' script balances the drama and laughs perfectly and the film strikes an emotional core, despite never taking itself too seriously. A terrific achivement and ultimately very moving film.
ESSENTIAL LISTENING THIS MARCH:
Having been tipped about a band called Dry The River about a year ago, but never getting around to checking them out, it is with great joy this writer finds their debut album Shallow Bed this month. It is hard to label this album to a genre as it seems to have a bit of everything, which mind you is not always a good thing. But with this one it certainly is. Ultimately is comes across as a folkrock album, but there are elements of country, pop and even gospel. It makes for a very surprising listening experience and every track appears to hold a treasure sweeter than the previous. A superb debut album and a definite band to follow.
Indie darlings The Shins return this month with Port of Morrow, their first album since 2007s Wincing The Night Away. Such a long hiatus might expect you to find a different band, but luckily not too much has changed. Fronted by leading man James Mercer the album leads the way for some beautiful pop tunes, ten in toal, on an album that simply reeks of quliaty. The Shins still come across as some of the most creative and professional musicians in the business and this album is strong enough to stand up there with the best of them.
Three years since his mildly disappointing Working On A Dream, Bruce Springsteen returns with Wrecking Ball. And it is a reassuring and rock solid return to form. The Boss still has a lot on his mind and Wrecking Ball carries a lot of anger in its 11 tracks. Springsteen still manages to sound refreshed and committed even after having been in the business for 40 years. There is much here to enjoy. The terrific opening track We Take Care Of Our Own sets the tone and ballads, anthems and hymns follow. The political edge in his music has been debated plenty over the past few albums, and it is still present. But it never becomes influential and there is still a positive message to be found in every song. Another impressive album from the most enduring and creative music personality of his generation. Can't wait to catch him live for the fifth time come July.
Enjoy the title track Wrecking Ball. Loud.
The release of a new Martin Scorsese picture is an occasion in itself. This time perhaps even more special as it is something of a stretch for the veteran director. With Hugo Scorsese for the first time is shooting for a young audience, even though this film will find fans of all ages. Based on the book by Brian Selznick it is set in 1930s Paris and follows Hugo Cabret (newcomer Asa Butterfield), an orphan who lives in a train station. It is clear that Scorsese has enjoyed himself while making this picture. His style is still evident, but appears to be more playful and improvised, fitting as the story is mainly told through the eyes of a child. It is beautifully photographed by Robert Richardson and wonderfully put together by Scorseses regular editor Thelma Schoonmaker. Truly a cinematic treat.
Despite having turned 65 Steven Spielberg remains more active than ever and has released films at an impressive rate this past decade. His latest War Horse is another impressive feature, even though it will probably not be standing as one of the Spielberg Greats. Still there is much to enjoy here. Set up against the first World War and the relationship between Albert and his beloved horse, who is taken away to serve in battle. Based on the novel by Michael Morpurgo, this is pure Spielberg territory. As always he tells his stories using big images and with the help of his regular cinematographer Janusz Kaminski it is a breathtakingly beautiful picture. Accompanied by John Williams' lovely score and featuring stellar performances from the likes of Emily Watson, Petter Mullan and Tom Hiddlestone. Pure quality from the most influential filmmaker over the past 30 years.
Christopher Plummer bagged the best supporting Oscar for his performance in Beginners, and rightly so. But there is plenty more to find in writer and director Mike Mills' superb independent film. Alongside the always excellent Ewan McGregor, the pair come across as one of the most enjoyable screen partners in a long time. Plummer is the father who reveals that he not only is dying, but has been a closet homosexual for most of his life. Mills' script balances the drama and laughs perfectly and the film strikes an emotional core, despite never taking itself too seriously. A terrific achivement and ultimately very moving film.
