Essential December '15

ESSENTIAL VIEWING THIS MONTH:

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

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

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

ESSENTIAL LISTENING THIS MONTH:

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

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

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

Essential 2015

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

ESSENTIAL VIEWING THIS YEAR:

1. AMY, dir: Asif Kapadia

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

3. WILD TALES, dir: Damián Szifron

4. INHERENT VICE, dir: Paul Thomas Anderson 

5. WHIPLASH, dir: Damien Chazelle

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

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

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

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

10. BONE TOMAHAWK, dir: S. Craig Zahler

ESSENTIAL LISTENING THIS YEAR:

1. LEON BRIDGES, COMING HOME

2. CALEXICO, EDGE OF THE SUN

3. EL VY, RETURN TO THE MOON

4. RYAN BINGHAM, FEAR AND SATURDAY NIGHT

5. THE WAINWRIGHT SISTERS, SONGS IN THE DARK

6. DANIEL NORGREN, ALABURSY

7. THE AIRBORNE TOXIC EVENT, DOPE MACHINES

8. ELLE KING, LOVE STUFF

9. JAMES TAYLOR, BEFORE THIS WORLD

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

2016, get to work.

Essential November '15

ESSENTIAL VIEWING THIS MONTH:

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

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

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

ESSENTIAL LISTENING THIS MONTH:

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

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

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

Essential October '15

ESSENTIAL VIEWING THIS MONTH:

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

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

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

ESSENTIAL LISTENING THIS MONTH:

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

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

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

Essential September '15

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

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

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

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

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

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

Essential August '15

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

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

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

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

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

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

Essential July '15

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

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

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

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

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

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

Essential June '15

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

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

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

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

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

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

Essential May '15

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

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

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

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

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

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

Essential April '15

ESSENTIAL VIEWING THIS MONTH:
One of the finest music documentaries to arrive so far this year is Cobain: Montage of Heck, the first fully authorized film about Kurt Cobain. Co-produced by his daughter Frances, it features all of Cobain’s family and his widow Courtney Love. Director Brett Morgen takes full advantage of this unlimited access, making this a intimate and personal portrait of Cobain as an artist, and an in-depth look at the road leading up to his tragic fate. The film is fully compiled of Cobain’s own art, from paintings (coming alive through some very impressive editing), music and never before heard audio recordings that are accompanied by some breathtakingly beautiful animation. It’s tough to take, in particular if you still carry Nirvana and its front man close to your heart, but at the same time makes for a rewarding viewing and a memorable experience that stays with you long after you leave the theater.

Director Laura Poitras took home the Oscar for best documentary this year with her spellbinding work documenting Edward Snowden’s disclosure of his own government. Citizenfour arrives in timely fashion after the worst hysteria has dialed down, but still remains highly active and unfinished. It’s a fascinating and thrilling document that lets you into the room where Snowden made his knowledge and findings known to a carefully chosen few members of the world media. There is no fancy camerawork or fast paced editing at work here (a trick often used by directors trying to make political discussions entertaining), just a sensation that you are in fact witnessing history being changed right in front of you. It’s an utterly compelling piece of work that deserves all the accolades it’s receiving. You’ll probably never see anything quite like it again.

J.C. Chandor is making a name for himself as one of the most exciting and surprising young filmmakers working in Hollywood today. After his thrilling debut Margin Call (2011), which earned him a best screenplay Oscar nomination, he went on to make a film without hardly any dialogue – the Robert Redford tour de force All Is Lost (2013). This month he returns with A Most Violent Year, a well composed and wonderfully acted out crime drama. Oscar Isaac and Jessica Chastain both deliver excellent performances as the married couple going to extremes to protect their business and family in a time dominated by violence, crime and corruption. It’s a study in subtlety and attention to detail as Chandor gracefully maneuvers between loaded scenes of dialogue, foot chases and acute scenes of drama. Another triumph that should allow Chandor even greater opportunities for his next outing, whatever that may be.

