Ariel Pink was never supposed to be a rock star. A seemingly eccentric, reclusive 34 year old from Hollywood, Pink (real name Ariel Rosenberg) spent the majority of his early musical career recording scuzzy, freakish bedroom tapes of lo-fi weirdness, never intending to take them out on tour to play for audiences. Calling them his "Haunted Graffiti" Series, Pink took the listener on trips to different periods of musical history, borrowing influences from everything as varied as white funk, post-punk, dreamy pop, psychadelia, avant-garde and soft rock. It has always been apparent that Pink can write genius pop songs, namely "Round & Round" from the Haunted Graffiti's (his live band) breakthrough album "Before Today". Yet on a lot of his early releases, you sometimes feel like you're being led astray with mindfucks of songs that don't always feel fully-formed. However, if you become a Pink fan (which I have, wholeheartedly) you put up with his excessive oddball tendencies and go on to embrace them.
Pink made his break into the public's consciousness in the mid noughties when members of Animal Collective took his bedroom recordings and released them on their Paw Tracks label. Years on, Pink took his music to the stage but wasn't particularly well recieved due to the outlandish, impractical nature of his material, which didn't really come to fruition in front of impatient gig-goers. Line-ups were changed, with musicians coming and going (including fellow weirdo John Maus) but it wasn't until 2008-2010 that Pink finally made any real progress, when he formed his permanent, tight live band Haunted Graffiti and released the groundbreaking "Before Today". Some devoted fans were disenfranchised with Pink's step up to the big leagues and his newly polished sound, which was a leap from his lo-fi roots. The songs became cleaner and more fulfilled, whilst still retaining Pink's zany mannerisms and circus-like vibes.
"Before Today" took us to different corners of retro, both harking back to the past whilst hinting at the possibilities of the future. I personally consider it to be a masterpiece. Songs like "Menopause Man" (which still makes me think "what the fuck?" 2 years down the line) and "Little Wig" both confuse and please in equal measure, whilst "Round & Round" and "Beverly Kills" display Pink's knack for writing great pop songs with instantly memorable choruses. This album showed Pink in a new light, with so much potential.
The album went on tour with the band, who didn't shy away from screwing around with Pink's old material just to retain that Ariel weirdness, but who also opened up the music to newer, larger audiences (thanks to events such as Coachella, where Pink shot himself in the foot by throwing a hissy fit) and gave them a crazy, unleashed Hollywood native for better or worse. There has been speculation about Pink's behaviour, which includes crying onstage, falling out with the audience and refusing to sing whilst his band plays every note. Personally I don't know whether he merely puts on the persona for his own amusement and the audiences' bewilderment, or whether he actually is a nutjob. Perhaps a bit of both, but I guess knowing the exact reason would ruin his mystique.
Now, in August 2012, Ariel Pink's Haunted Graffiti give us "Mature Themes", their second major-label record. I've listened to it a couple of times so far and am still in the process of getting my head around it. Ariel's ever-changing voices remain, with him trading off his Americanised cartoon characters for Bowie-esque British croons and vice-versa. You just cannot put your finger on him and I'm always in wonder as to what he'll do next. Synths and organs make their presence known and work brilliantly, especially in the choruses, the best example being "Symphony of The Nymph" (every bit as fucked up as the title suggests). Lyrically, Pink is on insanely obscure form as always: "She's a nympho, at the discoteque, yeah she's a nympho, and a lesbian", and his subject matter ranges from disturbing to hilarious. The basslines are incredible, my favourite so far being the thudding post-punk brilliance of "Driftwood", which is moody yet danceable all at the same time, and the dark, brooding creep of "Early Birds of Babylon". Penultimate
track "Nostradamus & Me" gives the impression that we're in a
submarine, exploring the depths with a repetitive, up-and-down bassline
while Pink mumbles about the famous philosopher and himself.
There are still those classic Pink moments of "what did I just hear?" and they bleed into the rest of the album with ease. "Schnitzel Boogie" is mental, and finds Pink on the hunt for late-night munchies in a haze of krautrock wildness. Moments such as these result in a less accessible album than "Before Today", but again, if you're a true fan you will relish them as much as the perfection of songs such as the Donnie & Joe Emerson cover of "Baby" (feat. Dam-Funk), which has literally made my year. The combination of Dam-Funk's gravelly, sexy croon and Pink's feminine, emotional wail work miracles and create such a unique atmosphere. I have literally listened to it a 100 times since I came across it a couple of months ago. Not only is it a great rendition but it's also an ideal way to end the record, calming the listener down after a bumpy ride around Ariel Pink's haunted mind.
Thursday, 16 August 2012
Monday, 30 July 2012
The return of John Frusciante...
John Frusciante is back, and so am I: here to write to/for you about the assorted shit spinning around my head all over again. It's been a while. Anyway, yeah, Frusciante came back out of the darkness last week with his new EP, "Letur-Lefr", which will be followed by a brand new LP "PBX Funicular Intaglio Zone" later in the year. Weird titles I think you might agree. The gent that he is, Frusciante published a post on his self-maintained official website which explains, or tries to explain in the best way possible, the meanings and reasons for the two above titles. So for those that care, check his site out.
This is the newest Frusciante music since 2009's "The Empyrean", apart from "Here, Air", a track that he gave away for free in 2010. In those three years, it seems that Frusciante has completely reevaluated his means of making music, and in "Letur-Lefr" he throws away the guitar (well, mostly) and sits at the computer to create a mainly electronic five-song collection, which I have to admit I have fallen in love with totally. The synth-orientated sounds and erratic, unpredictable drum beats that he puts forward are a surprise at first, even after the electronica of "To Record Only Water for 10 Days".
