Rewind The Film (Album) - Manic Street Preachers

The Manic Street Preachers seem to have embraced the fact that they are getting older, and their eleventh studio album “Rewind The Film” showcases the band’s maturity in a way that seems completely natural. The album has received a great deal of critical fanfare, however the pursuit of a more artistic direction, and the lack of electric-guitar-driven rock anthems seems to have earned the ire of many fans.

The group are no longer the young rebels they once were and they have learned a lot throughout the last twenty years. This is clearly showcased through declarations that “I don’t want my children to grow up like me” and “I can’t fight this war anymore” on the album opener ‘This Sullen Welsh Heart’. It is probably the most understated opening to an album out of the band’s entire back catalogue; James Dean Bradfield vocals sound very relaxed over the top of an acoustic guitar arrangement, with guest vocals from Lucy Rose. This sets the tone for a very different sounding Manics album from its most recent predecessors.

The album then bursts into life with ‘Show Me The Wonder’ an upbeat, trumpet-led number with a very radio-friendly chorus (probably the most obvious choice to be the lead single). The band’s maturity is then showcased in droves on the title track ‘Rewind The Film’. The lead vocals are performed by Richard Hawley, whose rich, deep voice resonates throughout the lengthy track, as it slowly builds up to the chorus, when Bradfield’s soaring vocals act as a really effective counterweight to Hawley’s.

‘Builder of Routines’ opens with the sound of a xylophone (which reminds me a little bit of the scores to classic horror movies) which punctuates even further the artistic departure from previous releases. The chorus is rather Beatles-esque in terms of its sound (it has a similar beat to ‘Eleanor Rigby’ and ‘Your Mother Should Know’). Cate Le Bon then assumes the lead vocals on ‘4 Lonely Roads’, a short sad song with a slightly unconventional piano arrangement. ‘(I Miss The) Tokyo Skyline’ fades in from nowhere, and has a really nice inclusion of a violin. The techno beat that underscores most of the tune may serve to emulate the pulse of a city as lively and modern as Tokyo, although I think I’d prefer the track without it. 

‘Anthem For A Lost Cause’ has an acoustic rhythm which is not unlike ‘A Design For Life’ but the comparison between the two is not too blatant, allowing the song an identity all of its own. The arrangement on this track is superb, with the verses nicely downplayed before the trumpets triumphantly re-emerge (along with a really nice strings section) for the chorus; alongside the title track it is one of my favourites from the album. ‘As Holy As The Soil (That Buries Your Skin)’ has a marching rhythm to it, with piano and acoustic guitar married together very smoothly. Nicky Wire sings the lead (with Bradfield providing a unified harmony) and he sounds much more confident than on his previous attempts. 

‘3 Ways To See Despair’ begins with just an acoustic guitar and Bradfield’s vocals, but it suddenly builds into a colossal atmospheric sound, which strides with purpose and determination. There are some fine lyrics to be found in ‘Running Out Of Fantasy’ but they are not always implemented in the most slick way; the line “has my fantasy reached its logical conclusion” sounds very choppy, particularly because the arrangement flows very smoothly throughout. 

The instrumental ‘Manorbier’ follows a similar trend to quite a lot of the other tracks from the album, a slow quiet build that eventually bursts into something grand and full of character. The trumpets then make their final appearance, signalling the arrival of the closing track ‘30 Year War’. It is probably the most fitting way to end any Manics' album, showcasing the bands political agenda, which has always been a presence throughout their career. It should serve as a reminder to fans who are disappointed with this album that the group still have the same fire inside them. The repeated line “I ask you again: what is to be done?” allows the album to end on a somewhat ambiguous open-ended note. 

If “Rewind The Film” was to be the band’s final album I would be satisfied, but the band have continued to expand their musical horizons and proven their versatility very effectively here, and it would be very interesting to see what comes next.

The Temperance Movement (Album) - The Temperance Movement

The Temperance Movement are currently riding one hell of a wave of momentum. A year ago they released their debut EP, “Pride” and since then they have toured extensively, garnering a lot of positive attention along the way. They toured throughout a variety of small underground venues throughout the UK (one of which I was fortunate enough to see) as well as a successful tour of Sweden. Towards the end of the UK tour the band were signed to Earache Records, and once the tour ended they went straight into the studio to record their debut album “The Temperance Movement”. Then within a day of its release the band began touring again! They are onto something big, and they are taking full advantage.

