ESSENTIAL VIEWING THIS YEAR:
1. Boyhood
Richard Linklater’s heartfelt story about a six year old boy who grows up in front of you. Ambitious, original and utterly unforgettable. A genuine masterpiece twelve years in the making, and the standout and best picture of the year by far.
2. The Grand Budapest Hotel
The funniest and most lovable piece of storytelling this year. Arguably Wes Anderson’s finest work to date, with a tremendous and surprising central performance from Ralph Fiennes. A classic piece of imaginative entertainment.
3. The Wolf of Wall Street
The craziest movie of the year. Martin Scorsese goes full throttle in a three hour cinematic party that still leaves you dying for more! Leo DiCaprio gives the performance of his career; compelling, ecstatic and completely unafraid.
4. Interstellar
The best science fiction drama since Danny Boyle’s Sunshine (2007) and one of the greatest visual achievements in cinema history. Christopher Nolan’s most ambitious project to date is a thrilling, engaging and emotional ride that will leave you in awe.
5. Calvary
The second feature film from John Michael McDonagh is an absolute treasure with one of the year’s best performances from veteran character actor Brendan Gleeson. A drama infused with some excellent comedy, deliciously delivered from one of the best screenplays of the year.
Top three runners-up: Locke (Steven Knight) – Joe (David Gordon Green) – Filth (Jon S. Baird)
ESSENTIAL LISTENING THIS YEAR:
1. Interpol – El Pintor
The fifth studio album from this inspiring and experienced outfit is perhaps their finest to date. Playing on all their strengths and trademark sound, it is ten tracks of indie rock energy that never stops for breath. A milestone in their already impressive catalogue.
2. Ray LaMontagne – Supernova
This laid back - but never casual - voice from the northeast coast just gets better with age. After his stellar fourth album God Willin’ & The Creek Don’t Rise (2010) he ups the ante even more with a touch of psychedelic rock, courtesy of producer Dan Auerbach. A triumphant record that elevates him to the elite of American singer / songwriters.
3. The Pains of Being Pure at Heart – Days of Abandon
The third album from these New York indie darlings should be another step towards superstardom. Their noisy and energetic indie pop is a perfect blend of melancholy, heartache and romance that suits any mood or season.
4. Dry the River – Alarms in the Heart
The sophomore album from this London quartet is a satisfying confirmation that their shattering debut Shallow Bed (2012) was not a fluke. Their alternative rock tunes carry both a touch of folk and pop can instantly connects with its listener. Featuring one of the most original vocalists in front man Peter Liddle this is a band that deserves to be discovered by an even bigger audience.
5. Broken Bells – After the Disco
Four years after their self-titled debut Brian Burton (better known as Danger Mouse) and The Shins vocalist James Mercer come together for another compilation of delicious pop and rock tracks. Mixing big arrangements with a stripped down attitude towards songwriting the album is a skillful and well composed collection of tunes that shines both technically and lyrically.
Top three runners-up: Damien Rice – My Favourite Faded Fantasy, Bruce Springsteen – High Hopes, Foo Fighters – Sonic Highways
2015 has got work to do.
Wednesday, December 10, 2014
Sunday, November 30, 2014
Essential November '14
ESSENTIAL VIEWING THIS MONTH:
With the massive success of his Dark Knight Trilogy and Inception it is difficult to think of a more anticipated film over the past years than Christopher Nolan’s Interstellar. Half his career in the making, it is a gigantic undertaking in scale, storytelling and technical ambition. Thankfully, it’s been well worth the wait as it is another triumph in his already vastly impressive catalogue of films. Co-written alongside his brother Jonathan, Nolan has created nothing less than one of the most entertaining and moving science fiction features in the history of cinema. It is simply a masterpiece, combining the advantages of the traditional blockbuster with a desire to both challenge and engage its audience in a way you would not imagine going into the theatre. Matthew McConaughey (completing a tremendous year of his career that features True Detective, The Wolf of Wall Street as well as his Oscar-winning turn in Dallas Buyers Club) leads a great ensemble where everyone involved manage to create strong connections on separate levels of the story, leaving you not only wildly impressed but also grateful that there are still filmmakers out there capable of making both an emotional and provoking impact.
Any film about the extraordinary Nick Cave was always bound to be something different than your standard musical documentary. So it is, as this month sees the release of 20,000 Days on Earth, a terrific portrait unlike any other by directors Iain Forsyth and Jane Pollard. The film is actually co-written by Cave, as it features much of his lyrics and poetry as well as a terrific narration by the artist. It does bend the rules of the genre, as it quite frankly is more of a documentary in disguise. Featuring guest performers as visiting storytellers but also as companions challenging Cave to answer questions about his artistic choices, it is both entertaining and an honest look at the career of a soon to be sixty year old performer who has spent his entire adult life in one artistic industry or another. An eye-opening biography of a brilliant mind and musician that is a must-see for the fans, as well as any curious lovers of film and music.
After Winding Roads, a directorial debut in 1999 that no one saw it would take fifteen years for Theodore Melfi to have another attempt at a feature film. But this time around he would have an ace up his sleeve that would guarantee both attention and quality to the screen: Bill Murray. With St. Vincent he has created one of this year’s funniest and moving American films, and it is without questions mainly thanks to his leading man. Murray delivers one of the finest performances of his career in a manner that we’ve come to actually expect from him at this stage of his professional life. It shares quite a few notes from previous memorable turns (The Life Aquatic with Steve Zissou from 2004 and Broken Flowers from 2005 come to mind), but there is a vulnerability here that we’ve never seen before. It is a tremendous performance that should ensure his return to frequenting award ceremonies in the months to come. Naomi Watts, Melissa McCarthy and Chris O’Dowd all provide solid support making this more than a cynical one-man vehicle, and Melfi’s script is filled with cracking dialogue and clever takes on familiar set-ups. A small treasure in a season dominated by blockbusters and hollow American dramas.
ESSENTIAL LISTENING THIS MONTH:
With its accompanying TV series (mentioned in this column last month) the Foo Fighters new album is easily their most accomplished and ambitious record to date. Each song recorded in a separate city, compiling into an eight track record to show their love for American music and the importance of inspirations and those musicians who came before them. Sonic Highways is a wonderful compilation that highlights the band’s experience and laid back approach to compositions, but also their skills and dedication in a credible fashion. Their eight studio album could find itself becoming a milestone for the band and surely something that will stand out as one of the most special in their catalogue.
Greatest hits and Best of- compilations usually don’t make their way onto this site, but an exception needs to be made this month for the release of Nothing Has Changed, a triple disc collection featuring a half a century’s work of David Bowie. The highlights are too many to mention, but the previously unreleased tracks from his 2001 album Toy which was never completed are a gem, as well as the collaboration with Mick Jagger on 1964s Dancing in the Street and a PSB remix of Hallo Spaceboy featuring the Pet Shop Boys all help in making this a must-have for any fan. After the modest success of his “comeback album” The Next Day last year, one could question the desires behind this release, but it is probably better to just enjoy it for what it is and treat it as a great document from still one of the most fascinating performers of our past century.
Damien Rice has been praised for many things, but efficiency will never be one of them. After the massive success of his debut album O in 2002, the fans had to wait four long years for his sophomore effort 9. When the years kept passing even further on after that many doubted that there would even be another record. Now, eight years on – and twelve after his debut – new material finally arrives from the Irish singer / songwriter. For fans, it’s an occasion in itself, but the quality of the new music is so strong that no one can doubt the motive and desire to resurrect with a bang. My Favourite Faded Fantasy is produced by the legendary Rick Rubin (whose résumé includes work with Johnny Cash, Tom Petty, Black Sabbath and Kanye West to name a few) and is a similar take on the genre, with Rice’s signature vulnerable voice and delicate lyrics carrying the tunes. The album is a great reminder of the original impact he had, and proof that real talent does not age. Let’s just hope we don’t have to wait another eight years for record no. 4.
The single I Don’t Want to Change You also comes with a great video by Arni & Kinski.
With the massive success of his Dark Knight Trilogy and Inception it is difficult to think of a more anticipated film over the past years than Christopher Nolan’s Interstellar. Half his career in the making, it is a gigantic undertaking in scale, storytelling and technical ambition. Thankfully, it’s been well worth the wait as it is another triumph in his already vastly impressive catalogue of films. Co-written alongside his brother Jonathan, Nolan has created nothing less than one of the most entertaining and moving science fiction features in the history of cinema. It is simply a masterpiece, combining the advantages of the traditional blockbuster with a desire to both challenge and engage its audience in a way you would not imagine going into the theatre. Matthew McConaughey (completing a tremendous year of his career that features True Detective, The Wolf of Wall Street as well as his Oscar-winning turn in Dallas Buyers Club) leads a great ensemble where everyone involved manage to create strong connections on separate levels of the story, leaving you not only wildly impressed but also grateful that there are still filmmakers out there capable of making both an emotional and provoking impact.
Any film about the extraordinary Nick Cave was always bound to be something different than your standard musical documentary. So it is, as this month sees the release of 20,000 Days on Earth, a terrific portrait unlike any other by directors Iain Forsyth and Jane Pollard. The film is actually co-written by Cave, as it features much of his lyrics and poetry as well as a terrific narration by the artist. It does bend the rules of the genre, as it quite frankly is more of a documentary in disguise. Featuring guest performers as visiting storytellers but also as companions challenging Cave to answer questions about his artistic choices, it is both entertaining and an honest look at the career of a soon to be sixty year old performer who has spent his entire adult life in one artistic industry or another. An eye-opening biography of a brilliant mind and musician that is a must-see for the fans, as well as any curious lovers of film and music.
After Winding Roads, a directorial debut in 1999 that no one saw it would take fifteen years for Theodore Melfi to have another attempt at a feature film. But this time around he would have an ace up his sleeve that would guarantee both attention and quality to the screen: Bill Murray. With St. Vincent he has created one of this year’s funniest and moving American films, and it is without questions mainly thanks to his leading man. Murray delivers one of the finest performances of his career in a manner that we’ve come to actually expect from him at this stage of his professional life. It shares quite a few notes from previous memorable turns (The Life Aquatic with Steve Zissou from 2004 and Broken Flowers from 2005 come to mind), but there is a vulnerability here that we’ve never seen before. It is a tremendous performance that should ensure his return to frequenting award ceremonies in the months to come. Naomi Watts, Melissa McCarthy and Chris O’Dowd all provide solid support making this more than a cynical one-man vehicle, and Melfi’s script is filled with cracking dialogue and clever takes on familiar set-ups. A small treasure in a season dominated by blockbusters and hollow American dramas.