In terms of style and overall vibe, elements of "Letur-Lefr" remind me of the better moments on Julian Casablancas's "Phrazes For The Young", and his introduction of hip-hop works amazingly well, drawing a similarity to the collaborative nature of Damon Albarn's Gorillaz. The RZA gets involved on three of the tracks, his best moment being on "FM". The two men have been well-known friends for some time now, and have worked together in the past (they did a song together on N.A.S.A.'s "The Spirit of Apollo") album. As well as the RZA, other MC's offer their influence, Masia One and Kinetic 9 being amongst others. It works so fucking well, whether you would expect it to or not. John's beats are original and manage to completely draw you in, whilst occasionally throwing a curveball in the form of a tempo change or an experimental moment of clarity. "Glowe" is a perfect example, in the form of a 1.30-length jam that rounds off several styles of music using the same melody (which fans will notice is the exact same as "Dark/Light" from "The Empyrean") and an array of different drum patterns. Also adding vocals is Nicole Turley, Frusciante's wife and leader of the interestingly bizzare L.A. group Swahili Blonde. Her backing vox on "In Your Eyes" are haunting and work brilliantly alongside Frusciante's wide, ever-changing range.
"Letur-Lefr" could make you believe that Frusciante has been constructing electronic music all his life. He would probably be the first to admit that he is still learning on that front, a self-taught producer/engineer over his many years of being a musician. But it seems he is learning fast, and I would be as excited as any other Frusciante fan if he were to continue to head in this direction with his releases in the near future. His ability to constantly reinvent himself over his albums (PBX being his eleventh) still blows me away and probably always will. I won't pretend that I know a lot about electronic music because the truth is I don't, I can only talk freely about my experiences with it and what I have heard. And as I always say, I was a little anxious before listening to "Letur-Lefr" purely because of my love for John's music and my longing for it to be as good as everything else he has done. Luckily for me, I can now bathe in the relief and pleasure that it has brought me. A truly wonderful 15(ish) minutes of music that I will continue to enjoy for a long time to come. Welcome back, sir.
This is the newest Frusciante music since 2009's "The Empyrean", apart from "Here, Air", a track that he gave away for free in 2010. In those three years, it seems that Frusciante has completely reevaluated his means of making music, and in "Letur-Lefr" he throws away the guitar (well, mostly) and sits at the computer to create a mainly electronic five-song collection, which I have to admit I have fallen in love with totally. The synth-orientated sounds and erratic, unpredictable drum beats that he puts forward are a surprise at first, even after the electronica of "To Record Only Water for 10 Days".
In terms of style and overall vibe, elements of "Letur-Lefr" remind me of the better moments on Julian Casablancas's "Phrazes For The Young", and his introduction of hip-hop works amazingly well, drawing a similarity to the collaborative nature of Damon Albarn's Gorillaz. The RZA gets involved on three of the tracks, his best moment being on "FM". The two men have been well-known friends for some time now, and have worked together in the past (they did a song together on N.A.S.A.'s "The Spirit of Apollo") album. As well as the RZA, other MC's offer their influence, Masia One and Kinetic 9 being amongst others. It works so fucking well, whether you would expect it to or not. John's beats are original and manage to completely draw you in, whilst occasionally throwing a curveball in the form of a tempo change or an experimental moment of clarity. "Glowe" is a perfect example, in the form of a 1.30-length jam that rounds off several styles of music using the same melody (which fans will notice is the exact same as "Dark/Light" from "The Empyrean") and an array of different drum patterns. Also adding vocals is Nicole Turley, Frusciante's wife and leader of the interestingly bizzare L.A. group Swahili Blonde. Her backing vox on "In Your Eyes" are haunting and work brilliantly alongside Frusciante's wide, ever-changing range.
"Letur-Lefr" could make you believe that Frusciante has been constructing electronic music all his life. He would probably be the first to admit that he is still learning on that front, a self-taught producer/engineer over his many years of being a musician. But it seems he is learning fast, and I would be as excited as any other Frusciante fan if he were to continue to head in this direction with his releases in the near future. His ability to constantly reinvent himself over his albums (PBX being his eleventh) still blows me away and probably always will. I won't pretend that I know a lot about electronic music because the truth is I don't, I can only talk freely about my experiences with it and what I have heard. And as I always say, I was a little anxious before listening to "Letur-Lefr" purely because of my love for John's music and my longing for it to be as good as everything else he has done. Luckily for me, I can now bathe in the relief and pleasure that it has brought me. A truly wonderful 15(ish) minutes of music that I will continue to enjoy for a long time to come. Welcome back, sir.
Saturday, 8 October 2011
DRIVE...
Drive is the third English-language film from the acclaimed Danish director Nicolas Winding Refn (Bronson, Valhalla Rising), and recently attracted plenty of attention at Cannes for its super-cool soundtrack and mish-mash of genres, whilst featuring rising star Ryan Gosling in the leading role. Alongside Gosling is our very own Carey Mulligan, and they're joined by Albert Brooks, Ron Perlman and Christina Hendricks to make up a pretty impressive cast for an independent production. The film follows a quiet, seemingly reserved Hollywood stuntman who works as a getaway driver on the side, and finds himself embroiled in an increasingly violent situation after a heist goes horribly wrong.