The first few tracks will be very familiar to everyone who bought “Pride” (except with the first two songs switched around) but that is no bad thing because the quality is really high. Things kick off with ‘Only Friend’ which sets the tone really nicely for everything that is to come; well crafted songs with powerful guitar riffs which pay a fitting homage to classic rock. The song really makes its presence felt and strides along with confidence, possessing the type of beat that is easy to feel in your bones. It then leads immediately into ‘Ain’t No Telling’ a faster paced number which really grabs the listener’s attention. There’s something really satisfying about the rapid drum beats that signify the arrival of the chorus, which is delivered with great gusto in the form of Phil Campbell’s snarling vocals over some muscular guitar riffs. It’s the first song that the band wrote together and it showcases not only their musical prowess and chemistry, but also their sheer enjoyment of what they’re doing.

The pace then slows down a bit for the more melodic ‘Pride’ which falls somewhere between blues and country styles. Throughout the course of the album the band show their versatility really strongly; it’s a rock album, but when the band try something different it works, nothing ever seems experimental. ‘Be Lucky’ has a really catchy beat, certainly a song that could get people dancing. Whenever I hear it I’m reminded of Phil Campbell’s dancing during live performances, and I’ll find myself attempting to emulate the same style of movement!

The familiar territory of the “Pride EP” is then interrupted, because no sooner has ‘Be Lucky’ faded out, when the first single ‘Midnight Black’ kicks in. This track has a real sense of urgency about it, as it blasts out of the starting blocks and doesn’t let up until it reaches its end (and then there’s one last burst of energy from the drums). The soulful ‘Chinese Lanterns’ is up next, boasting some really strong lyrics and a great chorus. My only issue with this track is that I prefer the stripped down rendition that the band perform at live shows, and having grown more accustomed to that version, this one can sometimes seem a bit overcrowded.

After that brief quieter interlude, the energy and volume comes right back with the commanding presence of ‘Know For Sure’ which has real swagger to it, as well as containing a powerful “woah-oh-oah” vocal hook which has already solidified itself as a staple of live shows. ‘Morning Riders’ comes next, channelling the sounds of the classic 70s and 80s rock bands from whom The Temperance Movement are influenced.

Things then calm down once more for the softer ‘Lovers and Fighters’ which finally allows for Campbell’s voice to relax. I’ve been a fan of Phil Campbell’s solo material for a long time, and consequently this track is one of my favourites. The slower pace allows for the quality of the arrangement to shine really well, and while it’s relatively simple, it has an understated grandeur to it. The album isn’t done with its high-octane rock numbers though, and ‘Take It Back’ marries the frantic pace of ‘Midnight Black’ with the catchy vocal hooks of ‘Know For Sure’. 

The album then closes out with ‘Smouldering’ and ‘Serenity’ both of which are slower tracks, but no less bursting with energy and liveliness. ‘Smouldering’ has a great musical swell leading into the chorus, and ‘Serenity’ fades out with a lengthy improvisation from all the band members, which shows off that they are a band who are very much about live performances. 

The album is very accessible from the first listen, and blasts along at an effortless pace. The energy that has gone into each recording is matched (and even outdone) by their live performances. The Temperance Movement have arrived, and they’ll hopefully be around for a really long time to come!

Later...When The TV Turns To Static (Album) - Glasvegas

Two years on from their polarising second album “Euphoric Heartbreak”, Glasvegas are back with their latest offering “Later...When the TV Turns To Static”. Their second album saw the band take some bold steps forward, expanding on their established sound – built around shimmering atmospherics – but lost the interest of a lot of fans along the way. “Euphoric Heartbreak” was certainly an album that required the listener to work a little harder than their self-titled debut (which was a lot more immediately accessible) but once you scratch the surface it was not as alienating as many people – supposedly – found it.