ESSENTIAL LISTENING THIS MONTH:
With its accompanying TV series (mentioned in this column last month) the Foo Fighters new album is easily their most accomplished and ambitious record to date. Each song recorded in a separate city, compiling into an eight track record to show their love for American music and the importance of inspirations and those musicians who came before them. Sonic Highways is a wonderful compilation that highlights the band’s experience and laid back approach to compositions, but also their skills and dedication in a credible fashion. Their eight studio album could find itself becoming a milestone for the band and surely something that will stand out as one of the most special in their catalogue.
Greatest hits and Best of- compilations usually don’t make their way onto this site, but an exception needs to be made this month for the release of Nothing Has Changed, a triple disc collection featuring a half a century’s work of David Bowie. The highlights are too many to mention, but the previously unreleased tracks from his 2001 album Toy which was never completed are a gem, as well as the collaboration with Mick Jagger on 1964s Dancing in the Street and a PSB remix of Hallo Spaceboy featuring the Pet Shop Boys all help in making this a must-have for any fan. After the modest success of his “comeback album” The Next Day last year, one could question the desires behind this release, but it is probably better to just enjoy it for what it is and treat it as a great document from still one of the most fascinating performers of our past century.
Damien Rice has been praised for many things, but efficiency will never be one of them. After the massive success of his debut album O in 2002, the fans had to wait four long years for his sophomore effort 9. When the years kept passing even further on after that many doubted that there would even be another record. Now, eight years on – and twelve after his debut – new material finally arrives from the Irish singer / songwriter. For fans, it’s an occasion in itself, but the quality of the new music is so strong that no one can doubt the motive and desire to resurrect with a bang. My Favourite Faded Fantasy is produced by the legendary Rick Rubin (whose résumé includes work with Johnny Cash, Tom Petty, Black Sabbath and Kanye West to name a few) and is a similar take on the genre, with Rice’s signature vulnerable voice and delicate lyrics carrying the tunes. The album is a great reminder of the original impact he had, and proof that real talent does not age. Let’s just hope we don’t have to wait another eight years for record no. 4.
The single I Don’t Want to Change You also comes with a great video by Arni & Kinski.
Thursday, October 30, 2014
Essential October '14
ESSENTIAL VIEWING THIS OCTOBER:
Swedish director Ruben Östlund has established himself as one of the most talked about and critically acclaimed filmmakers in Europe, in particular after his breakthrough feature De ofrivilliga (Involuntary) in 2008. This month he returns with Force Majeure, arguably his most ambitious project to date. A disturbing and yet darkly comic story about a family troubled by an event exposing Dad as perhaps not the most compassionate of fathers. Östlund’s style is recognizable from previous features, but has never been more committed or fearless than this. It’s a film that gets under your skin just minutes in, and stays there for a long time. A rare experience of cruelty and humor, that needs to be seen to be fully understood.
One of the most original comedies to come out this year has to be the independent Life After Beth, the debut feature from Jeff Baena who’s filmography only includes a writer’s credit for the grossly underestimated I Heart Huckabees (2004) by David O. Russell. Featuring one of the coolest comedy ensembles in years, including Paul Reiser, Cheryl Hines and John C. Reilly, all centered around two of the finest young American stars at the moment, Aubrey Plaza and Dane Dehaan. What starts out as something somehow predictable as a zombie rom-com turns out to be something much more. It’s a hilarious, but ultimately moving and surprisingly deep story about the difficulties of family and relationships.
Last year’s documentary Sound City proved Foo Fighters frontman Dave Grohl as a highly capable and talented director. With the band’s new album, to be released this November, comes a new project that carries the same name – Sonic Highways. An eight part documentary series exploring the recording of the new album, while travelling across America and digging deep into the musical history of each town they visit. Two episodes in, featuring Chicago and Washington D.C., it is already clear that this is another strong effort from Grohl. What could easily have been a “making of” on a larger scale looks to go way further, with an impressive amount of research and archival material on show. It’s a great view not just for fans of the band, but anyone who cares about American music and its vast amount of stories.
ESSENTIAL LISTENING THIS OCTOBER:
California rock outfit Cold War Kids have been mentioned on this site before, and they’ve earned their column this month too with the release of their fifth studio album Hold My Home. Eight years after their debut Robbers & Cowards they’ve experienced both highs and lows, with various amounts of success on previous outings, with 2008s sophomore album Loyalty to Loyalty as the standout high. Their new album does not reach those heights, but it is a welcome return to a more playful sound and fresh enthusiasm that for some reason have been absent on their last couple of records. With a slight few more touches of blues and modern soul, this is a return to form that is well worth checking out for both new and older fans.
You’d be hard pressed to find a more popular female singer in Norway than Marit Larsen. This fact is not likely to change following the release of her fourth studio album When The Morning Comes. Proving her willingness to take further steps and evolve as both a singer and songwriter becomes even more evident with herself taking the role of producer on the record. Her pop melodies still ring true and eloquent alongside her delicate voice, with simple yet controlled and emotional lyrics. She manages to be both charming as a performer while also boosting a great deal of confidence in her arrangements and production. Another great turn from one of Norway’s most beloved artists.
American singer and songwriter Aimee Mann has received high praise on this site before and it’s great to experience her as part of a duo this month with the release of her new project The Both, alongside Ted Leo. It is not without its flaws, as often is the case with the debut album from any newly formed outfit. However, Mann and Leo are in possession of enough melodic skills and experience to pull together any tune with entertaining arrangements and enjoyable lyrics. Their self-titled album debut is a treat for fans of either of them, and a credible show of intent which hopefully means their follow up record will be even more accomplished and tailored to play on both performers strengths.
The first single, Milwaukee shows the duo’s playful side as well as their great understanding of what makes a terrific radio tune.
Swedish director Ruben Östlund has established himself as one of the most talked about and critically acclaimed filmmakers in Europe, in particular after his breakthrough feature De ofrivilliga (Involuntary) in 2008. This month he returns with Force Majeure, arguably his most ambitious project to date. A disturbing and yet darkly comic story about a family troubled by an event exposing Dad as perhaps not the most compassionate of fathers. Östlund’s style is recognizable from previous features, but has never been more committed or fearless than this. It’s a film that gets under your skin just minutes in, and stays there for a long time. A rare experience of cruelty and humor, that needs to be seen to be fully understood.
One of the most original comedies to come out this year has to be the independent Life After Beth, the debut feature from Jeff Baena who’s filmography only includes a writer’s credit for the grossly underestimated I Heart Huckabees (2004) by David O. Russell. Featuring one of the coolest comedy ensembles in years, including Paul Reiser, Cheryl Hines and John C. Reilly, all centered around two of the finest young American stars at the moment, Aubrey Plaza and Dane Dehaan. What starts out as something somehow predictable as a zombie rom-com turns out to be something much more. It’s a hilarious, but ultimately moving and surprisingly deep story about the difficulties of family and relationships.
Last year’s documentary Sound City proved Foo Fighters frontman Dave Grohl as a highly capable and talented director. With the band’s new album, to be released this November, comes a new project that carries the same name – Sonic Highways. An eight part documentary series exploring the recording of the new album, while travelling across America and digging deep into the musical history of each town they visit. Two episodes in, featuring Chicago and Washington D.C., it is already clear that this is another strong effort from Grohl. What could easily have been a “making of” on a larger scale looks to go way further, with an impressive amount of research and archival material on show. It’s a great view not just for fans of the band, but anyone who cares about American music and its vast amount of stories.
ESSENTIAL LISTENING THIS OCTOBER:
California rock outfit Cold War Kids have been mentioned on this site before, and they’ve earned their column this month too with the release of their fifth studio album Hold My Home. Eight years after their debut Robbers & Cowards they’ve experienced both highs and lows, with various amounts of success on previous outings, with 2008s sophomore album Loyalty to Loyalty as the standout high. Their new album does not reach those heights, but it is a welcome return to a more playful sound and fresh enthusiasm that for some reason have been absent on their last couple of records. With a slight few more touches of blues and modern soul, this is a return to form that is well worth checking out for both new and older fans.
You’d be hard pressed to find a more popular female singer in Norway than Marit Larsen. This fact is not likely to change following the release of her fourth studio album When The Morning Comes. Proving her willingness to take further steps and evolve as both a singer and songwriter becomes even more evident with herself taking the role of producer on the record. Her pop melodies still ring true and eloquent alongside her delicate voice, with simple yet controlled and emotional lyrics. She manages to be both charming as a performer while also boosting a great deal of confidence in her arrangements and production. Another great turn from one of Norway’s most beloved artists.
American singer and songwriter Aimee Mann has received high praise on this site before and it’s great to experience her as part of a duo this month with the release of her new project The Both, alongside Ted Leo. It is not without its flaws, as often is the case with the debut album from any newly formed outfit. However, Mann and Leo are in possession of enough melodic skills and experience to pull together any tune with entertaining arrangements and enjoyable lyrics. Their self-titled album debut is a treat for fans of either of them, and a credible show of intent which hopefully means their follow up record will be even more accomplished and tailored to play on both performers strengths.
The first single, Milwaukee shows the duo’s playful side as well as their great understanding of what makes a terrific radio tune.
Tuesday, September 30, 2014
Essential September '14
ESSENTIAL VIEWING THIS MONTH:
Whether it was the commercial failure of Cowboys & Aliens (2011) or own artistic desire that persuaded Jon Favreau’s return to a smaller format is perhaps best left unsaid, but after a steady supply to Hollywood with blockbusters like Zathura (2005) and the first two Iron Man films (2008 & 2010) it is great to see the now almost fifty year old filmmaker tackle a smaller and more personal project. Chef is a charming, funny and modern comedy, made the old fashioned way. Favreau stars as the titular character who decides to take his skills out of the restaurant and into the food truck business. Backed by an impressive ensemble and accompanied by one of the best soundtracks of the year, this is enormously enjoyable entertainment that delivers heartfelt emotion and genuine laughs without the forced hand of a big production setting. A real treat indeed.