The most notable factor of the film is the general style and feel, which had me reminiscing of Walter Hill's iconic movie The Warriors with it's neon-soaked city views and even the main protagonist's signature silver stunt jacket (almost identical to one of the gang's jackets from the 70's cinema classic). Another key influence in my opinion was the films of Stanley Kubrick, who had a gift for holding a shot as long as possible without losing the effect, creating visual paintings with the camera. There were moments in Drive when I found myself transfixed by the cinematography and its ability to suck my eyes into the screen with little mercy, such as a moment when The Driver (Gosling's character is unnamed) is gazing out across Los Angeles's cityscape from his apartment. The camera creeps up on the characters with tight mid-shots in sometimes rather claustrophobic settings (corridors, diners) and clings to them, creating a sense of paranoia and unease and provokes a feeling of impending danger to the initial calmness of the film.
The music in the film deserves all the praise it has been given by critics and film fans alike. There are 5 original tracks (my favourite being Kavinsky's gloomy robotic electro masterpiece "Nightcall") with the score itself composed by ex-Red Hot Chili Peppers drummer Cliff Martinez, who he does a fantastic job. Many of his compositions start out in a minimalistic and atmospheric fashion, beginning slowly and calmly before they build up into more frequent stabs of bass and erratic synthesisers during scenes of tension and dread.
The film explores the theme of loneliness very well, with Gosling doing a brilliant job as the mysterious and (at first) emotionless main character who cruises the streets at night as if he were a devoted superhero protecting the city from evil. The character's most interesting feature is his psychological transition: from the kind, helpful neighbour in the first half of the film during the cosy homelife scenes, into the vengeful, no-bullshit hero of it's second half. The dark ultraviolence which occurs later in the film might be exaggarated, but it still retains its shocking impact despite the B-movie/Grindhouse-feel of the picture during other segments and shows us another side to Gosling's troubled character. Refn doesn't hesitate to brandish his inspirations in this film, and in my opinion it only improves his skills as a director. The melting pot of genres (New wave film? Car movie? Horror/slasher? Romance? Crime flick?) also challenges the audience and keeps things fresh, whilst displaying Refn's love of cinema and his appreciation of the different styles and movements within the world of film.
Drive is a wonderful piece of work and should not be missed.
The most notable factor of the film is the general style and feel, which had me reminiscing of Walter Hill's iconic movie The Warriors with it's neon-soaked city views and even the main protagonist's signature silver stunt jacket (almost identical to one of the gang's jackets from the 70's cinema classic). Another key influence in my opinion was the films of Stanley Kubrick, who had a gift for holding a shot as long as possible without losing the effect, creating visual paintings with the camera. There were moments in Drive when I found myself transfixed by the cinematography and its ability to suck my eyes into the screen with little mercy, such as a moment when The Driver (Gosling's character is unnamed) is gazing out across Los Angeles's cityscape from his apartment. The camera creeps up on the characters with tight mid-shots in sometimes rather claustrophobic settings (corridors, diners) and clings to them, creating a sense of paranoia and unease and provokes a feeling of impending danger to the initial calmness of the film.
The music in the film deserves all the praise it has been given by critics and film fans alike. There are 5 original tracks (my favourite being Kavinsky's gloomy robotic electro masterpiece "Nightcall") with the score itself composed by ex-Red Hot Chili Peppers drummer Cliff Martinez, who he does a fantastic job. Many of his compositions start out in a minimalistic and atmospheric fashion, beginning slowly and calmly before they build up into more frequent stabs of bass and erratic synthesisers during scenes of tension and dread.
The film explores the theme of loneliness very well, with Gosling doing a brilliant job as the mysterious and (at first) emotionless main character who cruises the streets at night as if he were a devoted superhero protecting the city from evil. The character's most interesting feature is his psychological transition: from the kind, helpful neighbour in the first half of the film during the cosy homelife scenes, into the vengeful, no-bullshit hero of it's second half. The dark ultraviolence which occurs later in the film might be exaggarated, but it still retains its shocking impact despite the B-movie/Grindhouse-feel of the picture during other segments and shows us another side to Gosling's troubled character. Refn doesn't hesitate to brandish his inspirations in this film, and in my opinion it only improves his skills as a director. The melting pot of genres (New wave film? Car movie? Horror/slasher? Romance? Crime flick?) also challenges the audience and keeps things fresh, whilst displaying Refn's love of cinema and his appreciation of the different styles and movements within the world of film.
Drive is a wonderful piece of work and should not be missed.
Saturday, 17 September 2011
Velociraptor, he's gonna find ya...
Kasabian have often been tarnished with the "lad-rock" brush by snobbish music fans and critics alike, and to be fair you have to admit that they have a point. They came at a time when Oasis were still prominent in the British music scene, swilling lager and making V-signs at every passer-by, and its safe to say that this probably helped them out a great deal in appealing to a mass audience. Singer Tom Meighan's heavily pronounced Leicestershire accent and boisterous stage presence also reinforced their image as being another band for the indie branch of England's football hooligans.
Their 2004 debut was brilliant and gave the world their electronica-infused alternative rock whilst demonstrating their ability to experiment as well as maintain a concept within the record. Now at album number four, loudly titled "Velociraptor!", the band have kept their trademark sound whilst delving a little into songs with more melody and grandeur, and less of the "in your face" attitude that earned them their laddish persona in the first place. Apart from a couple of songs, such as the no-nonsense (and not very good) title track, there seems to be an understated feel to the record. I wouldn't describe it as necessarily being calmer, but its definitely less hectic than their previous 3 efforts.