ESSENTIAL LISTENING THIS MONTH:
One of the most anticipated albums of the year in many circles is Sound & Color, Alabama Shakes' follow up to their critically acclaimed debut Boys & Girls from 2012. The tough outfit from the deep south swayed many rock lovers last time around and their sequel should firmly satisfy their fans’ need for more. Whether they will gain more new support is perhaps more uncertain, as this record has less of an earth shattering approach to things. By all means, there is still a fire to each tune, but at the same time the band are clearly trying to establish themselves as a group not afraid to experiment both in mix and production. But there is no mistaking its pure and rough around the edges blues rock, that should fit perfectly into any playlist that needs a little bounce this summer.

One of the finest singer / songwriters operating in Scandinavia today is Daniel Norgren from Sweden. In many ways he’s considered a one-man orchestra, handling his guitars, drums and voice with an impressive ratio making him a small, but awesome act to experience live. His recorded albums don’t have the same immediate impact, but there is still always plenty to take in. This month he arrives with his sixth studio album, an impressive feat considering he is still just barely past thirty years of age. Alabursy is his first record since 2013s excellent Buck, and even though it is recognizable and undeniable Norgren, there is another layer of poetry and raw emotion present here. It makes for an even more intimate encounter, particularly upon its second or third listening session. He still wears his inspirations on his sleeve, rooted in classic American country, blues and gospel. It is another impressive record, further establishing his name and reputation as one of the most reliable sources of strong tunes in the northern hemisphere.

There have been many attempts at branding Calexico. Genres describing them have varied from indie, rock, Americana, Texan, folk rock or just the wide concept people refer to as alternative. Truthfully they can fit into all of these, depending on your definition. Regardless of what you end up calling it, it’s certainly an almost constant production of great and vastly impressive tunes. Their ninth album Edge of the Sun arrives this month and it is another triumph for the Arizona group. Within the album’s twelve songs (there is also a deluxe edition available, featuring six additional bonus tracks) you’ll find low and soft – almost ballad like – love songs as well as larger scale rock tunes. There are even hints of electronica sounds here and there, but it is without a doubt their trademark desert-like anthems that suit them best. The album is a lovely ride that grows in emotion with each visit. Hopefully it will be heard from around many street corners this coming summer.
Check out the opening track from the album, Falling from the Sky featuring Ben Bridwell from Band of Horses. It also comes with a deliciously absurd video by director Mikel Cee Karlsson.

Photograph # 34

"st. nicholas church, murmansk, russia"
/TRAVEL/

Essential March '15

ESSENTIAL VIEWING THIS MONTH:
One of the most original, absurd and thoroughly entertaining films of the year so far arrives from Argentina. Wild Tales is a collection of six short stories - seamlessly unrelated - featuring people in distress or at major crossroads in their lives. It comes in different shapes and sizes, carrying drama and comedy all the while remaining surprising and challenging to both its players and audience. It’s a tremendous piece of work from writer and director Damián Szifrón. He keeps his format quite simple, but adds volumes with his sharp script and dialogue, delivered by a close to pitch perfect ensemble of actors. A treat that deserves to be enjoyed by a large audience, in particular if you’re growing tired of standard Hollywood cinematic fare.

The arrival of a new film by Paul Thomas Anderson is always a landmark occasion in this writer’s calendar. Due to a very limited theatrical release his seventh feature is looking to slip below the radar of many, perhaps for different reasons. Inherent Vice is easily Anderson’s most far out trip (literally) so far, clocking in at two and a half hours without a single major dramatic set piece. It is driven by its dialogue and characters, both inspired by the cult novel by Thomas Pynchon (an inspired, but rare choice of source material for Hollywood). Carried by Joaquin Phoenix (who replaced an originally cast Robert Downey, jr. after inspiring Anderson during their work on The Master in 2012) who never stops to impress with his variety of nutty personas over the past decade. His ‘Doc’ Sportello is one of Anderson’s most challenging and mystified characters ever and he’s given endless life through Phoenix’ energetic, yet doped out performance. It really needs to be seen to be believed. Surrounded by a strong ensemble featuring Owen Wilson, Joanna Newsom and Josh Brolin as the standouts. It requires a fair share of patience, but if you stick with it the rewards are unbelievable.