ESSENTIAL LISTENING THIS MARCH:
Having been tipped about a band called Dry The River about a year ago, but never getting around to checking them out, it is with great joy this writer finds their debut album Shallow Bed this month. It is hard to label this album to a genre as it seems to have a bit of everything, which mind you is not always a good thing. But with this one it certainly is. Ultimately is comes across as a folkrock album, but there are elements of country, pop and even gospel. It makes for a very surprising listening experience and every track appears to hold a treasure sweeter than the previous. A superb debut album and a definite band to follow.
Indie darlings The Shins return this month with Port of Morrow, their first album since 2007s Wincing The Night Away. Such a long hiatus might expect you to find a different band, but luckily not too much has changed. Fronted by leading man James Mercer the album leads the way for some beautiful pop tunes, ten in toal, on an album that simply reeks of quliaty. The Shins still come across as some of the most creative and professional musicians in the business and this album is strong enough to stand up there with the best of them.
Three years since his mildly disappointing Working On A Dream, Bruce Springsteen returns with Wrecking Ball. And it is a reassuring and rock solid return to form. The Boss still has a lot on his mind and Wrecking Ball carries a lot of anger in its 11 tracks. Springsteen still manages to sound refreshed and committed even after having been in the business for 40 years. There is much here to enjoy. The terrific opening track We Take Care Of Our Own sets the tone and ballads, anthems and hymns follow. The political edge in his music has been debated plenty over the past few albums, and it is still present. But it never becomes influential and there is still a positive message to be found in every song. Another impressive album from the most enduring and creative music personality of his generation. Can't wait to catch him live for the fifth time come July.
Enjoy the title track Wrecking Ball. Loud.
Wednesday, March 14, 2012
Wednesday, February 29, 2012
Essential February '12
ESSENTIAL VIEWING THIS FEBRUARY:
Hollywood has not spoiled us with strong political dramas over the past years, but this months The Ides of March is a solid contribution to the genre. George Clooney's fourth directorial effort is based on the stage play Farragut North by Beau Willimon, who co-wrote the screenplay alongside Clooney and his long time production partner Grant Heslov. And it works well on the screen too, thanks to a steady and confident hand from Clooney and a rock solid cast. Ryan Gosling is terrific in the leading role and there is comforting supporting work from the likes of Paul Giamatti, Philip Seymour Hoffman and Clooney himself. It may not blow your hair back with surprises, but the quality of the work both in front of and behind the camera makes this a very compelling watch and yet another, as if it was needed, piece of evidence that Clooney truly is a driving force on either side of the lens.
My Week With Marilyn mainly got its attention due to the uncanny resemblance and powerhouse performance from Michelle Williams in the leading role. But there is much more to appreciate in here. Ben Smithards beautiful cinematography and the tremendous screenplay by Adrian Hodges immediately springs to mind. There are also superb supporting performances to be found in Kenneth Branagh's Laurence Olivier and Eddie Redmayne. But of course, this is Williams' show. As Marilyn Monroe she has created another milestone performance, assuring her position as one of the finest American actresses of her generation. The film is a wonderful depiction of an era, an industry and a troubled spirit that went away far too soon.
Liam Neeson has made some questionable acting choices lately, but his turn in Joe Carnahan's The Grey is a perfect fit between actor and part. The film about a group of survivors after a plane crash in Alaska is a rough, thrilling and eventually moving experience. With no chance of rescue the group begin their travel south, fighting both the blistering cold and an alarmingly aggresive pack of wolves. Accompanied by Marc Streitenfeld's haunting score and terrific photography by Masanobu Takayanagi, this is a superb piece of entertainment that carries an emotional punch difficult to recover from. Truly impressive from everyone involved.
ESSENTIAL LISTENING THIS FEBRUARY:
With The Grey already mention, why not go ahead and praise the superb soundtrack as well. Composer Marc Streitenfeld earned his stripes by creating the score for Ridley Scott's Robin Hood and Body of Lies. The Grey (which Scott produces) is by far his finest soundtrack achievement yet, and plays equally strong alongside Joe Carnahan's exciting action and emotional scenes. One of the finest instrumental soundtracks out of Hollywood in a long time.