The cool opening track "Let's Roll Just Like We Used To" lays down the foundations for how the album is going to sound, and keeps the band's psychadelic essence as well as the addition of some slick mariachi flavours. The horn section takes us to the centre of a Western (similar to the setting of their "Fire" video) and then twists and turns around the verses causing the song to sound like it could easily be the next Bond theme. In my opinion it's one of the stand-out highlights of "Velociraptor!" and far better than the album's lead single, "Days Are Forgotten", which is OK until it is let down by the rather weak chorus.
The first song that was revealed a couple of months ago was "Switchblade Smiles", which I didn't really rate much upon first listening. The chant that builds up to the chorus kind of ruined it for me, as I felt that it made the band come across as a charicature of themselves with the sneer of: "Can ya feel it comin'?" But after a few more spins I grew to like the eerie atmospherics and the heavy, thudding bass that slid along under the techno-inspired track. More reason for me to come to the conclusion that parts of the album are growers.
The best things about this record are definitely the subtle touches, such as the string section on "Acid Turkish Bath" (which do well to compliment Serge Pizzorno's soothing vocals) and the drum machine samples on the minimal "I Hear Voices", which harks back to their debut which was awash with computer glitches and dubbed out bass. Despite the fact that I've always liked Kasabian, I have also been well aware that they do more than borrow from Primal Scream, blending guitar rock with dance-tinged electronics.
However, this album shows Kasabian finally making their sound their own, and trying a couple of new things whilst sticking to their roots. It's tough for mainstream British indie bands to continue producing great albums these days, and many fall flat on their faces after a good debut or if they're lucky, a satisfying sophomore effort. But along with Arctic Monkeys and a handful of others, Kasabian are holding the fort and keeping up the good work. "Velociraptor!" isn't as iconic as "Kasabian" or as explosive and memorable as "West Ryder Pauper Lunatic Asylum", but its still enjoyable and creeps up on you more and more with each listen. Fans of the band will certainly appreciate it.
Their 2004 debut was brilliant and gave the world their electronica-infused alternative rock whilst demonstrating their ability to experiment as well as maintain a concept within the record. Now at album number four, loudly titled "Velociraptor!", the band have kept their trademark sound whilst delving a little into songs with more melody and grandeur, and less of the "in your face" attitude that earned them their laddish persona in the first place. Apart from a couple of songs, such as the no-nonsense (and not very good) title track, there seems to be an understated feel to the record. I wouldn't describe it as necessarily being calmer, but its definitely less hectic than their previous 3 efforts.
The cool opening track "Let's Roll Just Like We Used To" lays down the foundations for how the album is going to sound, and keeps the band's psychadelic essence as well as the addition of some slick mariachi flavours. The horn section takes us to the centre of a Western (similar to the setting of their "Fire" video) and then twists and turns around the verses causing the song to sound like it could easily be the next Bond theme. In my opinion it's one of the stand-out highlights of "Velociraptor!" and far better than the album's lead single, "Days Are Forgotten", which is OK until it is let down by the rather weak chorus.
The first song that was revealed a couple of months ago was "Switchblade Smiles", which I didn't really rate much upon first listening. The chant that builds up to the chorus kind of ruined it for me, as I felt that it made the band come across as a charicature of themselves with the sneer of: "Can ya feel it comin'?" But after a few more spins I grew to like the eerie atmospherics and the heavy, thudding bass that slid along under the techno-inspired track. More reason for me to come to the conclusion that parts of the album are growers.
The best things about this record are definitely the subtle touches, such as the string section on "Acid Turkish Bath" (which do well to compliment Serge Pizzorno's soothing vocals) and the drum machine samples on the minimal "I Hear Voices", which harks back to their debut which was awash with computer glitches and dubbed out bass. Despite the fact that I've always liked Kasabian, I have also been well aware that they do more than borrow from Primal Scream, blending guitar rock with dance-tinged electronics.
However, this album shows Kasabian finally making their sound their own, and trying a couple of new things whilst sticking to their roots. It's tough for mainstream British indie bands to continue producing great albums these days, and many fall flat on their faces after a good debut or if they're lucky, a satisfying sophomore effort. But along with Arctic Monkeys and a handful of others, Kasabian are holding the fort and keeping up the good work. "Velociraptor!" isn't as iconic as "Kasabian" or as explosive and memorable as "West Ryder Pauper Lunatic Asylum", but its still enjoyable and creeps up on you more and more with each listen. Fans of the band will certainly appreciate it.
Tuesday, 6 September 2011
A lifestyle is a terrible thing to waste...
There is only one episode of HBO's Entourage to go, and I'm gutted. My best mate Adam got me into it within a few months of me starting university, as I'd never really heard of it before except when I'd flicked past it a few times on ITV2. I presumed it was just another shitty American soap/drama type of thing, but I was sorely mistaken. It has often been decribed as "Sex & The City" for men, and I think that is probably the best comparison I have heard. The basic premise revolves around Vincent Chase, a young clean-cut actor who recieves his big break in Hollywood and begins to navigate around the opportunites and pitfalls of life in Los Angeles. He is joined by his group of best friends (hence the show's title), including his brother and less successful actor Johnny "Drama" Chase, good luck charm/driver Sal "Turtle" Assante and wise advisor Eric "E" Murphy, who not only live the high-life with Vince but also try to keep him grounded and assist him as much as they can. Throughout the show they manage, or at least try to keep their Queens, NY roots dominant in their new Californian location.