David Fincher has over the past two decades established himself as one of the most reliable directors when it comes to creating dark, moody and uncompromising thrillers. His latest film Gone Girl has some thrills indeed, but it passes through many genres in its slightly stretched two and a half hours. Most surprisingly, it is in fact very funny – depending if you find Fincher’s macabre and creepy sense of humor amusing that is. Ben Affleck and Rosamund Pike star as the married couple who upon their fifth wedding anniversary both have decided enough is enough. The less you know going into this film, the better, so any wish for a meatier synopsis can be fulfilled elsewhere. Affleck is surprisingly strong and turns in one of the most convincing performances of his career, perhaps giving a shred of hope to the sceptics dreading his arrival in Gotham City next year, but this film truly belongs to Pike. Despite several strong roles under her belt she is nothing shy of a revelation in this. Eventually playing against type, she creates one of the most memorable characters ever featured in a Fincher film and completely steals every scene she’s in. If the Academy find their way around the dark subject matter, she should be an obvious contender come Oscar time in March. A minor gem and guaranteed highlight of the fall season.
It might be patriotism, but this writer hands the third spot this month to fellow Norwegian filmmaker Ole Giæver. His second feature film, after a bunch of shorts, is Out of Nature (original Norwegian title is Mot naturen), an original and unorthodox tale of a middle aged man coming to terms with his life during a weekend alone in the mountains. It’s a brave and honest effort from Giæver, who also wrote the script and plays the leading role. Mainly driven by his voiceover, it’s a risky and demonstrative approach to the story that will definitely be tough for some audiences to get involved in. The biggest problem is Giæver’s voice itself, which is not fitted or engaging enough to carry the narration for the entirety of a feature film. However, with its modest running time it is tolerable (a second viewing will probably be harder to get through though) and if you stick by it there are rewards to be found within. The film is beautifully shot by Øystein Mamen, and put together efficiently and economically by Giæver and his editor Frida Eggum Michaelsen, giving it a steady and atmospheric texture that serves the story well. It also features a memorable final scene, much thanks to Ola Fløttum’s haunting score that should leave audiences who’ve encountered Giæver for the first time with a healthy appetite for more.
ESSENTIAL LISTENING THIS MONTH:
Ry Cooder has been mentioned on this site before, and despite this writer’s resistance to include compilations or box sets in these reviews an exception has to be made this month as Rhino and Warner Music have gone together to release seven of the guitarist’s best soundtracks together. Simply entitled Soundtracks, it features a large portion of the now nearly seventy year old Californian artists 80s and 90s catalogue. Starting with The Long Riders in 1980 up to 1993s Trespass, there is a vault of gold waiting to be discovered for anyone new to the musician’s discography of that period. There are many highlights included, but the pick of the bunch has to be 1986s Crossroads, the film by Walter Hill, which also featured Steve Vai alongside Cooder on guitars throughout the soundtrack. A great collection from a productive and still vigorous artist, who’ve grown synonymous with quality tunes.
Despite being just 35 years old, Karen Lee Orzolek – better known as Karen O – seems to have been around for twice that time. Having released four albums with indie darlings Yeah Yeah Yeahs, collaborated with numerous other artists on various releases and achieved great acclaim for her soundtrack works, most notably for Spike Jonze’s Where the Wild Things Are (2009) and Her (2013), this month finally sees the release of her first solo album. Wonderfully titled Crush Songs, it’s a generous collection of fifteen tracks, all carried by her melodic and unmistakably recognizable voice. It’s a carefully crafted and thoughtfully executed record that offers plenty for the dedicated listener.
After a four year hiatus from studio work Interpol return this month with their fifth album Elpintor (see what they did there?). Fans of the band will find plenty of delight within the record’s ten tracks, but this also serves as a great introduction to any audiences laying ears on the New York outfit for the first time. The band’s energetic arrangements still serve as their backbone, with frontman Paul Banks’ strong and emotional voice delivering their tunes with great conviction. Lyrically, it is perhaps less poetic then their previous albums, in particular their debut Turn On the Bright Lights (2002) and sophomore Antics (2004), but the over all impression doesn’t suffer from this. Instead it gives the band a fitting edge towards something even harder hitting and uncompromising within their alternative rock playpen.
The first single of the album, All the Rage Back Home, should give you an idea.
Whether it was the commercial failure of Cowboys & Aliens (2011) or own artistic desire that persuaded Jon Favreau’s return to a smaller format is perhaps best left unsaid, but after a steady supply to Hollywood with blockbusters like Zathura (2005) and the first two Iron Man films (2008 & 2010) it is great to see the now almost fifty year old filmmaker tackle a smaller and more personal project. Chef is a charming, funny and modern comedy, made the old fashioned way. Favreau stars as the titular character who decides to take his skills out of the restaurant and into the food truck business. Backed by an impressive ensemble and accompanied by one of the best soundtracks of the year, this is enormously enjoyable entertainment that delivers heartfelt emotion and genuine laughs without the forced hand of a big production setting. A real treat indeed.
David Fincher has over the past two decades established himself as one of the most reliable directors when it comes to creating dark, moody and uncompromising thrillers. His latest film Gone Girl has some thrills indeed, but it passes through many genres in its slightly stretched two and a half hours. Most surprisingly, it is in fact very funny – depending if you find Fincher’s macabre and creepy sense of humor amusing that is. Ben Affleck and Rosamund Pike star as the married couple who upon their fifth wedding anniversary both have decided enough is enough. The less you know going into this film, the better, so any wish for a meatier synopsis can be fulfilled elsewhere. Affleck is surprisingly strong and turns in one of the most convincing performances of his career, perhaps giving a shred of hope to the sceptics dreading his arrival in Gotham City next year, but this film truly belongs to Pike. Despite several strong roles under her belt she is nothing shy of a revelation in this. Eventually playing against type, she creates one of the most memorable characters ever featured in a Fincher film and completely steals every scene she’s in. If the Academy find their way around the dark subject matter, she should be an obvious contender come Oscar time in March. A minor gem and guaranteed highlight of the fall season.
It might be patriotism, but this writer hands the third spot this month to fellow Norwegian filmmaker Ole Giæver. His second feature film, after a bunch of shorts, is Out of Nature (original Norwegian title is Mot naturen), an original and unorthodox tale of a middle aged man coming to terms with his life during a weekend alone in the mountains. It’s a brave and honest effort from Giæver, who also wrote the script and plays the leading role. Mainly driven by his voiceover, it’s a risky and demonstrative approach to the story that will definitely be tough for some audiences to get involved in. The biggest problem is Giæver’s voice itself, which is not fitted or engaging enough to carry the narration for the entirety of a feature film. However, with its modest running time it is tolerable (a second viewing will probably be harder to get through though) and if you stick by it there are rewards to be found within. The film is beautifully shot by Øystein Mamen, and put together efficiently and economically by Giæver and his editor Frida Eggum Michaelsen, giving it a steady and atmospheric texture that serves the story well. It also features a memorable final scene, much thanks to Ola Fløttum’s haunting score that should leave audiences who’ve encountered Giæver for the first time with a healthy appetite for more.
ESSENTIAL LISTENING THIS MONTH:
Ry Cooder has been mentioned on this site before, and despite this writer’s resistance to include compilations or box sets in these reviews an exception has to be made this month as Rhino and Warner Music have gone together to release seven of the guitarist’s best soundtracks together. Simply entitled Soundtracks, it features a large portion of the now nearly seventy year old Californian artists 80s and 90s catalogue. Starting with The Long Riders in 1980 up to 1993s Trespass, there is a vault of gold waiting to be discovered for anyone new to the musician’s discography of that period. There are many highlights included, but the pick of the bunch has to be 1986s Crossroads, the film by Walter Hill, which also featured Steve Vai alongside Cooder on guitars throughout the soundtrack. A great collection from a productive and still vigorous artist, who’ve grown synonymous with quality tunes.
Despite being just 35 years old, Karen Lee Orzolek – better known as Karen O – seems to have been around for twice that time. Having released four albums with indie darlings Yeah Yeah Yeahs, collaborated with numerous other artists on various releases and achieved great acclaim for her soundtrack works, most notably for Spike Jonze’s Where the Wild Things Are (2009) and Her (2013), this month finally sees the release of her first solo album. Wonderfully titled Crush Songs, it’s a generous collection of fifteen tracks, all carried by her melodic and unmistakably recognizable voice. It’s a carefully crafted and thoughtfully executed record that offers plenty for the dedicated listener.
After a four year hiatus from studio work Interpol return this month with their fifth album Elpintor (see what they did there?). Fans of the band will find plenty of delight within the record’s ten tracks, but this also serves as a great introduction to any audiences laying ears on the New York outfit for the first time. The band’s energetic arrangements still serve as their backbone, with frontman Paul Banks’ strong and emotional voice delivering their tunes with great conviction. Lyrically, it is perhaps less poetic then their previous albums, in particular their debut Turn On the Bright Lights (2002) and sophomore Antics (2004), but the over all impression doesn’t suffer from this. Instead it gives the band a fitting edge towards something even harder hitting and uncompromising within their alternative rock playpen.
The first single of the album, All the Rage Back Home, should give you an idea.
Sunday, September 7, 2014
Sunday, August 31, 2014
Essential August '14
ESSENTIAL VIEWING THIS MONTH:
After a successful spell at film festivals across the globe, Richard Linklater’s Boyhood finally arrives in theatres this month. After casting six year old Ellar Coltrane in 2002, the film comes twelve years in the making and is unlike anything you’ve ever seen on screen. Thankfully, it doesn’t do much to advertise the brilliance of the experiment, but instead focuses on the story which is allowed to develop naturally over the course of young Mason’s upbringing. It is an absolute treat of a cinematic experience, a film that allows for you to make it your own in any way you desire, while always being honest and – most importantly – entertaining in the process. Featuring two stellar turns from Patricia Arquette and Ethan Hawke, as well as from newcomer Coltrane, this should be a certain contender for every piece of silverware out there come this award season. The best film of the year so far.
Steven Knight is mostly known for his writing work on David Cronenberg’s Eastern Promises and Stephen Frear’s Dirty Pretty Things (which earned him an Oscar nomination), but this month sees the release of his much talked about second feature in the director’s chair. Locke is a fascinating piece of filmmaking, with an absolute cracking performance in the center. Starring Tom Hardy, still building on one of the most impressive line of roles over the past five years, and located in the passenger seat of the one and only character ever present onscreen. It’s a thriller without major thrills, but with an incredible ability to create tension and emotion by using the most simple of tricks. Hardy, who as Ivan Locke deviates from his route home from work to take care of some unfinished and until now undisclosed business, is a study in controlled outrage and a graceful breakdown. Despite the premise, it is one of his most ambitious and challenging roles to date, in a brilliantly executed drama that stays with you for much longer than its modest running time.