As cool album titles go, Mark Lanegan's latest has to be a contender. Blues Funeral is the name of his first solo album in eight years, and it is another strong outing by the former Screaming Trees frontman. The opening track and single, The Gravedigger's Song really sets the bar, and even though the albums twelve tracks may not all be able to keep up, all put together this is a very well organized and solid release. After his tremendous work with singer Isobel Campbell, it may take a while for you to get Lanegan's more noisy and rough solo boots on, but when you do it is very satisfying walk indeed.
Norwegian pop/rock outfit Mount Washington has just released their fourth album, this time self titled after having added the "Mount" to their band name. Their name is not the only thing they have elaborated, as their sound this time around features more beats and technical impulses than before. Their roots may still be found in melancholic pop, but there is a more electronic edge to most of their tracks. Luckily the quality of the music has not changed as this is another impressive release from the Berlin based Norwegians. It has always been a mystery to this writer why this band does not inhabit more fame and acclaim. This album might be the one to change all that. Enjoy Lisboa and you'll know what I mean.
Hollywood has not spoiled us with strong political dramas over the past years, but this months The Ides of March is a solid contribution to the genre. George Clooney's fourth directorial effort is based on the stage play Farragut North by Beau Willimon, who co-wrote the screenplay alongside Clooney and his long time production partner Grant Heslov. And it works well on the screen too, thanks to a steady and confident hand from Clooney and a rock solid cast. Ryan Gosling is terrific in the leading role and there is comforting supporting work from the likes of Paul Giamatti, Philip Seymour Hoffman and Clooney himself. It may not blow your hair back with surprises, but the quality of the work both in front of and behind the camera makes this a very compelling watch and yet another, as if it was needed, piece of evidence that Clooney truly is a driving force on either side of the lens.
My Week With Marilyn mainly got its attention due to the uncanny resemblance and powerhouse performance from Michelle Williams in the leading role. But there is much more to appreciate in here. Ben Smithards beautiful cinematography and the tremendous screenplay by Adrian Hodges immediately springs to mind. There are also superb supporting performances to be found in Kenneth Branagh's Laurence Olivier and Eddie Redmayne. But of course, this is Williams' show. As Marilyn Monroe she has created another milestone performance, assuring her position as one of the finest American actresses of her generation. The film is a wonderful depiction of an era, an industry and a troubled spirit that went away far too soon.
Liam Neeson has made some questionable acting choices lately, but his turn in Joe Carnahan's The Grey is a perfect fit between actor and part. The film about a group of survivors after a plane crash in Alaska is a rough, thrilling and eventually moving experience. With no chance of rescue the group begin their travel south, fighting both the blistering cold and an alarmingly aggresive pack of wolves. Accompanied by Marc Streitenfeld's haunting score and terrific photography by Masanobu Takayanagi, this is a superb piece of entertainment that carries an emotional punch difficult to recover from. Truly impressive from everyone involved.
ESSENTIAL LISTENING THIS FEBRUARY:
With The Grey already mention, why not go ahead and praise the superb soundtrack as well. Composer Marc Streitenfeld earned his stripes by creating the score for Ridley Scott's Robin Hood and Body of Lies. The Grey (which Scott produces) is by far his finest soundtrack achievement yet, and plays equally strong alongside Joe Carnahan's exciting action and emotional scenes. One of the finest instrumental soundtracks out of Hollywood in a long time.
As cool album titles go, Mark Lanegan's latest has to be a contender. Blues Funeral is the name of his first solo album in eight years, and it is another strong outing by the former Screaming Trees frontman. The opening track and single, The Gravedigger's Song really sets the bar, and even though the albums twelve tracks may not all be able to keep up, all put together this is a very well organized and solid release. After his tremendous work with singer Isobel Campbell, it may take a while for you to get Lanegan's more noisy and rough solo boots on, but when you do it is very satisfying walk indeed.