The show has done brilliantly in America and the UK, and has now reached its swansong, season 8. It's been praised for its accurate, if not slightly jumped-up representations of people working within the film industry, whether it be actors, agents, producers or directors. One of the best things about the show is the way that it mixes real stars with fictional characters through the use of frequent cameos, which are woven into the script to create a busy and seamless narrative. Therefore you often get well-known and established stars playing altered versions of themselves, which is great to watch. Particular favourites of mine are washed-up comedian Andrew Dice Clay, who is guest starring in the current season, and troubled pornstar Sasha Grey who becomes a bad influence on Vince in season 7 when he becomes a cocaine-addled mess. I'm sure many TV shows borrow this format now, but apart from Entourage and Ricky Gervais's Extras, I can't think of many more that do it so stylishly and effectively.
Not only are the actors in the show so brilliant, but the producers also ring some bells, namely in the form of Mark Wahlberg, who apparently had a large part in the conception of the show, along with the main creator Doug Ellin. One of the initial ideas for the show was to loosely base some of the events and scenarios on Wahlberg's experiences as an actor, and these are noticeable during some moments, however the term loosely cannot be stressed more (Wahlberg was a drug addict and criminal during his early teens, growing up in Boston) as Entourage was desired to be less gritty and more mainstream. However it works very well in merging the two.
There is still plenty foul language, sex, drugs and the like to keep fans of the more adult variety satisfied, and whilst the show glamourises life in Beverly Hills, it also explores the darker side and some of the murky scrapes that Hollywood's elite find themselves in. Wahlberg makes a handful of appearances in the show himself, occasionally popping up to play golf with the boys and take the piss out of Drama. According to something I read on the internet once, to acquaint the group of core actors with each other and welcome them into the Entourage's, well, Entourage, Wahlberg took the gang to Vegas to get them all fucked up and show them a good time.
The group's closeness really shows in the programme, and is one of the must believable (4-way) "buddy" relationships I've ever seen, which is incredibly important as the main themes of the show are friendship and loyalty. It is the best show to sit and watch with your mates, as you watch the four guys bounce off each other with their banter and their unbreakable unity. It is feel-good TV at its best, and its guaranteed to make me feel great every time I watch it. I keep saying four guys, but really there are five, and the last member of the gang is the outspoken, foul-mouthed and loveable Jewish chauvinist Ari Gold (played by the AMAZING Jeremy Piven), who is Vince's (and sometimes Drama's) agent. He is without a doubt the most applauded and memorable character in the whole saga, and has the best quotes, even if they do offend almost everybody, but the main recipient is Ari's gay assistant Lloyd (who also recieves digs for being half Chinese). However, despite the front, Ari reveals his soft spots on more than occasion, and equates to a very deep and interesting character, particularly in the current season. His fierce dedication and loyalty to his favourite client Vinny is admirable and plays out on the screen as 100% TV gold.
There are many enjoyable characters in the show, but none can really beat Ari to the top spot. The pretentious but passionate director Billy Walsh is probably the only one who is as strong-willed and full of self-belief as Ari, and he also makes for some brilliant viewing. Another character who is loosely based on a real person (Ari is largely based on a real agent called Ari Emanuel), Walsh draws influences largely from the controversial writer/director/actor Vincent Gallo, and again shows true loyalty to Vince despite being an egotistical car crash during certain periods. The best thing about Entourage is the characters, and they really are some of the best I've ever had the joy of watching and getting to know and love.
There are talks of a film in the works, which (if it comes to fruition) will be out in 2012/13, and will presumably wrap up the whole story. Obviously I'm praying it will make it to our cinemas. If not, there is literally one episode of Entourage left for me and the other die hard fans to indulge ourselves in. It's been a hell of a ride, and I have my fingers crossed for the season to end on a high and make me feel as good as it always has done for the past 3 years. So, if you haven't watched Entourage before, or if you have but haven't viewed every season, treat yourself and do it, preferably with your best buddies. Because just like one of the show's old taglines said about the subject of fame: it's more fun with your friends.
The show has done brilliantly in America and the UK, and has now reached its swansong, season 8. It's been praised for its accurate, if not slightly jumped-up representations of people working within the film industry, whether it be actors, agents, producers or directors. One of the best things about the show is the way that it mixes real stars with fictional characters through the use of frequent cameos, which are woven into the script to create a busy and seamless narrative. Therefore you often get well-known and established stars playing altered versions of themselves, which is great to watch. Particular favourites of mine are washed-up comedian Andrew Dice Clay, who is guest starring in the current season, and troubled pornstar Sasha Grey who becomes a bad influence on Vince in season 7 when he becomes a cocaine-addled mess. I'm sure many TV shows borrow this format now, but apart from Entourage and Ricky Gervais's Extras, I can't think of many more that do it so stylishly and effectively.
Not only are the actors in the show so brilliant, but the producers also ring some bells, namely in the form of Mark Wahlberg, who apparently had a large part in the conception of the show, along with the main creator Doug Ellin. One of the initial ideas for the show was to loosely base some of the events and scenarios on Wahlberg's experiences as an actor, and these are noticeable during some moments, however the term loosely cannot be stressed more (Wahlberg was a drug addict and criminal during his early teens, growing up in Boston) as Entourage was desired to be less gritty and more mainstream. However it works very well in merging the two.