After announcing his retirement from the film business, it was comforting to know that director Steven Soderbergh was working on several projects for the small screen. One of which arrives this month on Cinemax. The Knick is a look at the life around the medical practice of New York’s Knickerbocker Hospital a century ago, starring the always reliable Clive Owen. Upon the airing of the pilot episode, the show was immediately picked up for a second season, meaning there are a good 20 episodes to look forward to. Three shows in, it’s easy to understand why. This is a fascinating and educational tale of the incredible development in the field of medicine, making it sometimes unbelievable and even horrifying to look at. Writers Jack Amiel and Michael Begler have created one of the freshest, valuable and entertaining shows in a long time, guaranteed to be one of the most talked about new dramas of this year.
ESSENTIAL LISTENING THIS MONTH:
New Jersey rock band The Gaslight Anthem has been mentioned on this site before, and their new record Get Hurt deserves them another paragraph. The band’s fifth studio album is another smart and tasteful collection of old fashioned rock tracks, with one or two nudges towards a more modern performance style. Their love for both punk rock and melodic pop tunes probably make this their most accessible album yet, with Brian Fallon’s strong vocal still the connecting point to count on. Pure Americana, with a sense of love and great respect for their genre.
After several successful live shows across the country, including a sold out tour supporting Sivert Høyem, Thea & The Wild are ready to present their debut album this month. Strangers and Lovers is a solid, if sometimes too predictable record that shows great promise more than anything, with some wonderful pop tunes and catchy beats. Frontgirl Thea Glenton Raknes deliver each song with a delicate punch, in possession of a playful attitude towards her audience. Pop music that wants to be alternative often goes wrong, but in this case it is one of the most pleasant Norwegian surprises of the year which hopefully will earn the band both plaudits and even more skills before their next outing.
The best album of 2012 was according to this writer the debut album from the folk rocking Londoners Dry the River. This month, two years after the release of Shallow Bed their much anticipated sequel arrives, lovely titled Alarms in the Heart. It has been a long process, with recording starting over a year ago under the production of Valgeir Sigurðsson, whose resume includes Sigur Ròs, Damon Albarn and Bonnie ‘Prince’ Billy to name a few. The album is perhaps still a bit too fresh in the ears of this writer to properly weigh and compare it up against their debut, but there is no doubt that there is much to enjoy on this record as well. Each listener’s perception of the band will depend a lot on their take on lead singer Peter Liddle, who still comes across as one of the most original and creative vocalists around. The music can still be categorized in their previous folk rock / indie terms, but there are also elements of art pop and even vague touches of electronica. This is a committed and determined follow-up that should ensure everyone that these Brits are planning to stick around for a while, something an ever growing fan base will be thankful for.
The second single off the album, Everlasting Light, is a joy from start to finish.
Thursday, July 31, 2014
Essential July '14
ESSENTIAL VIEWING THIS JULY:
After a very limited European release John Michael McDonagh’s Calvary has become available on demand. An Irish drama with a perfect pinch of comedy starring the masterful Brendan Gleeson as a priest who after being threatened on his life during a confession needs to make his rounds to get his affairs and suspects in order. It’s a tremendous piece of filmmaking, and only the second feature from McDonagh after his debut The Guard in 2011 (also starring Gleeson). Surrounded by a natural and superbly cast ensemble including Chris O’ Dowd, Kelly Reilly and M. Emmet Walsh, Gleeson turns in another career high performance that should earn him plaudits and silverware in the months to come. The film picked up an award at the Berlinale earlier this year and with any justice it will not be the last.
After the successful reboot of the Planet of the Apes franchise with Rise of the Planet of the Apes in 2011 the planning of the follow up went ahead nearly immediately after the release. This month it arrives as Dawn of the Planet of the Apes hits screens worldwide. And it’s very satisfying to conclude that this is by far the best of the entire series. With Matt Reeves at the helm, director of Cloverfield and the American remake of Let Me In, the established story get a well-deserved boost in both style and action. Praised for its astonishing CGI, the biggest compliment one can pay to it is that you soon stop paying attention to it. The story, performances and set pieces are engaging enough on their own. With X-Men: Days of Future Past and Edge of Tomorrow already in the bank the summer of 2014 is turning out to be the biggest and best season for the blockbuster in a very long time.
After seven seasons, this month saw the final chapter of Californication roll across American screens. This terrific show by creator Tom Kapinos has been praised on this site before, and as it has now passed on into television history it deserves another mention. After arriving with a bang on Showtime in 2007 the series quickly established itself as one of the network’s biggest hits and it has maintained a healthy popularity throughout the years. The quality of each season varied a bit too much towards the end, with seasons four and five standing out as the weaker parts of the run, but over all this is one of the most original, daring, funny and wildly entertaining shows of the past decade. Much due to leading man David Duchovny, who put the ghost of Mulder firmly back inside the closet with his wonderful creation of Hank Moody. The show could easily have carried on for another season or two, but the idea of going out while still hot was without a doubt a smart move from Kapinos. A great show that will hopefully find new audiences through DVD, Blu-ray and on demand for years to come.
ESSENTIAL LISTENING THIS JULY:
After a long five year absence Tennessee garage rockers Reigning Sound are finally back this month with Shattered, their seventh studio album. Headed up by frontman Greg Cartwright their new record should fall in good taste with their loyal fans as it is another solid collection of hard hitting rock tunes that should encourage loud shouts and raised fists. It’s reassuring to hear that the band has not lost its classic touches despite their previous outing Love and Curses arrived as long ago as 2009. A legendary band that continues to be an inspiration for younger outfits and artists, all due to their elementary and honest approach to rock and roll music, performed the way it always should be: loud, fast and rough around the edges.
After his breakthrough album White Ladder in 1999, British singer/songwriter David Gray never seemed to catch up with his own success. Despite having released five albums since then, none have come close to matching the above mentioned in either sales or critical acclaim. This month sees the arrival of his ninth studio album (in addition he’s released a few EPs and B-side collections) Mutineers, and though this one neither will have the desired impact of his fifteen year old masterpiece it is probably the closest he’s come. Gray is more playful and less melodramatic than on his previous outings and this pays off in a more relaxed, inspired and easily enjoyable album. His approach is similar to earlier work, but there is a higher level of refined skills and attention to detail that make this worth your while. Note: the album is also available in a deluxe three disc edition that feature fifteen live tracks, but for the appreciation of the studio album you’re better off just focusing on that one.
After the tremendous commercial success of their two previous albums The Black Keys have never released a record to this amount of expectations before. Turn Blue is their eight studio album, an impressive number considering the band just originated in 2001 and released their debut the following year. Once again Dan Auerbach and Patrick Carney have teamed up with Danger Mouse, who co-wrote and produced the album with the duo. Following a similar trail to El Camino (2011) this record is another collection where the main focus lies on hooks, sound and a recognizable connection throughout. Its eleven tracks have the expected amount of hard blues and rock tunes, but there are also some surprising elements of psychedelic and more soul based themes. It may not challenge Brothers (2010), still their masterpiece, but it delivers plenty for the fans to chew on and enjoy until the next time they shall appear on a stage near you.
One of the finest tracks on the record is Bullet in the Brain. Check out this live performance of the song from the BBCs Maida Vale Studios.
Monday, June 30, 2014
Essential June '14
ESSENTIAL VIEWING THIS MONTH:
The blockbuster season of this summer has already had a decent start with X-Men: Days of Future Past and a surprisingly fresh Spidey 2, but both will have to surrender to this month’s Edge of Tomorrow. Doug Liman’s sci-fi adventure, based on the novel All You Need Is Kill (which was the film's working title) by Hiroshi Sakurazaka, is a superb mixture of great effects, thrills, laughs and action. Tom Cruise and Emily Blunt star and play off each other well, with Cruise on top form in a part that allows for his comedic abilities to shine as well as his action chops. It may drag on a bit towards the end, but the repetitive plot never loses its sting and instead it builds momentum towards a rewarding and satisfying ending. The hit of the summer!
American indie darlings The National have been mentioned on this site on more than one occasion, having gone top in this writer’s “Essentials” column for both 2010 and 2013. A year after the release of their sixth studio album Trouble Will Find Me the documentary Mistaken for Strangers arrives. Directed by Tom Berninger, brother of singer and frontman Matt, it is one of the most original and entertaining music documentaries in years. Setting out to make a “great rock doc” on his brother’s band, Berninger soon finds himself mistaking himself as a band member, more concerned in enjoying the perks of the road then planning his cinematic project. The history of the band work simply as a backdrop as this becomes a story about family and the relationship between two very different brothers, at very different places in their lives.
After the overwhelming success of The Trip, Michael Winterbottom’s 2011 atypical road movie starring Steve Coogan and Rob Brydon as versions of themselves, it was always bound to be more to come. Shot as a BBC series for UK audiences and now released as a theatrical film for the rest of Europe, The Trip to Italy follows the same recipe as the prequel, only this time set in the beautiful scenery of the Italian coast and countryside. Coogan and Brydon are once again let loose and left to improvise most of their dialogue, and it is a great romp. The level of enjoyment will depend on your likability towards the two comedians, but there is no denying the entertainment value and sheer skill that are on display. As with the first one, there is more under the surface then what first meets the eye, making it another original comedy with a provoking impact. Here’s to another trip in the not too distant future.
ESSENTIAL LISTENING THIS MONTH:
Despite having close to a dozen records to his name, Lazaretto is still just Jack White’s second solo album. The follow-up to the terrific Blunderbuss from 2012 is another stab at multiple genres, with White responsible for almost every sound on the album as well as production duties. As always, the guitar is the leading man’s best and closest friend, but there is a wide range of elements that sometimes complicate the tracks, but still manage to complement its writer. White still draws his inspiration from older classic rock music (Zeppelin being the obvious reference), but this time around there are also several touches of folk, country and hard blues. It’s a great album, from an artist performing as if he still has a long way to go before peaking in his career.
California rock outfit Rival Sons established a firm connection with this writer after a mind-blowing live show at our first encounter back in 2012. Two years after their acclaimed and breakthrough album Head Down they return this month with their third studio record, with the grandiose title Great Western Valkyrie. It may not compete with their previous outing, or their debut Pressure and Time (2011) but with each repeated visit it grows as another great album that will stand firmly in their still modest but very impressive catalogue. The sound may be a bit heavier this time around, but at its core this is still a great collection of hard hitting and groovy rock tunes, served with great respect to their inhabited genre and influences.