Norwegian pop/rock outfit Mount Washington has just released their fourth album, this time self titled after having added the "Mount" to their band name. Their name is not the only thing they have elaborated, as their sound this time around features more beats and technical impulses than before. Their roots may still be found in melancholic pop, but there is a more electronic edge to most of their tracks. Luckily the quality of the music has not changed as this is another impressive release from the Berlin based Norwegians. It has always been a mystery to this writer why this band does not inhabit more fame and acclaim. This album might be the one to change all that. Enjoy Lisboa and you'll know what I mean.
Wednesday, February 22, 2012
Tuesday, January 31, 2012
Essential January '12
ESSENTIAL VIEWING THIS JANUARY:
Director Alexander Payne has become one of the safest bets in Hollywood when it comes to producing heartwarming entertainment with an original comic touch. Films such as Election (1999), About Schmidt (2002) and his unquestionable masterpiece Sideways (2004) are all to be considered classics, and this month he returns with The Descendants, his first feature film in seven years. And it has been well worth the wait. Based on Kaui Hart Hemmings' novel, it is set in Hawaii where a never better George Clooney plays a father of two daughters, struggling to reconnect after their mother is struck by an eventually fatal accident. It’s hard to imagine an American filmmaker better than Payne to tell simple, yet complex and moving stories about family, love and loss. And his latest film is yet another triumph.
One of the most fascinating films of the season is Steve McQueen’s Shame, only his second feature. Starring Michael Fassbender and Carey Mulligan, it is an intense, scary and intimate look at addiction and relationships. McQueen gets another standout performance from Fassbender (who also starred in his debut, 2008’s Hunger), who is completely fearless in his naked (often literally) and honest portrait of Brandon. Mulligan provides solid support, and deserves more screen time as his sister Sissy, who arrives for an unexpected visit. But this is Fassbender’s film, and although this at times is both challenging and painful viewing, there is no denying its quality and humanity.
Ayrton Senna was the world’s leading Formula 1 driver before he died in a crash aged just 34. The documentary Senna, by Asif Kapadia is perhaps the finest documentary to arrive in all of last year. The film is mainly old archive footage of Senna, his family and competitors, and the usual interview subjects in this type of films are limited to voiceovers only, which is a brilliant strike of genius. The camera very rarely leaves Senna for long, and by doing so Kapadia creates a strong and personal portrait of a man who was very reluctant in letting anyone see behind his sports persona. Thrilling, educational and ultimately very moving, this film has a strong claim as one of the best documentaries on any sports individual ever created. A truly sublime experience.
ESSENTIAL LISTENING THIS JANUARY:
Kurt Vile’s Smoke Ring For My Halo actually came out last year, but this month a terrific deluxe edition featuring his EP So Outta Reach also finds its way to the shelves. The album itself is a lovely little gem flooded with licks and lines clearly inspired by heroes such as Petty or Cohen. Rock and pop comes together in a lovely mix of tracks that come easy to the ear, but still manages to carry a substantial weight through sound and lyrics. A wonderful edition of the singers second album, which will hopefully earn him more praise and a pathway to a larger audience.
January is often a slow month when it comes to new releases, so when allowed to enter a deluxe edition, an anniversary one must certainly fit right in. This month marks the 40th year since The Doors masterful L.A. Woman record. And this edition comes packed with alternate and unfamiliar versions of the albums top tracks, certifying its position as the bands most accomplished album. Classics such as Love Her Madly, Riders on the Storm and the audacious title track make the original album a must have for any music buff, and this anniversary edition an equally obligatory release for the proper fans of the outfit. They really don’t make ‘em like this anymore.
Vidar Vang has been one of Norway’s best kept secrets when it comes to the male singer / songwriter genre. And even though he this month releases his sixth album he still has a limited audience within his own country. The reasons may be to illusive to get into, but it is certainly not due to a lack of quality in his music. His new album Sidewalk Silhouettes is an acoustic record, with a few old numbers included. At first listen it comes across as a bit, in lack of a better word unnecessary, as his previous albums possibly served the material even better. But after another handful of run-throughs, the album finds its place surprisingly quick. Produced by guitar virtuoso Cato Salsa, this album is a stripped down and simplistic record, but in spite of the limitations to Vang’s voice, and the return of familiar tracks, this is both heartfelt and well made in every single way.