There is still plenty foul language, sex, drugs and the like to keep fans of the more adult variety satisfied, and whilst the show glamourises life in Beverly Hills, it also explores the darker side and some of the murky scrapes that Hollywood's elite find themselves in. Wahlberg makes a handful of appearances in the show himself, occasionally popping up to play golf with the boys and take the piss out of Drama. According to something I read on the internet once, to acquaint the group of core actors with each other and welcome them into the Entourage's, well, Entourage, Wahlberg took the gang to Vegas to get them all fucked up and show them a good time.
The group's closeness really shows in the programme, and is one of the must believable (4-way) "buddy" relationships I've ever seen, which is incredibly important as the main themes of the show are friendship and loyalty. It is the best show to sit and watch with your mates, as you watch the four guys bounce off each other with their banter and their unbreakable unity. It is feel-good TV at its best, and its guaranteed to make me feel great every time I watch it. I keep saying four guys, but really there are five, and the last member of the gang is the outspoken, foul-mouthed and loveable Jewish chauvinist Ari Gold (played by the AMAZING Jeremy Piven), who is Vince's (and sometimes Drama's) agent. He is without a doubt the most applauded and memorable character in the whole saga, and has the best quotes, even if they do offend almost everybody, but the main recipient is Ari's gay assistant Lloyd (who also recieves digs for being half Chinese). However, despite the front, Ari reveals his soft spots on more than occasion, and equates to a very deep and interesting character, particularly in the current season. His fierce dedication and loyalty to his favourite client Vinny is admirable and plays out on the screen as 100% TV gold.
There are many enjoyable characters in the show, but none can really beat Ari to the top spot. The pretentious but passionate director Billy Walsh is probably the only one who is as strong-willed and full of self-belief as Ari, and he also makes for some brilliant viewing. Another character who is loosely based on a real person (Ari is largely based on a real agent called Ari Emanuel), Walsh draws influences largely from the controversial writer/director/actor Vincent Gallo, and again shows true loyalty to Vince despite being an egotistical car crash during certain periods. The best thing about Entourage is the characters, and they really are some of the best I've ever had the joy of watching and getting to know and love.
There are talks of a film in the works, which (if it comes to fruition) will be out in 2012/13, and will presumably wrap up the whole story. Obviously I'm praying it will make it to our cinemas. If not, there is literally one episode of Entourage left for me and the other die hard fans to indulge ourselves in. It's been a hell of a ride, and I have my fingers crossed for the season to end on a high and make me feel as good as it always has done for the past 3 years. So, if you haven't watched Entourage before, or if you have but haven't viewed every season, treat yourself and do it, preferably with your best buddies. Because just like one of the show's old taglines said about the subject of fame: it's more fun with your friends.
Monday, 29 August 2011
The planet does another revolution...
PLEASE NOTE: This review was actually written and published on Monday 5th September - I have no idea why it is being displayed as Monday 29th August! Stupid blogger - LA.
The 10th album by the Red Hot Chili Peppers has been floating around the internet now for almost 2 weeks, but I decided to pretend I was 12 again and wait for the CD to hit the shops before I indulged myself in my most beloved band's latest full length album, meaning I only heard "I'm With You" in full as of last Monday. The Red Hot Chili Peppers are a band that have a huge and devout international following due to their worldwide success that they have rightfully earned over the years, but they still have a lot of haters. Due to their enormous fanbase and huge, arena-filling status, a lot of people believe they have lost credibility because they manage to appeal to the masses. Well, a lot of people are fucking idiots.
Every review of this album will go on about the departure of the absolute motherfucking genius guitar prodigy enigma that is Mr. John Frusciante and the subsequent welcoming of his apprentice Josh Klinghoffer, but we already know this, so on with the verdict.
I'll be honest, despite being a RHCP fanboy, I was a little anxious in the months building up to the 29th August 2011. But this is how I feel with the new release of any band I like or love, because I don't want them to screw it all up. And I can safely say that my anxiety has diminished and left me feeling relieved and justified in why I love these guys so much. Three out of the four members are pushing 50 and yet they still have more talent and energy than pretty much any other band around. And this album displays a slight change in direction, likely thanks to the addition of Josh.
First and foremost, he is the new RHCP guitarist, but also contributes keyboards and AMAZING backing vocals to the mix. I was expecting him to merely emulate John's beautiful falsetto melodies, but he doesn't, and displays such a strong, unusual and androgynous voice of his own. In songs such as "Meet Me at The Corner" and "Dance, Dance, Dance" his voice sounds angelic and ethereal, and creates a dream-like atmosphere in an otherwise funky and poignant record. His presence is subtle at times, and at others incredibly overstated, whether by a crunchy chorus riff or a a red hot guitar jam that can appear at any moment. I've watched a couple of live videos on YouTube and his stage presence is so refreshing. He's like an excited puppy equipped with a Stratocaster and more skill than any of the "indie" wankers you'll read about in NME. And the best thing is, it looks as though he doesn't even know it. There is no pomp or arrogance about him in the press or in interviews whatsoever. Give the boy a prize.