After their breakthrough second album The Lion’s Roar in 2012 the third album from Swedish popfolk duo First Aid Kit arrives with a fair amount of anticipation this month. The sisters from Stockholm have charmed both critics and audiences alike with their soulful and melodic tunes, and by wearing their inspirations on their sleeves. Their new album Stay Gold should satisfy their fans properly, as it delivers more of what made their previous work so popular both in Europe and the US. With the success of their sophomore record from two years ago there are plenty of merited collaborators on this outing, as the girls now feature assistance from members and producers from bands such as Bright Eyes, Broken Bells and Rilo Kiley. It’s a wonderful and downbeat record that will accomplice the summer soundtracks well with its glorious and attractive tunes.
The album's first single comes with a rather beautiful video by Elliott Sellers.
Saturday, May 31, 2014
Essential May '14
ESSENTIAL VIEWING THIS MONTH:
The X-Men franchise has now grown so big that it may have lost both some of their original fans and momentum along the way. No doubt then that the intention of Days of Future Past is to restore faith in both departments. With returning director Bryan Singer, who called the shots on the first and second outing and only stayed involved as exec producer in some of the further installments and spin-offs. This one is without a doubt the most ambitious chapter of the story yet, featuring both the original cast and new members from 2011s First Class. With Singer the saga gets a much needed boost of intellect and cool which played a big part in making this the record smashing comic book in the Marvel universe. It’s the finest giant of the season so far.
This writer is ready to call it: Louis C.K. is the most original and creative comedian working in television today. With the fourth season of his clever and hilarious show Louie he proves that most sitcoms and high end cable shows don’t stand a chance against his revolutionary take on the genre. Having worked with Woody Allen himself since the previous season, it is fitting to repeat what this writer has called C.K. before – the Woody Allen of his generation. Smart, original and most important: emotional and shameless comedy.
After a short spell through the festival circuit David Gordon Green’s much anticipated new feature film Joe arrives on demand. Starring Nicolas Cage and Tye Sheridan (the breakout act from last year’s Mud), this is another stab at the dramatic side of things from director Green who’s been most notable for his comedic turns over the past years. It’s a lovely and well-made low budget picture featuring one of Cage’s finest performances of his career. His character and Green’s storytelling style fit each other wonderfully, creating a sober and focused tale of family, adolescence and violence. It’s certain to be an underdog, but perfectly capable of being one of the standout films of the year.
ESSENTIAL LISTENING THIS MONTH:
As someone who always carries a healthy bit of skepticism whenever a new record from a passed artist is released it is with some relief that the new Johnny Cash album is such a treat. Out Among the Stars is compiled by Cash’s son John Carter Cash and features the Man in Black in between his highs and lows in the 80s when the recording of music was more for the sake of therapy than commerciality for Cash. Most pleasing is the quality of his voice, still strong but clearly influenced by his previous endeavors both on and off the stage. Both the fans and music historians will appreciate this, but best of all is that this album is good enough to introduce anyone to the great music of Johnny Cash.
After a successful debut album, a recognized follow up and a slightly disappointing third outing, one would not be surprised if London pop quartet Thirteen Senses joined the many bands that came before them in slowly disappearing into the abyss of acts that almost became what everyone hoped they would. Just for that it’s wonderful to see them have another go with A Strange Encounter, their first album in almost four years. It’s still too far apart from the highlights of their debut The Invitation from ten years ago to be considered a threat to the top of the charts, but it is a stronger effort than the previous Crystal Sounds. One for the fans obviously, and if this does turn out to be their swan song they can at least rest easy knowing that the appreciation rose as they stepped down.
The third album from indie darlings The Pains of Being Pure at Heart is a welcome return after a longer period of little or no activity in the band camp. Days of Abandon is a recognizable and satisfying collection of pop and alternative rock tunes fitting for the season that is upon us. Their previous records were both upbeat and fast, but there is a whole new range of positivity around this album. And even though it may not be completely intentional is does make the outfit slightly more approachable and mainstream. And that is not necessarily a bad thing.
Check out the most recent single from the album, Until The Sun Explodes.
The X-Men franchise has now grown so big that it may have lost both some of their original fans and momentum along the way. No doubt then that the intention of Days of Future Past is to restore faith in both departments. With returning director Bryan Singer, who called the shots on the first and second outing and only stayed involved as exec producer in some of the further installments and spin-offs. This one is without a doubt the most ambitious chapter of the story yet, featuring both the original cast and new members from 2011s First Class. With Singer the saga gets a much needed boost of intellect and cool which played a big part in making this the record smashing comic book in the Marvel universe. It’s the finest giant of the season so far.
This writer is ready to call it: Louis C.K. is the most original and creative comedian working in television today. With the fourth season of his clever and hilarious show Louie he proves that most sitcoms and high end cable shows don’t stand a chance against his revolutionary take on the genre. Having worked with Woody Allen himself since the previous season, it is fitting to repeat what this writer has called C.K. before – the Woody Allen of his generation. Smart, original and most important: emotional and shameless comedy.
After a short spell through the festival circuit David Gordon Green’s much anticipated new feature film Joe arrives on demand. Starring Nicolas Cage and Tye Sheridan (the breakout act from last year’s Mud), this is another stab at the dramatic side of things from director Green who’s been most notable for his comedic turns over the past years. It’s a lovely and well-made low budget picture featuring one of Cage’s finest performances of his career. His character and Green’s storytelling style fit each other wonderfully, creating a sober and focused tale of family, adolescence and violence. It’s certain to be an underdog, but perfectly capable of being one of the standout films of the year.
ESSENTIAL LISTENING THIS MONTH:
As someone who always carries a healthy bit of skepticism whenever a new record from a passed artist is released it is with some relief that the new Johnny Cash album is such a treat. Out Among the Stars is compiled by Cash’s son John Carter Cash and features the Man in Black in between his highs and lows in the 80s when the recording of music was more for the sake of therapy than commerciality for Cash. Most pleasing is the quality of his voice, still strong but clearly influenced by his previous endeavors both on and off the stage. Both the fans and music historians will appreciate this, but best of all is that this album is good enough to introduce anyone to the great music of Johnny Cash.
After a successful debut album, a recognized follow up and a slightly disappointing third outing, one would not be surprised if London pop quartet Thirteen Senses joined the many bands that came before them in slowly disappearing into the abyss of acts that almost became what everyone hoped they would. Just for that it’s wonderful to see them have another go with A Strange Encounter, their first album in almost four years. It’s still too far apart from the highlights of their debut The Invitation from ten years ago to be considered a threat to the top of the charts, but it is a stronger effort than the previous Crystal Sounds. One for the fans obviously, and if this does turn out to be their swan song they can at least rest easy knowing that the appreciation rose as they stepped down.
The third album from indie darlings The Pains of Being Pure at Heart is a welcome return after a longer period of little or no activity in the band camp. Days of Abandon is a recognizable and satisfying collection of pop and alternative rock tunes fitting for the season that is upon us. Their previous records were both upbeat and fast, but there is a whole new range of positivity around this album. And even though it may not be completely intentional is does make the outfit slightly more approachable and mainstream. And that is not necessarily a bad thing.
Check out the most recent single from the album, Until The Sun Explodes.
Wednesday, April 30, 2014
Essential April '14
ESSENTIAL VIEWING THIS APRIL:
After being stuck in development for years, the film based on Irvine Welsh’s classic novel Filth finally arrives. Written for the screen and directed by Jon S. Baird (only his second feature in the chair) it is one of darkest comedies, and indeed filthiest movies in recent memory. It is very enjoyable, much thanks to James McAvoy in the leading role. He turns in one of the finest performances of his career. Completely off the chain and clearly having the time of his life doing it, he brings one of Welsh’s most memorable characters to life in a way that simply has no end. A wonderfully entertaining romp that will excite, amuse and upset – like any decent Irvine Welsh story should.
The idea of turning the Coen brothers’ classic 1996 movie Fargo into a mini-series didn’t appeal to this writer at first, but after seeing the first two episodes is makes a lot more sense. Even though the movie was very character driven and carried a momentous story, it took place in a universe that obviously had many more opportunities. Set outside of the film, it shares nothing but the title; this too is carried by an ensemble of fascinating and curious characters. Led by Billy Bob Thornton and Martin Freeman (distancing himself from The Office even further with another great performance) the story is fueled by crime, violence and unfortunate circumstances that together create one of the most interesting and highly entertaining TV-shows of the year. Heck yeah.
Director Darren Aronofskys take on Noah was always going to be something different than the average Hollywood blockbuster. When he made The Fountain in 2006 it was a detour from his usual smaller independent pictures with a solid budget of 35 million dollars (by far his biggest film yet). That Noah cost close to four times that shows just how far Aronofsky has gone to get his most ambitious project yet up on screen. Co-written by Ari Handel (the director’s writing partner on The Fountain, and exec producer on his following films) and starring Russell Crowe as Noah, this looks at spirit and family as much as it does on adventure and legend. It actually feels fresh and original for its tremendous set pieces and manages to come away with a surprisingly large share of emotion and compassion as well. In fact, you have probably not seen anything quite like it – for better or worse.
ESSENTIAL LISTENING THIS APRIL:
One of the main contributors to Noah receiving the praise above is down to the original score by composer Clint Mansell. Aronofsky’s regular music man has proved he has a flare for both the downbeat and subtle keys of emotion as he clearly does with major orchestrations and larger than life compositions. Despite the already mentioned scale and budget of this production the soundtrack for Noah features Mansell in his most playful and diverse mood yet. Tipping his hat to some of the masters of memorable blockbuster scores (Zimmer, Williams, Shore come to mind) Mansell appears completely unafraid to mix the action driven symphonies with his more familiar somber atmospheric themes. It is a terrific collection of music that stands on its own, but naturally serves its purpose most satisfying when on the big screen.
Just three months after the release of his latest album Bruce Springsteen drops even more new music with his four track EP American Beauty. Released in celebration of Record Store Day (with a limited amount of vinyl editions), these are the numbers that came closest to making it on January’s High Hopes. Originally cut in Springsteen’s own home, this is an intimate and personal invitation to The Boss’ romantic and poetic side (the title track and the charming Mary Mary), shameless and irresistible pop and a touch of the always present political statement (the fairly dark Hey Blue Eyes which wrap up the EP). However, it is another must for the loyal fans and a wonderful introduction to anyone looking to influence a youngster in desperate need of a music lesson or evidence of what American mainstream tunes have the ability to be.