Check out one of the new tracks, Already Gone.
Director Alexander Payne has become one of the safest bets in Hollywood when it comes to producing heartwarming entertainment with an original comic touch. Films such as Election (1999), About Schmidt (2002) and his unquestionable masterpiece Sideways (2004) are all to be considered classics, and this month he returns with The Descendants, his first feature film in seven years. And it has been well worth the wait. Based on Kaui Hart Hemmings' novel, it is set in Hawaii where a never better George Clooney plays a father of two daughters, struggling to reconnect after their mother is struck by an eventually fatal accident. It’s hard to imagine an American filmmaker better than Payne to tell simple, yet complex and moving stories about family, love and loss. And his latest film is yet another triumph.
One of the most fascinating films of the season is Steve McQueen’s Shame, only his second feature. Starring Michael Fassbender and Carey Mulligan, it is an intense, scary and intimate look at addiction and relationships. McQueen gets another standout performance from Fassbender (who also starred in his debut, 2008’s Hunger), who is completely fearless in his naked (often literally) and honest portrait of Brandon. Mulligan provides solid support, and deserves more screen time as his sister Sissy, who arrives for an unexpected visit. But this is Fassbender’s film, and although this at times is both challenging and painful viewing, there is no denying its quality and humanity.
Ayrton Senna was the world’s leading Formula 1 driver before he died in a crash aged just 34. The documentary Senna, by Asif Kapadia is perhaps the finest documentary to arrive in all of last year. The film is mainly old archive footage of Senna, his family and competitors, and the usual interview subjects in this type of films are limited to voiceovers only, which is a brilliant strike of genius. The camera very rarely leaves Senna for long, and by doing so Kapadia creates a strong and personal portrait of a man who was very reluctant in letting anyone see behind his sports persona. Thrilling, educational and ultimately very moving, this film has a strong claim as one of the best documentaries on any sports individual ever created. A truly sublime experience.
ESSENTIAL LISTENING THIS JANUARY:
Kurt Vile’s Smoke Ring For My Halo actually came out last year, but this month a terrific deluxe edition featuring his EP So Outta Reach also finds its way to the shelves. The album itself is a lovely little gem flooded with licks and lines clearly inspired by heroes such as Petty or Cohen. Rock and pop comes together in a lovely mix of tracks that come easy to the ear, but still manages to carry a substantial weight through sound and lyrics. A wonderful edition of the singers second album, which will hopefully earn him more praise and a pathway to a larger audience.
January is often a slow month when it comes to new releases, so when allowed to enter a deluxe edition, an anniversary one must certainly fit right in. This month marks the 40th year since The Doors masterful L.A. Woman record. And this edition comes packed with alternate and unfamiliar versions of the albums top tracks, certifying its position as the bands most accomplished album. Classics such as Love Her Madly, Riders on the Storm and the audacious title track make the original album a must have for any music buff, and this anniversary edition an equally obligatory release for the proper fans of the outfit. They really don’t make ‘em like this anymore.
Vidar Vang has been one of Norway’s best kept secrets when it comes to the male singer / songwriter genre. And even though he this month releases his sixth album he still has a limited audience within his own country. The reasons may be to illusive to get into, but it is certainly not due to a lack of quality in his music. His new album Sidewalk Silhouettes is an acoustic record, with a few old numbers included. At first listen it comes across as a bit, in lack of a better word unnecessary, as his previous albums possibly served the material even better. But after another handful of run-throughs, the album finds its place surprisingly quick. Produced by guitar virtuoso Cato Salsa, this album is a stripped down and simplistic record, but in spite of the limitations to Vang’s voice, and the return of familiar tracks, this is both heartfelt and well made in every single way.
Check out one of the new tracks, Already Gone.
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