But its not only Josh that shines, as Flea gets his mojo back in "I'm With You". Throughout "Stadium Arcadium" Flea was mostly drowned out by Frusciante's megalomaniacal guitar solos, which was a shame as he is clearly the best funk bass player in the world. In this album he displays his creativity with some of his most memorable and instantly catchy basslines in years. He, along with Chad Smith, drives the album and carries the songs with an unmatchable pace and intensity, and is given way more freedom as the songs are no longer being dominated by the almighty force that is John, and are instead being complimented and painted with Josh's textural guitar overtones. This time round, his bass parts really fuel the songs. Together, Flea and Chad are unstoppable, and show that they are one of the most powerful and locked-in rhythm sections on the planet. Add to this Flea's piano work (a result of his enrolment on a music theory course at the University of Southern California) and its clear for all to see that the man formerly known as Michael Balzary has been a busy lad.
It wouldn't be fair to talk about the album without praising the band's chief lyricist, Kiedis, and he definitely deserves a pat on the back for his vocals in this album. There are some wonderful, uplifting choruses and his voice really boasts its power, especially in songs like "Police Station" and the bittersweet "Brendan's Death Song" (about the band's close friend Brendan Mullen) which show that the Chili Peppers can still write great fucking ballads alongside their groovier offerings. His most affecting words, contextually speaking, are probably in "Ethiopia" (another great Flea moment) when he sings: "tell my boy I love him so, tell him so he knows" about his young son Everly Bear, as he has constantly expressed his life-changing experience of raising his firstborn since his birth in 2007.
Many of the songs on "I'm With You" could be great singles, but the album as a whole flows very well and doesn't really have any weak points. However I am always going to have a biased opinion of the band because I love them more than I can put into words. Gayyy. However I would love for "Look Around" to be the next single after "The Adventures of Raindance Maggie" because its extremely infectious and sounds superb live.
Overall, "I'm With You" presents a wiser, mellowed Red Hot Chili Peppers but blends that with the image of a band that can truly rock your (cock)socks off like they did in the good old days, and can continue to write great rock/funk/pop or whatever the hell you want to try and brand it with. It offers a band that have been through many of rock'n'roll's cliches only to emerge on the other side, stronger and more original than before, and looks at life, death and rebirth in a way that only they can.
The 10th album by the Red Hot Chili Peppers has been floating around the internet now for almost 2 weeks, but I decided to pretend I was 12 again and wait for the CD to hit the shops before I indulged myself in my most beloved band's latest full length album, meaning I only heard "I'm With You" in full as of last Monday. The Red Hot Chili Peppers are a band that have a huge and devout international following due to their worldwide success that they have rightfully earned over the years, but they still have a lot of haters. Due to their enormous fanbase and huge, arena-filling status, a lot of people believe they have lost credibility because they manage to appeal to the masses. Well, a lot of people are fucking idiots.
Every review of this album will go on about the departure of the absolute motherfucking genius guitar prodigy enigma that is Mr. John Frusciante and the subsequent welcoming of his apprentice Josh Klinghoffer, but we already know this, so on with the verdict.
I'll be honest, despite being a RHCP fanboy, I was a little anxious in the months building up to the 29th August 2011. But this is how I feel with the new release of any band I like or love, because I don't want them to screw it all up. And I can safely say that my anxiety has diminished and left me feeling relieved and justified in why I love these guys so much. Three out of the four members are pushing 50 and yet they still have more talent and energy than pretty much any other band around. And this album displays a slight change in direction, likely thanks to the addition of Josh.
First and foremost, he is the new RHCP guitarist, but also contributes keyboards and AMAZING backing vocals to the mix. I was expecting him to merely emulate John's beautiful falsetto melodies, but he doesn't, and displays such a strong, unusual and androgynous voice of his own. In songs such as "Meet Me at The Corner" and "Dance, Dance, Dance" his voice sounds angelic and ethereal, and creates a dream-like atmosphere in an otherwise funky and poignant record. His presence is subtle at times, and at others incredibly overstated, whether by a crunchy chorus riff or a a red hot guitar jam that can appear at any moment. I've watched a couple of live videos on YouTube and his stage presence is so refreshing. He's like an excited puppy equipped with a Stratocaster and more skill than any of the "indie" wankers you'll read about in NME. And the best thing is, it looks as though he doesn't even know it. There is no pomp or arrogance about him in the press or in interviews whatsoever. Give the boy a prize.
But its not only Josh that shines, as Flea gets his mojo back in "I'm With You". Throughout "Stadium Arcadium" Flea was mostly drowned out by Frusciante's megalomaniacal guitar solos, which was a shame as he is clearly the best funk bass player in the world. In this album he displays his creativity with some of his most memorable and instantly catchy basslines in years. He, along with Chad Smith, drives the album and carries the songs with an unmatchable pace and intensity, and is given way more freedom as the songs are no longer being dominated by the almighty force that is John, and are instead being complimented and painted with Josh's textural guitar overtones. This time round, his bass parts really fuel the songs. Together, Flea and Chad are unstoppable, and show that they are one of the most powerful and locked-in rhythm sections on the planet. Add to this Flea's piano work (a result of his enrolment on a music theory course at the University of Southern California) and its clear for all to see that the man formerly known as Michael Balzary has been a busy lad.
It wouldn't be fair to talk about the album without praising the band's chief lyricist, Kiedis, and he definitely deserves a pat on the back for his vocals in this album. There are some wonderful, uplifting choruses and his voice really boasts its power, especially in songs like "Police Station" and the bittersweet "Brendan's Death Song" (about the band's close friend Brendan Mullen) which show that the Chili Peppers can still write great fucking ballads alongside their groovier offerings. His most affecting words, contextually speaking, are probably in "Ethiopia" (another great Flea moment) when he sings: "tell my boy I love him so, tell him so he knows" about his young son Everly Bear, as he has constantly expressed his life-changing experience of raising his firstborn since his birth in 2007.