The always terrific Ray LaMontagne has been mentioned on this site before, and it is without question a need to do so again in the occasion of the release of his fifth studio album Supernova. The guitar playing singer / songwriter is still a sucker in love, with a past that is hopefully darker than the road that lies ahead. The ten tracks on the record are served with the soulful presence of a man hard at work, with much to say and eager to impress. Produced by The Black Keys’ Dan Auerbach it comes carrying both a sense of Americana and psychedelic vibe in addition to LaMontagne’s usual country and blues inspired rock & pop tunes. A superb album to introduce the summer and here’s hoping his next tour will bring him close enough to catch him in the act.
Enjoy the title track Supernova, as loud as you can.
After being stuck in development for years, the film based on Irvine Welsh’s classic novel Filth finally arrives. Written for the screen and directed by Jon S. Baird (only his second feature in the chair) it is one of darkest comedies, and indeed filthiest movies in recent memory. It is very enjoyable, much thanks to James McAvoy in the leading role. He turns in one of the finest performances of his career. Completely off the chain and clearly having the time of his life doing it, he brings one of Welsh’s most memorable characters to life in a way that simply has no end. A wonderfully entertaining romp that will excite, amuse and upset – like any decent Irvine Welsh story should.
The idea of turning the Coen brothers’ classic 1996 movie Fargo into a mini-series didn’t appeal to this writer at first, but after seeing the first two episodes is makes a lot more sense. Even though the movie was very character driven and carried a momentous story, it took place in a universe that obviously had many more opportunities. Set outside of the film, it shares nothing but the title; this too is carried by an ensemble of fascinating and curious characters. Led by Billy Bob Thornton and Martin Freeman (distancing himself from The Office even further with another great performance) the story is fueled by crime, violence and unfortunate circumstances that together create one of the most interesting and highly entertaining TV-shows of the year. Heck yeah.
Director Darren Aronofskys take on Noah was always going to be something different than the average Hollywood blockbuster. When he made The Fountain in 2006 it was a detour from his usual smaller independent pictures with a solid budget of 35 million dollars (by far his biggest film yet). That Noah cost close to four times that shows just how far Aronofsky has gone to get his most ambitious project yet up on screen. Co-written by Ari Handel (the director’s writing partner on The Fountain, and exec producer on his following films) and starring Russell Crowe as Noah, this looks at spirit and family as much as it does on adventure and legend. It actually feels fresh and original for its tremendous set pieces and manages to come away with a surprisingly large share of emotion and compassion as well. In fact, you have probably not seen anything quite like it – for better or worse.
ESSENTIAL LISTENING THIS APRIL:
One of the main contributors to Noah receiving the praise above is down to the original score by composer Clint Mansell. Aronofsky’s regular music man has proved he has a flare for both the downbeat and subtle keys of emotion as he clearly does with major orchestrations and larger than life compositions. Despite the already mentioned scale and budget of this production the soundtrack for Noah features Mansell in his most playful and diverse mood yet. Tipping his hat to some of the masters of memorable blockbuster scores (Zimmer, Williams, Shore come to mind) Mansell appears completely unafraid to mix the action driven symphonies with his more familiar somber atmospheric themes. It is a terrific collection of music that stands on its own, but naturally serves its purpose most satisfying when on the big screen.
Just three months after the release of his latest album Bruce Springsteen drops even more new music with his four track EP American Beauty. Released in celebration of Record Store Day (with a limited amount of vinyl editions), these are the numbers that came closest to making it on January’s High Hopes. Originally cut in Springsteen’s own home, this is an intimate and personal invitation to The Boss’ romantic and poetic side (the title track and the charming Mary Mary), shameless and irresistible pop and a touch of the always present political statement (the fairly dark Hey Blue Eyes which wrap up the EP). However, it is another must for the loyal fans and a wonderful introduction to anyone looking to influence a youngster in desperate need of a music lesson or evidence of what American mainstream tunes have the ability to be.
The always terrific Ray LaMontagne has been mentioned on this site before, and it is without question a need to do so again in the occasion of the release of his fifth studio album Supernova. The guitar playing singer / songwriter is still a sucker in love, with a past that is hopefully darker than the road that lies ahead. The ten tracks on the record are served with the soulful presence of a man hard at work, with much to say and eager to impress. Produced by The Black Keys’ Dan Auerbach it comes carrying both a sense of Americana and psychedelic vibe in addition to LaMontagne’s usual country and blues inspired rock & pop tunes. A superb album to introduce the summer and here’s hoping his next tour will bring him close enough to catch him in the act.
Enjoy the title track Supernova, as loud as you can.
Monday, April 7, 2014
Monday, March 31, 2014
Essential March '14
ESSENTIAL VIEWING THIS MARCH:
Since his feature debut nearly twenty years ago, director Wes Anderson has established himself as one of Americas most original and creative filmmakers, with a unique and utterly recognizable style. The Grand Budapest Hotel is in many ways the climactic height of his career so far, as it features his largest ensemble and most ambitious story to date. Lead by a deliciously ludicrous turn from Ralph Fiennes this is perhaps Anderson’s most entertaining film since The Life Aquatic with Steve Zissou (2004), and much is due to the man most known for his interpretations of Shakespeare, Dickens and other heavy dramas. It really makes one wonder why Fiennes does not unbuckle his belt more often for loose and colorful laughs like this. The Grand Budapest Hotel is the funniest film of the year so far, and don’t be surprised if it actually leaves you thinking about the importance of friendship and loyalty as well.
Inside Llewyn Davis is the title of the new film by the Coen brothers, which arrives nearly four years after their previous outing True Grit, an unusual long hiatus for the acclaimed filmmakers. At the same time it is clear to see why Llewyn Davis is the man who brought them back, as this playful story gives the impression of two veterans really enjoying themselves behind the camera. The story follows the title character, played by Oscar Isaac, as he drifts through the folk music scene in New York. After a few supporting turns in high profile films like Robin Hood, Body of Lies and Drive it is endlessly satisfying to see Isaac in his first major leading role. He is a revelation as Davis, not just due to his impressive musical abilities (he completely holds his own when put up against the likes of Justin Timberlake) but in possession of charm and charisma, it is simply impossible to take your eyes off him. As always, the filmmakers surround their story with a superb ensemble featuring stellar turns from John Goodman, Carey Mulligan and Adam Driver to name a few. A refreshingly light but still very personal offering from the Coen brothers.
With its ten (count 'em, ten!) Oscar nominations, but not a single win, it is perhaps tempting to think of American Hustle as the film that was almost the greatest. However, for many involved, it is. David O. Russel, director of great movies like Three Kings (1999), The Fighter (2010) and one of the most overlooked comedies of the 90’s Flirting with Disaster (1996), has made his most invigorating and lively film to date. Recruiting familiar faces like Christian Bale, Amy Adams, Bradley Cooper and Jennifer Lawrence (the two ladders in many ways owing the high standard of their careers to Russell from Silver Linings Playbook) and teaming up for the first time with writer Eric Singer turns to be a valuable collaboration for all involved as this is a triumph in both acting and storytelling. Not only does it contain some of the most memorable scenes of the year, it also features terrific camerawork from Linus Sandgren and is ferociously put together by Russell and his editors. A definite milestone for the director, who apparently now has the power to get Robert De Niro to appear for one single scene. Now that tells you something.
ESSENTIAL LISTENING THIS MARCH:
One of the most secure guarantors of dark Norwegian rock music is Sivert Høyem. The former Madrugada front man has delivered quality well into the second decade of his career. Endless Love is his fifth solo studio album and despite certain tongues in both media and audience will claim it’s more of the same, the fact is that this record shows more than any previous how much Høyem has grown both as a vocalist and songwriter. Even though this is thoroughly recognizable material and sound, the attention seem to be more in the details this time around, making the album the most rewarding experiences of Høyem’s solo outings so far. Despite all this, there is a tremendous amount of energy boiling underneath, waiting to be unleashed and even though a satisfactory climax never arrives in the decibel sense, there is a world of joy to be found at the heart of this album, particularly after a number of exposures.
Despite being released on the other side of Christmas, the next entry didn’t find its way to this writer until last month. After minor contributions to several soundtracks over the years, it was only a matter of time before French electronica outfit M83 became the sole composer(s) of a motion picture score. The soundtrack for You and the Night (Les rencontres d’ après minuit) is a well-balanced and at times gorgeous companion to Yann Gonzalez’ film. The familiar elements of trademark M83 are present throughout, but there is another layer to this collection that separates it from previous studio albums. Atmospheric and eclectic, it has moments of haunting melodies that will follow you around for days, making it a successful soundtrack that manages to stand on its own without the accompanying imagery.
It may be one of the worst album titles ever, but thankfully Teeth Dreams marks the return of The Hold Steady, their first release since 2010’s Heaven is Whenever. The quartet from Brooklyn are a welcome return to a market that too often seem crowded by young rock bands that could benefit from another year or gig under their belts before heading out into the world. The Hold Steady represent a classic and solid rock and roll outfit that has grown stronger by each release, and with their sixth studio album they could be well on their way to the peak of their career. Teeth Dreams is not flawless though, and at times it feels like the band may be overcompensating after a long hiatus. It could have been a more simple and clean cut record, but after all, the terrific techniques and vast sounds are part of what makes this band great.
The second track off the record, Spinners, is a fitting example of all this. It also comes with an exquisite video from Dustin Grella.
Since his feature debut nearly twenty years ago, director Wes Anderson has established himself as one of Americas most original and creative filmmakers, with a unique and utterly recognizable style. The Grand Budapest Hotel is in many ways the climactic height of his career so far, as it features his largest ensemble and most ambitious story to date. Lead by a deliciously ludicrous turn from Ralph Fiennes this is perhaps Anderson’s most entertaining film since The Life Aquatic with Steve Zissou (2004), and much is due to the man most known for his interpretations of Shakespeare, Dickens and other heavy dramas. It really makes one wonder why Fiennes does not unbuckle his belt more often for loose and colorful laughs like this. The Grand Budapest Hotel is the funniest film of the year so far, and don’t be surprised if it actually leaves you thinking about the importance of friendship and loyalty as well.
