Saturday, June 22, 2013

Pride (EP) - The Temperance Movement



The Temperance Movement are band on a mission. Formed in 2011, they have quickly set about establishing themselves through their blues driven, classic rock and roll sound. Currently in the middle of an extensive tour (during which they’re set to perform at Hard Rock Calling on the same bill as Bruce Springsteen) and with their debut album slated for an autumn release, the band are currently making themselves known all over.

I know about the band because I have been a big fan of their lead singer – Phil Campbell – for many years now. Phil Campbell has been around since the 90s, and has built up an impressive back catalogue of solo material, as well as having been the lead singer for the now defunct group White Buffalo. As a solo artist, Phil Campbell is one of my absolute favourites; he has a great voice, and knows how to write high-quality songs. Unfortunately his albums have tended to go un-noticed by the masses, probably due to a lack of exposure, but I’m very glad to have discovered them. 

While his solo material may not have gained him much recognition, this new incarnation may prove to be more prolific. Phil has the voice of a rock star, the rough edged Glaswegian accent packs one hell of a punch, and it could be the key to The Temperance Movement’s success: the thing that makes them stand out from all their contemporaries. Well, that and the fact that they’re bloody good!

The band’s debut EP “Pride” consists of just five tracks, but each one of them offers something different. ‘Ain’t No Telling’ kicks things off with a bluesy swagger, before an explosive chorus grabs hold of the listener and doesn’t let go. ‘Only Friend’ opens with a simple-yet-very-effective riff (distinct enough to make the track a staple of live gigs), and adds layers of guitars, drums and vocals building up to the chorus. The combination of all the band-members voices singing “Lord” all together at the start of the chorus is a standout moment on this EP.

‘Pride’ is a much quieter track than the first two, and has more of a Country feel to it, with regard to the lyrics and verse structure. When the tempo builds up towards the chorus, it almost seems like there is a rock-song in there trying to break free, and as the track culminates that almost comes to fruition (though not quite so much as the previous tracks). This shows off the versatility of the band, which I’m sure was the intention with this EP. The rockier tempo picks right up again with ‘Be Lucky’ which has shades of AC/DC, which are apparent right from the start.

The EP then closes out with ‘Lovers & Fighters’ which to me has more of a feel of Phil Campbell’s solo music, albeit with more accompaniment. It allows him to showcase his singing voice, as well as the depth of his lyrics. 

Over the course of just five tracks The Temperance Movement demonstrate a strong aptitude for classic bluesy rock, catchy hooks and choruses. They also showcase their versatility and depth. With their first full-length album due out later in the year, this band has all the tools to become big. Join the Movement!

A Ton Of Love (Single) - Editors



Editors were the first band that I ever saw live. I was a huge fan of their first two albums, “The Back Room” and “An End Has A Start”, especially tracks like ‘Smokers Outside The Hospital Doors’, ‘The Racing Rats’ and ‘Munich’. They even became the first band that I saw live for a second time, as they were one of the support acts for R.E.M. during their final UK tour. Suffice to say that at the time they were one of my favourite bands. Then the difficult third album came out, the highly experimental “In This Light And On This Evening” which I tried to convince myself was good for a little while. Then whilst listening to one of the few okay-ish tracks from that album ‘Papillon’ a thought struck me: “what the hell is this song about?” Thereafter I found myself thinking the same thing whilst listening to most of their other songs. 

A little while after “In This Light And On This Evening” upset my expectations, I discovered The National, a band with similar influences, but who had a much better and more fully realised sound. It was a shame that Editors slipped so far down my radar, especially since I had loved their sound so much when I first discovered them. The third album was a big disappointment, not just because it was a weak offering, but because it caused me to re-evaluate how much I liked the band.

With all of this in mind, I approached Editors latest single with an open mind. It had been a long time since I had listened to any of their music, and I was aware that the band’s line-up had changed in that time.

The result?

‘A Ton Of Love’ is actually a very solid track, a pounding energy runs through it, the guitars have a much rockier edge, and Tom Smith’s vocals have a lot more force than they used to: especially when the chorus comes in, as well as on the repeated “desire” refrain. This new sound builds on what the first two albums established, and strengthens it (as opposed to changing it altogether). If this single is anything to go by, then the new album should be pretty good – essentially what the third album should have been. Having fallen from grace – at least in my regard – Editors seem to be on the rise again. I may need to hear more though, before I decide whether to buy the latest album or not.

Wednesday, June 19, 2013

Much Ado About Nothing (Film)



I have to admit that I was rather surprised when I first heard about this film, especially considering Joss Whedon’s recent track-record of films (The Avengers, Cabin In The Woods) a Shakespeare adaptation seems like a substantial departure. I have grown very fond of Joss Whedon’s work in recent years (I’ve never seen ‘Firefly’ so I can’t claim to be an elitist) and so the idea of him directing a Shakespeare play into a film sparked my interest. I am a big fan of Shakespeare’s plays, but I can be sceptical when they are adapted to film, as they don’t always translate well.