The opening (title) track commences with the same shimmer that ran through their debut album, but the proceeding tune doesn’t have quite the same flair as ‘Flowers and Football Tops’. The verses trudge along, with James Allan’s sleepy vocals maintaining the downbeat tone (fitting for a song set in a psychiatric institution) before opening up with his trademark wailing on the chorus. The lyrics are quite good, but they are left wanting amongst an arrangement that seems a little substandard, which lends an irony to the lyric: “...seems so automatic, systematic”. It’s nothing new, and it certainly doesn’t kick the album off with a bang; there’s not so much a sense of “They’re back!” more rather “oh, you again”. Perhaps I’m being a bit too harsh on this track, and I think that is due to it being the opener – the tone-setter for the rest of the album – which feels too much like the band are sleepily going through the motions, rather than pulling the listener in.

Heavy guitars and drums wash over the following track, ‘Youngblood’ which allows the pace to pick up a little, but it doesn’t feel like a very comfortable track, with the vocals seeming rather at odds with the music, and a chorus that is just plain awkward. ‘Choices’ marks an immediate improvement; a really nice piano arrangement underscores the echoey vocals, and Allan’s voice is a lot more comprehensible. It is a mournful ballad which – especially weighed up against the previous track – proves that less is more. A static wave emerges about halfway through the track, which gradually builds (but never overwhelms) until it washes away the lyrics, leaving a really nice piano outro.

There is a sense of urgency surrounding ‘All I Want Is My Baby’ as James Allan yells the opening line, which then leads into a stream-of-consciousness style rant, occasionally interrupted by a chorus (which is comprised of the title lyric repeated several times). Eventually the instrumentation catches up with the ravings by the end of the track, giving the vocals a bit more power, but it’s too little too late on another (unfortunately) lacklustre song. ‘Secret Truth’ doesn’t offer much more, screeching electric guitars occasionally tear through the arrangement to break up the monotony, but then there is an overly-long fadeout which eclipses about half the track.

Lead single ‘I’d Rather Be Dead (Than Be With You)’ puts the album back on track, and it is a solid song due to its simplicity. Place the track alongside ‘Choices’ and you have a very nice pair of mournful piano-led ballads, which showcase the song-writing abilities and singing voice of the band’s front-man. Another clunker then emerges in the shape of ‘Magazine’ which has a similar sound to ‘Youngblood’ but pulls back the heavy guitars in exchange for a decidedly 80s sound.

Respite is then offered on the second single ‘If’, which finally sees the band revert to doing what they do best. It is a soaring anthem, with a passionately sung chorus, and one that plays to the band’s strengths. Off the back of that momentum comes ‘Neon Bedroom’ which has more of a melodic quality, which does far more justice to the heartfelt lyrics than many of the over-complicated earlier tracks. The lengthy ‘Finished Sympathy’ concludes the album, and it feels a lot more comfortable. It is a track that takes its time to build, proceeding at a mid-tempo speed, and occasionally rising into something with a grander sense of scale to it. The album really should just end as the track fades out, but there is a silence followed by an odd sequence of noises, which sounds like an electronic gong being hit over and over. Curious.

“Later...When the TV Turns To Static” is a confusing album, never fully deciding what it’s trying to be, and as a result it lacks the accessibility and appeal of their debut, as well as the artistic finesse of “Euphoric Heartbreak”. There are a few decent tracks, but I can’t imagine that many of them would stand up alongside the band’s biggest hits. The final third of the album is the strongest aspect, and it gives a sign that Glasvegas still have a lot of artistic merit, indicating that there could still be good things to expect from them in the future.

The Way, Way Back (Film)

Many people are referring to “The Way, Way Back” as the feel-good movie of the summer, and while it is deserving of such an accolade, it goes further than simply being ‘feel-good’. It is a coming-of-age story of sorts (more a ‘coming-into-your-own’ story really) and follows the life of a teenage boy named Duncan, played by Liam James, during a summer vacation to a beach-house owned by his mother’s new boyfriend Trent (Steve Carell). 

Liam spends the majority of the film’s early scenes with a look of permanent glumness on his face, but this is justified by his circumstances and his surroundings. The film opens with Trent giving Duncan a patronising speech, in which he belittles and undermines him, accentuating his external character flaws. Steve Carell is very impressive as Trent, displaying a great deal more versatility than a lot of his contemporaries, as the character is more fleshed out than simply being a horrible step-father-type figure. 

Duncan’s circumstances don’t improve for quite some time, he is the odd one out in any situation, whether it be amongst other teenagers or adults acting like teenagers. His mother, played by Toni Collette, upon noticing his dour expressions, makes weak attempts to include him in activities, pressuring him into enjoying himself, but it has already been made abundantly clear that Duncan is in need of an escape.