Inside Llewyn Davis is the title of the new film by the Coen brothers, which arrives nearly four years after their previous outing True Grit, an unusual long hiatus for the acclaimed filmmakers. At the same time it is clear to see why Llewyn Davis is the man who brought them back, as this playful story gives the impression of two veterans really enjoying themselves behind the camera. The story follows the title character, played by Oscar Isaac, as he drifts through the folk music scene in New York. After a few supporting turns in high profile films like Robin Hood, Body of Lies and Drive it is endlessly satisfying to see Isaac in his first major leading role. He is a revelation as Davis, not just due to his impressive musical abilities (he completely holds his own when put up against the likes of Justin Timberlake) but in possession of charm and charisma, it is simply impossible to take your eyes off him. As always, the filmmakers surround their story with a superb ensemble featuring stellar turns from John Goodman, Carey Mulligan and Adam Driver to name a few. A refreshingly light but still very personal offering from the Coen brothers.
With its ten (count 'em, ten!) Oscar nominations, but not a single win, it is perhaps tempting to think of American Hustle as the film that was almost the greatest. However, for many involved, it is. David O. Russel, director of great movies like Three Kings (1999), The Fighter (2010) and one of the most overlooked comedies of the 90’s Flirting with Disaster (1996), has made his most invigorating and lively film to date. Recruiting familiar faces like Christian Bale, Amy Adams, Bradley Cooper and Jennifer Lawrence (the two ladders in many ways owing the high standard of their careers to Russell from Silver Linings Playbook) and teaming up for the first time with writer Eric Singer turns to be a valuable collaboration for all involved as this is a triumph in both acting and storytelling. Not only does it contain some of the most memorable scenes of the year, it also features terrific camerawork from Linus Sandgren and is ferociously put together by Russell and his editors. A definite milestone for the director, who apparently now has the power to get Robert De Niro to appear for one single scene. Now that tells you something.
ESSENTIAL LISTENING THIS MARCH:
One of the most secure guarantors of dark Norwegian rock music is Sivert Høyem. The former Madrugada front man has delivered quality well into the second decade of his career. Endless Love is his fifth solo studio album and despite certain tongues in both media and audience will claim it’s more of the same, the fact is that this record shows more than any previous how much Høyem has grown both as a vocalist and songwriter. Even though this is thoroughly recognizable material and sound, the attention seem to be more in the details this time around, making the album the most rewarding experiences of Høyem’s solo outings so far. Despite all this, there is a tremendous amount of energy boiling underneath, waiting to be unleashed and even though a satisfactory climax never arrives in the decibel sense, there is a world of joy to be found at the heart of this album, particularly after a number of exposures.
Despite being released on the other side of Christmas, the next entry didn’t find its way to this writer until last month. After minor contributions to several soundtracks over the years, it was only a matter of time before French electronica outfit M83 became the sole composer(s) of a motion picture score. The soundtrack for You and the Night (Les rencontres d’ après minuit) is a well-balanced and at times gorgeous companion to Yann Gonzalez’ film. The familiar elements of trademark M83 are present throughout, but there is another layer to this collection that separates it from previous studio albums. Atmospheric and eclectic, it has moments of haunting melodies that will follow you around for days, making it a successful soundtrack that manages to stand on its own without the accompanying imagery.
It may be one of the worst album titles ever, but thankfully Teeth Dreams marks the return of The Hold Steady, their first release since 2010’s Heaven is Whenever. The quartet from Brooklyn are a welcome return to a market that too often seem crowded by young rock bands that could benefit from another year or gig under their belts before heading out into the world. The Hold Steady represent a classic and solid rock and roll outfit that has grown stronger by each release, and with their sixth studio album they could be well on their way to the peak of their career. Teeth Dreams is not flawless though, and at times it feels like the band may be overcompensating after a long hiatus. It could have been a more simple and clean cut record, but after all, the terrific techniques and vast sounds are part of what makes this band great.
The second track off the record, Spinners, is a fitting example of all this. It also comes with an exquisite video from Dustin Grella.
Monday, March 17, 2014
Jeff Daniels
Had the great thrill to catch Jeff Daniels perform at 54 Below in New York a couple of weeks ago.
He provided a terrific and entertaining, yet very laid back, set in a wonderful atmosphere at this intimate and stylish venue.
Here's a short clip that gives you an idea about the mood of the show.
He provided a terrific and entertaining, yet very laid back, set in a wonderful atmosphere at this intimate and stylish venue.
Here's a short clip that gives you an idea about the mood of the show.
Friday, February 28, 2014
Essential February '14
ESSENTIAL VIEWING THIS FEBRUARY:
Since his feature debut Secondløitnanten (The Last Lieutenant, 1993) twenty years ago Hans Petter Moland has established himself as one of the most acclaimed and respected filmmakers working in Norway, and in fairness all of Europe today. His newest outing is Kraftidioten (In Order of Disappearance) and it is another terribly amusing and wildly entertaining crime drama, much like his previous En ganske snill mann (A Somewhat Gentle Man, 2010). Not surprising as it features the same writer Kim Fupz Aakeson and another superb leading turn from Moland-regular Stellan Skarsgård. There is a distinguished touch to Moland’s take on both the violence and family conflict that carry this story, but the director does not pull any punches. The aforementioned Skarsgård is joined by a great ensemble, perhaps Moland’s finest to date, with particular mention going to Pål Sverre Hagen who turns in one of his most memorable performances as the villain Greven.
Another Norwegian feature that has received plenty of attention abroad even before its theatrical release back home is Eskil Vogt’s Blind. Winner of the prestigious World Screenwriting Award at Sundance as well as the Europa Cinema prize at the Berlin Film Festival, this film is already set to have a long and healthy life in cinemas across the world. This is Vogt’s debut as a feature film director, although his name will ring familiar to those who caught Joachim Trier’s Reprise (2006) and Oslo, 31. August (2011), where he served as co-writer. The film has a lot on its mind, and manages to be both engaging and fascinating as Vogt plays around with both structure and genre, perhaps eager to make an impact with his directorial debut. The film is carried by a great group of actors, with Ellen Dorrit Petersen turning in a career-best performance in the leading role. The film is likely to both impress and inspire, and confirms that Vogt has proven his talent worthy of the director’s chair.
A new Martin Scorsese picture is always an event, and it is especially pleasing to see that The Wolf of Wall Street is the iconic director’s most playful and entertaining film in years. Based on the true story (and book) about Jordan Belfort’s rise and fall from rookie to mogul, and penned superbly by screenwriter Terence Winter (creator of HBO’s Boardwalk Empire). Scorsese makes the most of every page and throws in a great collection of characters that together make this a highly enjoyable ride that makes the three hour running time fly by. Much thanks to another incredibly impressive turn from Leonardo DiCaprio in the titular role. His fifth collaboration with Scorsese is a work of pure genius, in both a dramatic and amusing sense. Completely unafraid, DiCaprio has created one of the most memorable and sly characters ever to appear onscreen and one can only hope that this will be the one to finally earn him that most coveted gold statue.
ESSENTIAL LISTENING THIS FEBRUARY:
Oslo Ess is quickly growing to become one of Norway’s most popular bands, both among their core rock loving audience, but also proving a hit with sceptics and music critics that is becoming more and more obvious. It helps being as productive as the quartet from the capitol have proven to be, releasing their fourth album (including a live record from last year) Alle hjerter deler seg this month. Their formula is safely protected by the impact of their previous outing, but there is no denying the enthusiasm and credible attacking positions they strike as they aim to rock your socks off. This is another successful album, establishing Oslo Ess as one of Norway’s biggest bands at the moment, but they may have to strike more chords with their next record.
After four studio albums, Band of Horses release their first live record this month, a collection that includes tracks from all their previous albums. Recorded at the infamous Ryman Auditorium in Nashville the title is fittingly Acoustic at The Ryman. The pick-n-mix selection is admirable and should fall in good taste with their fans, as should the absolutely terrific production value of the album. Rarely has a live acoustic record ever sounded better than this one, making you pay attention to every little detail both from the stage and the very appreciative audience. A great gem for the fans of the bearded folk rockers.
When Broken Bells released their self-titled debut back in 2010 it was never certain if this was a one-off or the start of a greater collaboration, as the founding members were already preoccupied with other successful outfits. James Mercer of The Shins and Danger Mouse from Gnarls Barkley has at least proven that there was always more to come, with this month’s After the Disco. And just as their debut was a breath of fresh air with its light hearted pop tracks, this follows in the same direction with perhaps a slightly more electronic touch. It is another well-crafted record that is easily recognizable as the work of solid professionals, with lots on their mind both lyrically and musically. Enjoy the first single from the album, Holding on for Life which also comes with a very entertaining video featuring Anton Yelchin and Kate Mara.
Since his feature debut Secondløitnanten (The Last Lieutenant, 1993) twenty years ago Hans Petter Moland has established himself as one of the most acclaimed and respected filmmakers working in Norway, and in fairness all of Europe today. His newest outing is Kraftidioten (In Order of Disappearance) and it is another terribly amusing and wildly entertaining crime drama, much like his previous En ganske snill mann (A Somewhat Gentle Man, 2010). Not surprising as it features the same writer Kim Fupz Aakeson and another superb leading turn from Moland-regular Stellan Skarsgård. There is a distinguished touch to Moland’s take on both the violence and family conflict that carry this story, but the director does not pull any punches. The aforementioned Skarsgård is joined by a great ensemble, perhaps Moland’s finest to date, with particular mention going to Pål Sverre Hagen who turns in one of his most memorable performances as the villain Greven.
Another Norwegian feature that has received plenty of attention abroad even before its theatrical release back home is Eskil Vogt’s Blind. Winner of the prestigious World Screenwriting Award at Sundance as well as the Europa Cinema prize at the Berlin Film Festival, this film is already set to have a long and healthy life in cinemas across the world. This is Vogt’s debut as a feature film director, although his name will ring familiar to those who caught Joachim Trier’s Reprise (2006) and Oslo, 31. August (2011), where he served as co-writer. The film has a lot on its mind, and manages to be both engaging and fascinating as Vogt plays around with both structure and genre, perhaps eager to make an impact with his directorial debut. The film is carried by a great group of actors, with Ellen Dorrit Petersen turning in a career-best performance in the leading role. The film is likely to both impress and inspire, and confirms that Vogt has proven his talent worthy of the director’s chair.