This film was shot in just twelve days at Joss Whedon’s home, and the cast is largely comprised of Whedon’s friends and collaborators. Being familiar with only a handful of Joss Whedon’s films, I often found myself trying to figure out where I had seen certain actors before, which occasionally took my focus away from the film.

I think that the film makes several wise decisions early on, with regards to the narrative; establishing a playfulness in the relationship between Leonato and his daughter Hero; also the insecurity of Claudio’s character is brought to the audience’s attention through his facial expression when Don Pedro makes his proposition to woo Hero on Claudio’s behalf. Both of these aspects are very useful later on within the story. Another thing the film gets right early on is that Beatrice wins her first verbal exchange with Benedick (Kenneth Branagh – who also played Benedick in his version – interpreted this exchange differently). 

There are some changes which don’t necessarily work quite as well as they might have done. The decision to have Conrade be female, and be romantically involved with Don John, provides an interesting take on their character relationship, but it ultimately doesn’t lead to anything. Additionally, the decision for Borachio to have unrequited feelings for Hero provides the character with more motivation, but lacks any sort of pay-off.

The performances within the film are very good, in particular Clark Gregg as Leonato, and Fran Kranz as Claudio. There are strong performances from the two leads as well, although from time to time their scenes together slow the pacing down a bit too much. The scenes in which they overhear their companions talking about how one loves the other, are carried out very nicely, and it is not just Benedick who is made to look foolish as he dances around in the background to avoid being seen (I chuckled during the scene with Benedick, but I laughed out loud during Beatrice’s)! Credit also has to go to Nathan Fillion for making Dogberry a genuinely funny character (Michael Keaton’s spectacularly unfunny portrayal of the character in the 1993 version can now be forgotten).

Despite a couple of minor issues, the film works as an adaptation, and is very enjoyable. The songs from Shakespeare’s original text are still present, and actually work surprisingly well (it takes skill to integrate the expression “Hey nonny, nonny” into a contemporary setting, and for it to not be jarring). If Joss Whedon were to direct another Shakespeare play in a similar fashion to this one, I would certainly go and see it.  

Monday, June 10, 2013

Trouble Will Find Me (Album) - The National



In 2009 The National released what was arguably their magnum-opus, in the form of “High Violet”. Tracks like ‘Terrible Love’, ‘Conversation 16’, lead single ‘Bloodbuzz Ohio’, the stunning ‘England’, the wonderfully understated ‘Runaway’ and the triumphant album closer ‘Vanderlyle Crybaby Geeks’ all amalgamated to form an album that showcased the band in all their glory, highlighting the qualities that each band-member brings to the table, in particular Matt Berninger’s deep baritone voice and enigmatic (occasionally bizarre) lyrics. “Trouble Will Find Me” has the unenviable task of being the follow up to (arguably) the bands greatest album. 

‘I Should Live In Salt’ begins with a simple guitar riff, although there is an extra beat at the end of the established rhythm which slightly throws the listener off. The lyrics concern a complex relationship, one that is replete with successive petty arguments, established by the repeated lyric “you should know me better than that” which falls in between each line in the verses. As the song builds, the instrumentation swirls and ascends beneath the vocals, until it gradually fades out, returning once again to the solitary guitar. As far as opening tracks go, it is very much a grower, not exactly accessible straight away, but then again such a statement could be used to describe The National in general. 

‘Demons’ is one of the album’s standout moments, lyrically centred on the singer’s own personal failings, driven along by a pulsating beat, punctuated with scratching guitars and deep mournful piano notes. The pace quickens on ‘Don’t Swallow The Cap’, although I feel the band start to lean a bit too heavily on the Joy Division influence here. Things then slow down again on the mournful ‘Fireproof’, a song that concerns – I assume – the same Jennifer (or Jenny) later sung about on ‘This Is The Last Time’.

‘Sea Of Love’ kicks off with a commanding guitar riff, which continues to reverberate throughout. Bryan Devendorf’s drumming is always a key component to the livelier and faster paced tracks, and that is certainly the case here. ‘Heavenfaced’ slows things down once again, and puts the vocals front and centre, which works really nicely for most of the track. Towards the end though, the instrumentation increases, and Berninger’s vocals become more indecipherable. 

‘Graceless’ is another standout track from this album, rocketing along at a frantic pace, much like ‘Bloodbuzz Ohio’. It builds up really nicely, maintaining the energy and pace as layers upon layers are added. The established pattern of slowing things down after a faster track occurs once again: ‘Slipped’ is a beautifully dark track, which confesses personal failings within relationships – in this case an inability to truly open up to someone. Reflecting on personal growth from former shortcomings ‘I Need My Girl’ finds its protagonist somehow inexplicably still feeling “smaller and smaller”. 