Eventually Duncan sets out on his own and discovers a nearby water park named Water Wizz, which becomes his safe-haven where he can escape from the emotional trauma of the beach-house. He is accepted by the manager Owen (Sam Rockwell, who almost steals the entire film) who actually takes the time to get to know Duncan and treat him like an equal. Gradually Duncan is also accepted by the other staff at Water Wizz, and from there the film parallels his separate lives; the one where he is an insecure outcast, and the one where he is accepted.

Liam James does an excellent job as Duncan, as it can’t be an easy job to play such a character and remain engaging. The performances from the supporting cast are pretty solid too, as the script allows for a lot of the secondary characters to have arcs of their own. Toni Collette and Steve Carell (who previously worked together in “Little Miss Sunshine”) give strong performances at the heart of the beach-house storyline, and concurrently in the Water Wizz storyline Sam Rockwell and Maya Rudolph bring depth to their characters (as well as their relationship) beyond Owen’s eccentric behaviour. Allison Janney also provides some memorable moments as Trent’s self-obsessed neighbour.

One thing that I particularly liked about “The Way, Way Back” was the open-ended manner with which it finished. A lot of issues weren’t resolved by the time the credits came around, and problems still existed within the lives of the characters, but they had been through such a journey that there was a strong feeling of optimism at the end. This allowed the film to feel much more real, honest and believable. There’s a scene towards the end of the film, in which both of Duncan’s separate worlds come into contact with one another, which was very nicely handled, and lead nicely into bringing the story full circle.

About Time (Film)

Curiously I have never seen “Four Weddings and a Funeral”, “Love Actually” or “Notting Hill” even though they are supposedly essential films within British Cinema. As such I was able to approach Richard Curtis’s latest cinematic venture, “About Time” with an open mind.

The film's story was told very nicely, with Bill Nighy providing exposition early on. The notion of time-travel has been used a lot in films, but “About Time” kept the premise focussed so that the protagonist could only travel back to moments from his own life. I found this to be a very interesting take on the idea of time-travel, as it made the story feel more personal and intimate. The fantastical element was not intrusive into the story’s realistic nature; it took place in the real world, and the characters were all believable. Bill Nighy’s exposition mentioned that “it’s not as dramatic as it sounds” and this works in the film’s favour. 

Domhnall Gleeson does a fine job as Tim, the film’s protagonist, and while he does at times seem to be channelling Hugh Grant, he is able to make the role his own and is a likeable presence. Rachel McAdams does a very good job as Mary, the main love-interest, and the two have good on-screen chemistry together, meaning they are believable as a couple. That said, their dialogue comes across as very contrived – and even a little forced – especially during scenarios in which Tim is exploiting his time-travel ability to undo mistakes. One other issue is that neither of them appear to age at all despite the amount of time that passes throughout the narrative.

Bill Nighy gives a great performance, usually providing humour though his character’s eccentricity, but he is also capable of effective pathos during the more sentimental moments. Tom Hollander provides some of the biggest laughs as Harry, a bad-tempered London playwright, who is funniest when he’s being mean just for the sake of it. There is also a charming performance from Richard Cordery as the simple-minded, yet always well-meaning Uncle Desmond. Additionally there are cameo appearances from famous British actors – and “Withnail & I” alumni – Richard E. Grant and Richard Griffiths (in what is sadly his final film appearance).

The film opens to the sound of Ben Folds’ ‘The Luckiest’, instantly recognisable to me even without the lyrics, as it is a stunningly beautiful piece of music. This was an encouraging sign right from the start. In fact one of the biggest strengths of the film was its soundtrack; ‘The Luckiest’ made a few appearances throughout the film, and there was also a really nice recurring piano motif that would occur at significant moments. The score for the film really elevated the emotional sequences, granting them a wonderful soaring majesty, which meant that it was very easy to become invested. There was also a nice montage in the London Underground which played out to ‘How Long Will I Love You’ performed by Jon Boden, who also played the busker in that same sequence.

Overall I found “About Time” to be a very enjoyable film with a lot of heart. It had sentimentality and it had humour, and while they were not always perfectly balanced it still made for a pleasant viewing experience.