A new Martin Scorsese picture is always an event, and it is especially pleasing to see that The Wolf of Wall Street is the iconic director’s most playful and entertaining film in years. Based on the true story (and book) about Jordan Belfort’s rise and fall from rookie to mogul, and penned superbly by screenwriter Terence Winter (creator of HBO’s Boardwalk Empire). Scorsese makes the most of every page and throws in a great collection of characters that together make this a highly enjoyable ride that makes the three hour running time fly by. Much thanks to another incredibly impressive turn from Leonardo DiCaprio in the titular role. His fifth collaboration with Scorsese is a work of pure genius, in both a dramatic and amusing sense. Completely unafraid, DiCaprio has created one of the most memorable and sly characters ever to appear onscreen and one can only hope that this will be the one to finally earn him that most coveted gold statue.
ESSENTIAL LISTENING THIS FEBRUARY:
Oslo Ess is quickly growing to become one of Norway’s most popular bands, both among their core rock loving audience, but also proving a hit with sceptics and music critics that is becoming more and more obvious. It helps being as productive as the quartet from the capitol have proven to be, releasing their fourth album (including a live record from last year) Alle hjerter deler seg this month. Their formula is safely protected by the impact of their previous outing, but there is no denying the enthusiasm and credible attacking positions they strike as they aim to rock your socks off. This is another successful album, establishing Oslo Ess as one of Norway’s biggest bands at the moment, but they may have to strike more chords with their next record.
After four studio albums, Band of Horses release their first live record this month, a collection that includes tracks from all their previous albums. Recorded at the infamous Ryman Auditorium in Nashville the title is fittingly Acoustic at The Ryman. The pick-n-mix selection is admirable and should fall in good taste with their fans, as should the absolutely terrific production value of the album. Rarely has a live acoustic record ever sounded better than this one, making you pay attention to every little detail both from the stage and the very appreciative audience. A great gem for the fans of the bearded folk rockers.
When Broken Bells released their self-titled debut back in 2010 it was never certain if this was a one-off or the start of a greater collaboration, as the founding members were already preoccupied with other successful outfits. James Mercer of The Shins and Danger Mouse from Gnarls Barkley has at least proven that there was always more to come, with this month’s After the Disco. And just as their debut was a breath of fresh air with its light hearted pop tracks, this follows in the same direction with perhaps a slightly more electronic touch. It is another well-crafted record that is easily recognizable as the work of solid professionals, with lots on their mind both lyrically and musically. Enjoy the first single from the album, Holding on for Life which also comes with a very entertaining video featuring Anton Yelchin and Kate Mara.
Friday, January 31, 2014
Essential January '14
ESSENTIAL VIEWING THIS JANUARY:
Alexander Payne has steadily become one of the most trusted filmmakers working today when it comes to creating terrific mature characters and heartwarming and original stories. With his new film Nebraska, you can check off all the familiar boxes of a great Payne film. There is a superb leading turn from a veteran actor in Bruce Dern, who at age 77 turns in the performance of his career. It is set in a pure Americana landscape and features some of the finest dialogue you’ll find anywhere. Shot in beautiful and fitting black and white, the film looks and sounds amazing and Payne’s regular Greek DP Phedon Papamichael makes even the plainest lonely corn field a place you’d love to visit. Nominated for six Oscars in all major categories, this is one of the most precious underdogs of the past year.
Despite having a filmography that spans back twenty years, 12 Years a Slave is still only Steve McQueen’s third feature film. The director of Hunger (2008) and Shame (2011) aims both higher and wider with this production, also the first one he’s not written himself, as budget, ensemble and magnitude of story all are vastly larger than his previous work. Based on the book by lead character Solomon Northup (a quietly masterful Chiwetel Ejiofor), a free black man who was abducted and sold into slavery. In any other director’s hands this would most likely play out as a harmless and lecturing history lesson, but McQueen does not pull any punches, neither physically or emotionally and even though the end result may be hard for some to take, this is provocative and fearless filmmaking from an absolute master of character and modern storytelling.
One of the most exciting and eye-catching TV-shows to arrive in years is HBO’s new miniseries True Detective. Starring Matthew McConaughey (adding to his already wildly impressive CV of 2013) and Woody Harrelson, who together have created one of the most interesting and amusing cop/buddy relationships ever seen on any screen. Three episodes into a limited eight episode run, this has already established itself as one of the most fascinating shows in the network’s history. Creator Nic Pizzolatto and director Cary Fukunaga know all the rules, but aren’t afraid to break them as they jump back and forth in the story, letting their leading actors off their chains to really shine without ever competing with each other. It draws inspiration from the likes of Twin Peaks or even the early days of Dexter, but this show will stand its own ground and the only sad part is that its creators stand firm that there will be no more than the plotted eight episodes.
ESSENTIAL LISTENING THIS JANUARY:
The eighteenth album from Bruce Springsteen is a curious one, with The Boss including both cover songs and previously released music of his own on the record, including its opening title track High Hopes. Regardless it is still Springsteen at his most recognizable and admirable. With the inclusion of guitarist Tom Morello (Rage Against the Machine, Audioslave), who filled in for Steven van Zandt during the E-Street Bands tour last year, Springsteen has added more of an edge to his traditional classic rock formula. At 64 (!) he still carries a tune better than most and his authority in the genre makes him damn near impossible to attack regardless of what he attempts. That is probably the greatest compliment of all to pay the most relevant and vigorous American musician of his generation, who’s still working his socks off.
The collection of supporting tracks from The Gaslight Anthem is obviously aimed for the fans but The B-Sides is also a great introduction for anyone unfamiliar with the New Jersey rock band. With four studio albums, one EP and a bunch of singles under their belt they have released enough material to warrant a collection like this, and the tracks on the record are made up from the band’s debut album days in 2007 up until last year’s fourth album Handwritten. The format is familiar for this type of release with acoustic and live versions of own material, as well as a couple of cover tracks (Pearl Jam’s State of Love and Trust is a great gem familiar from their live shows). Nothing groundbreaking, but a sober and respectful collection that will prove itself a must for the fans.
The message is clear and simple when it comes to the title of the new album from Sharon Jones & the Dap Kings. Give the People What They Want is the name of their sixth record, and it is another terrific collection of great funk and soul music. The New York based outfit present ten very enjoyable tracks where their usual high energy and positive vibes are in the driving seat, accompanied by some well written and emotional ballads. Even though Jones’ voice is one of the smoothest around there is a raw texture to the tunes and the album possesses a perfect balance between the mandatory party starters as well as the soulful and deeper material. An absolute joy from beginning to end.
This is Retreat, which opens the album in the best way possible and features a terrific music video by Lizzie Akana.
Alexander Payne has steadily become one of the most trusted filmmakers working today when it comes to creating terrific mature characters and heartwarming and original stories. With his new film Nebraska, you can check off all the familiar boxes of a great Payne film. There is a superb leading turn from a veteran actor in Bruce Dern, who at age 77 turns in the performance of his career. It is set in a pure Americana landscape and features some of the finest dialogue you’ll find anywhere. Shot in beautiful and fitting black and white, the film looks and sounds amazing and Payne’s regular Greek DP Phedon Papamichael makes even the plainest lonely corn field a place you’d love to visit. Nominated for six Oscars in all major categories, this is one of the most precious underdogs of the past year.
Despite having a filmography that spans back twenty years, 12 Years a Slave is still only Steve McQueen’s third feature film. The director of Hunger (2008) and Shame (2011) aims both higher and wider with this production, also the first one he’s not written himself, as budget, ensemble and magnitude of story all are vastly larger than his previous work. Based on the book by lead character Solomon Northup (a quietly masterful Chiwetel Ejiofor), a free black man who was abducted and sold into slavery. In any other director’s hands this would most likely play out as a harmless and lecturing history lesson, but McQueen does not pull any punches, neither physically or emotionally and even though the end result may be hard for some to take, this is provocative and fearless filmmaking from an absolute master of character and modern storytelling.
One of the most exciting and eye-catching TV-shows to arrive in years is HBO’s new miniseries True Detective. Starring Matthew McConaughey (adding to his already wildly impressive CV of 2013) and Woody Harrelson, who together have created one of the most interesting and amusing cop/buddy relationships ever seen on any screen. Three episodes into a limited eight episode run, this has already established itself as one of the most fascinating shows in the network’s history. Creator Nic Pizzolatto and director Cary Fukunaga know all the rules, but aren’t afraid to break them as they jump back and forth in the story, letting their leading actors off their chains to really shine without ever competing with each other. It draws inspiration from the likes of Twin Peaks or even the early days of Dexter, but this show will stand its own ground and the only sad part is that its creators stand firm that there will be no more than the plotted eight episodes.
ESSENTIAL LISTENING THIS JANUARY:
The eighteenth album from Bruce Springsteen is a curious one, with The Boss including both cover songs and previously released music of his own on the record, including its opening title track High Hopes. Regardless it is still Springsteen at his most recognizable and admirable. With the inclusion of guitarist Tom Morello (Rage Against the Machine, Audioslave), who filled in for Steven van Zandt during the E-Street Bands tour last year, Springsteen has added more of an edge to his traditional classic rock formula. At 64 (!) he still carries a tune better than most and his authority in the genre makes him damn near impossible to attack regardless of what he attempts. That is probably the greatest compliment of all to pay the most relevant and vigorous American musician of his generation, who’s still working his socks off.
The collection of supporting tracks from The Gaslight Anthem is obviously aimed for the fans but The B-Sides is also a great introduction for anyone unfamiliar with the New Jersey rock band. With four studio albums, one EP and a bunch of singles under their belt they have released enough material to warrant a collection like this, and the tracks on the record are made up from the band’s debut album days in 2007 up until last year’s fourth album Handwritten. The format is familiar for this type of release with acoustic and live versions of own material, as well as a couple of cover tracks (Pearl Jam’s State of Love and Trust is a great gem familiar from their live shows). Nothing groundbreaking, but a sober and respectful collection that will prove itself a must for the fans.
The message is clear and simple when it comes to the title of the new album from Sharon Jones & the Dap Kings. Give the People What They Want is the name of their sixth record, and it is another terrific collection of great funk and soul music. The New York based outfit present ten very enjoyable tracks where their usual high energy and positive vibes are in the driving seat, accompanied by some well written and emotional ballads. Even though Jones’ voice is one of the smoothest around there is a raw texture to the tunes and the album possesses a perfect balance between the mandatory party starters as well as the soulful and deeper material. An absolute joy from beginning to end.
This is Retreat, which opens the album in the best way possible and features a terrific music video by Lizzie Akana.
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