The track then blends seamlessly into the lengthy ‘Humiliation’ before the album closes out with a couple more stand-outs. ‘Pink Rabbits’ is a piano-led end-of-the-night-as-the-party-winds-down dance, which drunkenly sways from side to side, perhaps my favourite track from the album (at least at the time of writing this). Then the album closes out on ‘Hard To Find’, and although it lacks the grandeur of ‘Vanderlyle Crybaby Geeks’ it presents a much more fragile and understated way to bring things to a close.

“Trouble Will Find Me” is a solid album from The National, which I can’t help but compare to its (in my opinion superior) predecessor. While I may be chastised for making use of the term ‘grower’ which many others have used to describe the band’s works in the past, it is a term that fittingly describes their sound. Maybe three years from now, when the next album is due for release I’ll be feeling a similar sensation, comparing it to the majesty of “Trouble Will Find Me”. Time will tell, I suppose.

Game of Thrones - Season Three: Mhysa



In the aftermath of the Red Wedding, the consequences are felt all over the realm of Westeros. Additionally this episode does what previous season finales have done, and sets everything up for the next season. There are resolutions to certain storylines, but more often than not these resolutions are merely temporary: we’ve not seen the last of any of these characters.

In the immediate aftermath of the massacre at the end of last week’s episode, Roose Bolton overlooks the carnage from the roof of The Twins, as Stark banners are burned and Stark men are butchered. Arya and The Hound get themselves out of there, but not before she catches a glimpse of the Frey’s grotesque insult to The King In The North: Robb Stark’s headless corpse, with the head of his direwolf attached. If killing Robb and his people wasn’t enough, this image truly hammers home the cruelty of the Freys.

Joffrey is more smug than ever upon learning of Robb’s death. Anyone who thought that Robb would eventually kill Joffrey (especially during the Season One finale, in the scene when Sansa said “maybe he’ll bring me your [head]” to everyone’s least favourite king) will find this development hard to process. Even worse was Joffrey’s threat to have Robb Stark’s head presented to Sansa during his wedding feast. Once again Tyrion was the voice of reason, standing up to Joffrey and even threatening him by pointing out that “kings are dropping like flies”. Pycelle chastised Tyrion, stating that Tyrion’s remarks were “in very bad taste” which is rather ironic, considering the bad taste of Joffrey’s idea.

Tywin takes control of the scene, never having to raise his voice, and always maintaining a level head. Tywin masterminded the entire Red Wedding, all in the interest of ending the war and preserving the honour and prestige of his house. Joffrey is almost completely oblivious to how much Tywin has done to preserve his status as king, and gets angry. Tywin’s level-headedness, and calm tone does so much to undermine Joffrey in this scene, which is needful, otherwise Joffrey would be acting as though he had killed Robb Stark himself.

There is a nice call-back to the first season finale when Tywin sends everyone away, except for Tyrion (“not you”). Unlike their confrontation back then, Tyrion has grown in confidence when speaking to his father, and even challenges his decision making. Tywin responds to this by telling his dwarf son that he intended on drowning him as a baby, but because he was a part of the family he relented. This may be the first time Tywin has shown any sort of weakness, as there were some slight trembles in his expressions and his delivery. This was nicely underplayed by Charles Dance who continues to excel in the role.

Also during this scene Tywin explains why he devised the Red Wedding, and also proposed an interesting question about the nobility of killing men on the battlefield, weighed up against killing men at dinner. The response to this does not come straight away, but when Bran is telling the story of the Rat Cook (which has the style of a Greek Myth) he states that the Gods could not forgive the murder of guests at ones table. People have their rights to revenge, but to butcher guests who are under your protection is another matter altogether. Robb Stark broke his oath to Walder Frey and was killed for it, but he was killed after having undergone the ‘guest right’ tradition. The Freys have played their part, but their actions will not be forgotten (or forgiven).

Elsewhere in Bran’s scenes, his paths cross with another storyline, this time with Sam and Gilly. After all of the terrible things that have happened, it was nice to actually have something go right for a change. Sam’s recognition of Bran due to his direwolf, as well as having heard about him from Jon, was a moment of rare sweetness as the overall show continues to get darker. I couldn’t help but laugh when Sam offered to help in any way he could, and Bran asked to go north of the Wall. I also liked the interaction between Sam and Hodor. Sam fortunately had a hidden cache of dragonglass (although I’ve no idea where he kept it) and gave some to everyone in Bran’s group. They then made their way beyond the Wall, whilst Sam returned to Castle Black.