One of the finest thrillers so far this year is Black Sea. Director Kevin MacDonald has made a hard hitting edgy drama that makes for great cinema while still being fuelled by gritty realism. Starring Jude Law as the desperate submarine captain who takes on a shady crew in search for a sunken sub loaded with gold. Dennis Kelly’s script sounds like something written for a pure action flick, but MacDonald makes this an intense and personal journey, carried by a rock solid performance from Law who turns in his best work in years. Indie greats Scoot McNairy and Ben Mendelsohn provide great supporting work, while Christopher Ross’ camera work makes this a sweaty, claustrophobic and vintage looking treat that keeps you submerged in the drama throughout.

ESSENTIAL LISTENING THIS MONTH:
One of the finest female Norwegian voices belongs to Ida Jenshus. The twenty-seven year old singer/songwriter returns with her fourth album this month, entitled Starting Over Again. Containing just six songs, it’s a modest album despite a couple of the tracks being major eight to nine minute pieces. Where her previous album (2012s Someone to Love) was more country and Americana in genre, Jenshus this time returns to a more somber and laidback classic songwriters sound. It’s a seamless transition that she masters well, proving that her range can handle the faster country rhymes as well as this quiet and more intimate take on each tune. It is a record that grows with repeated visits and gives in layers, without asking too much in return. It’s easy to take in and should fit most occasions. Jenshus is one of the most impressive singers in the country, well established yet also still promising and likely to produce even stronger albums in the years to come.

Despite being around for over twenty years Modest Mouse has not been in the habit of releasing records in a steady tempo. Their debut This Is a Long Drive for Someone with Nothing to Think About (still one of this writer’s favorite album titles!) arrived as late back as 1996, and this month’s Strangers to Ourselves is only the band’s sixth release in total, with a hiatus of eight years since their previous outing. With frequent replacements within the band it is perhaps to expect that things will take time with this lot, but thankfully singer Isaac Brock is still as present as ever. And it is the soon-to-be forty years old front man who carries the new album on many levels, with his strong and passionate voice giving ferocious life to a fairly simple set of tunes. It is an effective method though, and it makes an impact throughout – despite the record being of the lengthy kind with no less than fifteen songs in total. Still this is an alternative rock record, classic in its form and honest to its inspirations. Probably best served late at night, in a dark room without too much company.

After a bit of a mid-career dip in form, Death Cab for Cutie now seem set for a return to glory with a strong and convincing eight studio album. It’s been four years since their last outing so Kintsugi is certainly a welcome and long overdue release for their most loyal fans. Their previous two or three albums have been quite loud and hectic in sound, but this time around the Washington outfit seems more mellow and downbeat, which always suited them better in this writer’s eye. The result is eleven great tracks, some more memorable than others, but in sum this is a respectable effort and an apparent conscious choice to return to the formula that served the band so well in their earlier years.
Enjoy the video to the opening track on the album, No Room in Frame.

Essential February '15

ESSENTIAL VIEWING THIS MONTH:
One of the most deserving winners at the Academy Awards earlier this month was without a doubt Julianne Moore. The veteran actress took home the best actress award for her moving and impressive performance in Still Alice, where she shines as a gifted professor who is diagnosed with Alzheimer’s disease. The script, which is based on the book by Lisa Genova, does not serve up a role ready for the picking, but Moore brings every inch of it to life in a ferocious and brave way. There is great support to be found in Alec Baldwin and Kristen Stewart, and although directors Richard Glatzer and Wash Westmoreland tend to lean towards a few too many obvious choices, this is still a great piece of drama carried by one of the finest actresses working in Hollywood today.

Another of this year’s Oscar winners is Big Hero 6, which bagged the award for best animated feature. Disney obviously know better than most how to pull off audience favorites like this one, but the harsh competition over the past decade from major companies like Pixar makes sure they keep ambitious projects on their toes. In this case they have succeeded with a wonderful story, about the bond that develops between an inflatable robot and its young buddy Hiro. The result is a very entertaining and fresh take on children’s ability to understand the rapid progress of technology, told in an old fashioned and stylistic way. It reminds you of Toy Story in some ways; easy on the eye, tender in voice and caring about both its characters and audience.