Many of the songs on "I'm With You" could be great singles, but the album as a whole flows very well and doesn't really have any weak points. However I am always going to have a biased opinion of the band because I love them more than I can put into words. Gayyy. However I would love for "Look Around" to be the next single after "The Adventures of Raindance Maggie" because its extremely infectious and sounds superb live.
Overall, "I'm With You" presents a wiser, mellowed Red Hot Chili Peppers but blends that with the image of a band that can truly rock your (cock)socks off like they did in the good old days, and can continue to write great rock/funk/pop or whatever the hell you want to try and brand it with. It offers a band that have been through many of rock'n'roll's cliches only to emerge on the other side, stronger and more original than before, and looks at life, death and rebirth in a way that only they can.
Saturday, 20 August 2011
In the grace of your love...
I've been pretty excited about the new release from NYC punk-funk outfit The Rapture for some time now, having ordered tickets for their Manchester gig months ago. And now here it is, thanks to the band streaming it in an unorthodox fashion the other night, in full, via the web. Part of DFA Records' "White Out" sessions, the live stream basically consisted of a camera aimed at a record player as it blasted out "In The Grace of Your Love", and featured some DFA minions dutifully flipping the LP at the necessary points as well as holding up track titles written on white paper. Unfortunately I missed the live stream but luckily it was uploaded to Vimeo and then shared around the internet for any other latecomers like myself.
The album's lead single, the aptly titled "How Deep is Your Love?", gave the world some insight into what direction The Rapture were going to take when it was revealed a few months ago. The dancefloor was definitely the intention, as the song created a nightclub vibe in the same vein that James Murphy used to do with the lengthier LCD Soundsystem tracks. The song builds upon a simple repetitive drum clap and piano loop that grows like a monster, complimented by Luke Jenner's heartfelt vocals, until it reaches its peak and the memorable saxophone freak-out during the final moments.
Upon hearing it, I knew that this album was going to be different to their previous efforts. I absolutely raved over "Pieces of The People We Love" and still listen to it now as often as I did when it came out. That followed their 2nd album "Echoes", which was equally as amazing. And so I felt some nerves, as I always do when I await an album from one of my most cherished bands (RHCP being the main culprit at this current moment). But I am happy to say that any anxiety I may have had over The Rapture's 4th long player has bowed its head and left the building.
"In The Grace of Your Love" is an unusual record stylistically, and sounds like it should be listened to in a beach house on a sunny day whilst sipping a large cocktail. "Come Back to Me" is chilled and steady at first, but then takes a dark turn and lurks over a thick bassline before introducing drums and then coming to a close. Its an example of how unpredictable and experimental The Rapture can be. The title track reminds us how well the band can do slow funk numbers, with its brooding angular bassline and raw guitar line, and further proving that the New Yorkers can do moody melancholy just as well as turbo dance-punk.
"Never Die Again" is another example of just how groovy they can be with a few bass notes and the subtle help of a brass section. It's hard to pick highlights from this album because in my opinion, every track is a joy and offers something even fresher and more different from the last. I'm just so fucking relieved and now have even more reason to look forward to their gig at the Academy on September 7th (as if I didn't have enough reason anyway!)
If you're a fan of The Rapture you will love "In The Grace of Your Love" - if you aren't, but enjoy summery indie-dance, then you should give it a try anyway. Definitely one of my picks of 2011 so far.
The album's lead single, the aptly titled "How Deep is Your Love?", gave the world some insight into what direction The Rapture were going to take when it was revealed a few months ago. The dancefloor was definitely the intention, as the song created a nightclub vibe in the same vein that James Murphy used to do with the lengthier LCD Soundsystem tracks. The song builds upon a simple repetitive drum clap and piano loop that grows like a monster, complimented by Luke Jenner's heartfelt vocals, until it reaches its peak and the memorable saxophone freak-out during the final moments.
Upon hearing it, I knew that this album was going to be different to their previous efforts. I absolutely raved over "Pieces of The People We Love" and still listen to it now as often as I did when it came out. That followed their 2nd album "Echoes", which was equally as amazing. And so I felt some nerves, as I always do when I await an album from one of my most cherished bands (RHCP being the main culprit at this current moment). But I am happy to say that any anxiety I may have had over The Rapture's 4th long player has bowed its head and left the building.
"In The Grace of Your Love" is an unusual record stylistically, and sounds like it should be listened to in a beach house on a sunny day whilst sipping a large cocktail. "Come Back to Me" is chilled and steady at first, but then takes a dark turn and lurks over a thick bassline before introducing drums and then coming to a close. Its an example of how unpredictable and experimental The Rapture can be. The title track reminds us how well the band can do slow funk numbers, with its brooding angular bassline and raw guitar line, and further proving that the New Yorkers can do moody melancholy just as well as turbo dance-punk.
"Never Die Again" is another example of just how groovy they can be with a few bass notes and the subtle help of a brass section. It's hard to pick highlights from this album because in my opinion, every track is a joy and offers something even fresher and more different from the last. I'm just so fucking relieved and now have even more reason to look forward to their gig at the Academy on September 7th (as if I didn't have enough reason anyway!)
If you're a fan of The Rapture you will love "In The Grace of Your Love" - if you aren't, but enjoy summery indie-dance, then you should give it a try anyway. Definitely one of my picks of 2011 so far.
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