The Red Wedding resulted in some changing of the guard, now that the Stark rule over the North is at an end. Roose Bolton has now been named as Warden of the North – once Ned Stark’s title – and Walder Frey claimed himself to be Lord of Riverrun, although Roose pointed out that Blackfish escaped the Red Wedding, so that title cannot truly belong to him. This scene also revealed the identity of Theon’s tormenter (in case you hadn’t figured it out yet) to be Roose Bolton’s bastard son Ramsay Snow. This was then followed by an unpleasant scene concerning Theon’s castration whilst Ramsay ate a large sausage. This scene also saw Theon take on a new identity, no longer a lord, no longer a man, he is now simply known as Reek.

Surprisingly there was a scene at Pyke for the first time all season, involving Balon Greyjoy and his daughter Yara (known as Asha in the books). ‘We Do Not Sow’ are the Greyjoy words, but in this scene Balon comes to reap what he has sown. He decided to play a part in overthrowing the Starks, by capturing the North, but now the North is ruled by House Bolton, who are much crueller than House Stark would have ever been. A threatening letter is sent, along with a box containing Theon’s “favourite toy”. Balon decides that he no longer cares about Theon, but Yara decides to rescue him and rallies a band of killers and a fast ship as a part of this cause.

Jon was confronted by Ygritte, who angrily fired arrows at him, although none of them made fatal wounds, as she still has feelings for him. Jon eventually returned to Castle Black, falling off his horse upon arrival, from the exhaustion and also the wounds. It was nice to see that setting again, as the timeline of the past 19 episodes has been spent beyond The Wall. This also meant there were appearances from Pyp and also Maester Aemon. The old Maester (who actually looks less blind than when we last saw him) allowed Gilly to stay at the castle, and also sent ravens to all the lords of Westeros concerning the death of Commander Mormont, and the threat of what lies beyond The Wall. Such proclamations had already been made, but now they are harder to ignore. After spending time in the company of lascivious old men like Walder Frey, it was quite nice to see an older character who is wise and insightful.

This leads to Dragonstone, where Davos’ reading lessons come to fruition. Shireen made another appearance, albeit a brief one, pleading the case for books as opposed to scrolls of dull letters. Davos began to read the letter from The Night’s Watch, but was interrupted by the tolling of a bell, which rang to announce the death of The King In The North. Melisandre claimed that it was her blood magic that lead to the death of Robb Stark, but would now have to sacrifice Gendry in order to bring Stannis to the Iron Throne. Davos pleaded the case for Gendry, but the command was given anyway.
Davos and Gendry had bonded earlier in the episode, when they realised that they were from the same low-born background. Davos then used his smuggler’s tricks to help Gendry escape, telling him that he’ll be safer in King’s Landing than he would be around Melisandre.

Once Stannis learns of this, he orders Davos to be put to death. At this point Davos reveals the message from The Night’s Watch, and finally someone in Westeros realises that the petty wars raging throughout the Seven Kingdoms are nothing when compared to the greater war that is to come. Davos is not put to death, and will remain the Hand of the King to Stannis, although he will also have to ally himself with Melisandre.

Two scenes made use of silences, and facial expressions, as opposed to dialogue. First of all, Tyrion came to tell Sansa about what had taken place, only to discover that she already knew. This was conveyed by the sight of Sansa crying was she looked out of her window. Another moment was the reunion of Cersei and Jaime, who returned to King’s Landing looking rather different to when he was there last. Cersei’s expression was an interesting one, quite difficult to read, as she would undoubtedly be pleased to have Jaime back, but will have to grow accustomed to the changes he has undergone.

Some retribution for the Red Wedding was attained by Arya, when she and The Hound chanced upon a small group of Frey bannermen who had a hand in the slaughter. Upon overhearing them gloat about Catelyn’s death, and the mutilation of Robb’s corpse, Arya approached. She offered the iron coin given to her by Jaqen H’Ghar, before dropping it on the floor and using that distraction to stab one of them in the neck. Before the others could retaliate, The Hound stepped in. This is a scene worth re-watching a few times: Valar Morghulis!

The episode – and the season – then closed out with a scene involving Daenerys in Yunkai. Having overthrown the city, the slaves were all set free, and Dany walked amongst them, as they all showed her their love and admiration. No other ruler in Westeros has become as loved by their people as Daenerys has. I was a little surprised that this was the image to close out the season, especially when compared to the birth of dragons, or the white walkers and their undead army which closed out the previous seasons. This season is a little different, as the events of the third book have been divided in half. I had speculated over what the final image would be, but needless to say none of my theories were correct. The show-runners are saving a lot of big events for the fourth season, which makes sense. The only problem with this is that we now have to start the lengthy waiting process all over again until Season Four.

Upon recounting this episode I have only just come to terms with quite how much happened. A lot was packed into the hour-long running time, and there are several small scenes that I haven’t even mentioned here. I have thoroughly enjoyed watching this season of Game of Thrones. Maybe before the next season is released I may try to cover the first and second seasons here on my blog – I’ll need something to pass the time before the next season comes out!