Currently on its way to pass the half a billion dollar mark in grosses, American Sniper is now by far the biggest commercial success of Clint Eastwood’s career. The eighty-four year old director has proved that age certainly is no obstacle when it comes to remaining creative and active, while still telling stories that are capable of having a tremendous impact. Bradley Cooper stars in the true story about Chris Kyle, the most lethal sniper in U.S. Army history. He carries the film with great vulnerability and pride, an emotional giant that remains quiet and underplayed amid the chaos of masculinity and violence. It’s Cooper’s finest work to date, proving his capabilities far beyond easygoing action and light footed comedy. Jason Hall’s script does not offer much more than the real life drama that actually happened, but Eastwood keeps the game real and engaging, making this his best and most powerful picture since 2004’s Million Dollar Baby.

ESSENTIAL LISTENING THIS MONTH:
The indie rock band The Airborne Toxic Event have been mentioned on this site before after quickly becoming one of this writer’s favorite groups after the release of their self-titled debut album in 2008. This month they return to the scene with their fourth studio album Dope Machines, their most risky and ambitious record so far. After a series of fairly straight pop and rock releases they are throwing their hat into a more electronic and modern soundscape pool with this one. It is not without flaws, and probably does not work as well as the band would initially imagine, but that still does not take away the quality and craftsmanship displayed on the record. This is a step in a different direction, which should be considered brave in today’s commercial music industry that judges by sales figures and that alone. A nice touch from the band is the accompanying record Songs of God and Whiskey which comes as a bonus companion piece (announced as a surprise the day before Dope Machines’ release date) and features more of their traditional pop and rock, wrapped in an acoustic and intimate package. A great treat for the fans, and also a terrific introduction for those yet to encounter the band's previous records.

Nothing beats fronting acts on this site from its writer’s own home town, and this month certainly calls for that. 1997 Forever is a 45 minute snowboarding documentary by filmmaker Carl Critical that so far can only be experienced with its soundtrack being performed live to accompany it. After the film’s first screening in November the official soundtrack now arrives, performed by the custom fitted band - fronted by the film's director - that simply goes by the name 1997. With nine tracks, one for each chapter of the film, it’s a short but solid and eventful collection of hard rocking tunes. The music obviously comes to its full right alongside the film, but the soundtrack can stand firmly on its own, making it an energizing and compelling record that needs to be played loud!

The twenty-five year old singer Elle King has also been mentioned here before, after the release of her first EP in 2012. This month her long awaited debut album arrives with the simple title Love Stuff proving that the initial buzz came from somewhere, as this is one of the most promising and satisfying American debuts in years. The singer from Los Angeles is a genuine lover of music, which is evident in the range and span of genres she touches upon on the album. Her roots lie in blues and rock tunes, but there are also inspired country songs and potential chart toppers, that could just as easily have originated from the likes of commercial stars such as Taylor Swift. The difference though – and it’s a big one – is the soul that comes with it. King’s raw and unpolished voice can shatter most of the more established acts out there. Every delivery comes with an edge and honesty (sometimes brutally so) which makes it more impactful and forces you to pay attention. Having said that, there are tremendous amounts of fun to be had here too. King is here mainly to entertain, and does so with flare and charm, always with her tongue placed firmly in cheek. A talent determined to impress, and hopefully be around for a long time to come.
Check out Ex’s & Oh’s, the first single from the album.

Photograph # 33

"anna elise, four days"
/FAMILY/

Essential January '15

ESSENTIAL VIEWING THIS MONTH:
Alejandro González Iñárritu has made some of the strongest and most impactful dramas over the past decades such as Amores Perros (2000), Babel (2006) and Biutiful (2010). His latest film is an attempt at comedy, and the Mexican master proves he has now troubles handling this genre as well, with a steady and confident hand. Technically, Birdman or (The Unexpected Virtue of Ignorance) is already hailed as a masterpiece with Emmanuel Lubezki’s stunning cinematography and its seamlessly one-take edit throughout. With all this talent behind the camera the pressure is all on its ensemble in front of it. And boy is it a great ensemble. Michael Keaton delivers a career best performance in the lead, and he is surrounded by Ed Norton, Emma Stone and Naomi Watts who all play to their peak abilities. There is even room for an out of type role for Zach Galifianakis, who excels as the closest thing Keaton has to a sidekick. It is a memorable and endlessly entertaining piece of work that ranks right up there with Iñárritu’s finest work.

The word upon its first arrival showcased Foxcatcher as a breakthrough for Steve Carell in his first major dramatic role. And sure, he is terrific and the part of John du Pont is guaranteed to stand as a milestone in his career, but this film is so much more than just that. Bennett Miller won the best director award at last year’s Cannes festival, and the majority of any kudos should with no doubt be delivered his way. This film shows a director in complete control, perhaps at the peak of his career, handling the disturbing and layered story’s action with elegance, composure and without fear. Channing Tatum as Mark Schultz continues to prove there is more to his skill set than playing the bulky action star or gross-out comedy lead. Mark Ruffalo delivers a beautiful and modest performance as his brother Dave, able to let the spotlight shine elsewhere while still grabbing your complete attention in every scene he’s in.

One of the best sleeper hits and great surprises out of the American independents of last year is without a doubt Whiplash. Damien Chazelle’s engaging drama about Miles Teller’s young and ambitious music student who needs to impress the intense teacher J.K. Simmons is indeed a triumph for everyone involved. The veteran Simmons – the most bankable Oscar winner this year – has created his most memorable character to date (and there has been quite a few!) while the young Teller is a revelation in a demanding leading role. On screen together they are an unlikely pair of powerhouses and when they go toe to toe you can literally feel the beats in each breath. It’s an electric set of performances that deserves applause and greater opportunities for both. Director Chazelle has a tendency to get carried away with the melodrama, and there are parts where you feel them coming on, but thanks to his convincing performers in front of camera he gets away with it. Make sure you see it on the big screen. These drums need to be both seen on and heard from the big screen.

ESSENTIAL LISTENING THIS MONTH:
This writer is a sucker for good album titles and one of the best ones in a long time comes courtesy of the new Belle and Sebastian record. Girls in Peacetime Want to Dance is the ninth studio album from the Scottish indie darlings and it is another collection of lovely mellow pop tunes, that should satisfy most fans and find its use in most every occasion. This is unmistakably Belle and Sebastian back to their most charming and accessible best. In this writer’s opinion the early albums from the 90s - including their masterpiece debut Tigermilk (1996) – is still the best of their discography and even though their releases over the past decade have been enjoyable they did not have the initial effect of memorable tracks. The odds are better with this album and hopefully it means front man Stuart Murdoch and company can start another spell of strong records as the band enter their third decade together.

Having enjoyed a commercial breakthrough of sorts with their previous album - the brilliant The King is Dead (2011) - the release of The Decemberists’ seventh studio record comes with a higher degree of anticipation than the Oregon indie rockers are used to. What a Terrible World, What a Beautiful World does not have the immediate impact as the previous, but this is still a highly enjoyable record packed with quality rock and folk tracks. The quintet seems to be more open to express themselves, leaving each song on the table with very little fuss or much ado around it. In this case that works as a good thing, making the songs easy to take in and there is an element of an encouraging sing along factor here that has not always been the case with this group. But The Decemberists know what they’re doing and there is an honesty and simple approach to this collection, without compromising the integrity of neither the band nor their genre. It’s a terrific album that should fall in good taste with both the new fans they recruited last time around as well as the ones who’ve been going along since the beginning.

Having been around for what seems like quite a while, performing and producing material for various outfits and occasions, it’s almost difficult to believe that Ryan Bingham is still just 33 years old. This month he released his fifth studio album Fear and Saturday Night and it confirms the already respected and admired name he’s established for himself within the Americana / Folk genre. Bingham still has an ear for the grandiose and isn’t afraid to hit hard on those emotional chords, but at heart there is still something very tender and heartfelt about his music. His charismatic voice, rough and weary, elevates some of the more simple tunes to impressive heights and the end result is a complete and well composed album that should continue to carry his career onwards and upwards both stateside and around these parts.
Here is an acoustic performance of My Diamond is Too Rough, one of the more quiets tracks on the album.