Chimpomatic

Land of the Lost

Unadventurous, misdirected action comedy vehicle with Will Ferrell reviving the throwback TV show.

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4th Jul 2010

Sunshine Cleaning

Two sisters set up a crime scene cleaning business. Nice premise.... very, very slowly executed.

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4th Jul 2010

Star Trek

Disappointing reboot as the confusing plot points eat themselves again. Fake lensflare in every shot too.

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4th Jul 2010

Death Race

No surprises from this over-confident futuristic car chase blood bath. Statham watchable as usual.

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3rd Jul 2010

Jeff Tweedy

Union Chapel, London

Jeff Tweedy cemented his position at the top of the league this week, with another top-notch performance - this time without the help of backing band Wilco and in the serene setting of Islington's Union Chapel. I've been looking forward to this one since missing his 2005 solo show in favour of seeing an ageing Bob Dylan at Brixton. A shocking mistake that I have regretted since, particularly as Dylan has returned several times since.

With just a guitar and his booming voice, the Wilco front man worked his way through a diverse range of classics from Wilco (Jesus Etc, Via Chicago, Kidsmoke), Uncle Tupelo (New Madrid, Acuff-Rose), Loose Fur (Laminated Cat, The Ruling Class) and a good selection of tracks from the Woody Guthrie albums on which Wilco teamed up with Billy Bragg (Remember The Mountain Bed [awesome], California Stars). He even bowed to "some asshole's" request for a Bob Dylan cover.

There was one exception to the solo status, as Tweedy was joined on stage early on by his 'hero' Bill Fay, with the two singing a charming duet of Be Not So Fearful. The more delicate setting placed a real emphasis on the lyrical quality of many of Tweedy's songs, highlighting his real talent as a talented and prolific songwriter, rather than just the front man of a brilliant rock band.

New tracks also made for some of the highlights (One Wing, Impossible Germany), but the star of the show was Tweedy's charming presence and wit - making the choosing of tracks by the audience like an episode of VH1's Storytellers starring Jack Dee. Brilliant.

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2nd Jul 2010 - 1 comments - Add Comment - Tweet

Cast Away

Tom Hanks' solitary performance lifts this Hollywood take on Robinson Crusoe out of the ordinary.

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30th Jun 2010

We Were Soldiers

Randall Wallace's ambitious start-of-the-Vietnam-war movie promises much but delivers cliches.

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29th Jun 2010

Nobody Knows

Charming and touching tale of Japanese kids left at home alone. Even if it is torturously long.

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28th Jun 2010

The National

Full force beard rock in the sun. \#glasto.

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26th Jun 2010

Moon

Interesting and original - if not totally successful - sci-fi, with great performances from Sam Rockwell.

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26th Jun 2010

Let The Right One In

Subtle, slow, stylish, Swedish, subtitled.

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21st Jun 2010

The Punisher: War Zone

One of the thinnest plots I've ever seen. Like Neighbours does superheroes.

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20th Jun 2010

Angels & Demons

Surprisingly watchable science vs religion hokus pokus sequel/prequel from Tom Hanks and Ron Howard.

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19th Jun 2010

Casualties of War

A harrowing subject, rendered in a cliched and dated way - under the long shadow of Platoon.

Halliwell says: Simple minded, melodramatic account of a true incident.*

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19th Jun 2010

Kids in the Hall - Death Comes To Town

Death Comes To Town sees the welcome return of 90's comedy legends Kids In The Hall, as the canuckian comedians eschew their traditional scetch show format for a narrative based comedy 'drama'.

Of course it's not that straightforward. The five kids play 90% of the characters in the backwater town of Shuckton, where death has literally come to town. In fact, he's staying at the the No-tell Motel. As the story evolves, we move between a handful of story lines - all revolving around murder in the town. We follow the trial of a 1/16th native suspect, the ascension of the mayors wife, rivalry in the local news crew and sofa-bound former hockey hero Ricky's dodging of death as he's compelled to solve the crime.

There may not be the screaming highlights of the show ("My pen!", Girl Drink Drunk), but it's all solid and full of laughs. Fat, thin, male, female - it makes no difference as the Kids seamlessly blend in and out, building a convincingly ridiculous picture of the intricacies of small town life.

"What's heaven like?"
"It's like Calgary. In the 60's."

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18th Jun 2010 - Add Comment - Tweet

Snatch

A little dated, but only by 'homage' to the original.

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13th Jun 2010

The Drums

The Drums

Island

Emerging bleary eyed from the Christmas/New Year haze I was confronted with nothing but talk of immanent financial hardship and the merits of a New York band called The Drums. I laughed off both as mere hype but lo and behold they've both come true and after hearing this debut album the latter certainly certainly makes the former rumor more easy to bear. If you have the Summertime Ep released last year then you'll be familiar with a lot of this but that shouldn't dampen your enjoyment in the least. Swamped in British eighties warmth but infused with a charm and freshness that seems to only emanate from the States at the moment The Drums continue in part what bands like Vampire Weekend started. These are simple songs heavily recalling bands like The Cure or New Order but laced with a rolling surf-rock sensibility. It's a fine mix and one that benefits form a full length format. They've bravely left off two of their most popular songs from Summertime, I Felt Stupid and Submarine, but left their flagship Let's Go Surfing, a song that won them their considerable acclaim on the blogs.

In these dark times I continuously look across the pond for indie-pop alleviation and with The Drums I look no further. It's not reinventing the wheel but who needs reinvention with a record as joyous as this. Highlights include Forever And Ever Amen and I'll Never Drop My Sword.

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11th Jun 2010 - Add Comment - Tweet

The Ponys

Deathbed Plus 4

Matador

This 5 track EP comes into view as another darkly looming juggernaught in this impressive bands back catalogue. It continues on form the success of 2007's awesome Turn The Lights Out and though doesn't really aim to make much ground in terms of progression it manages to more that solidify this band as one of Matadors more steady exports.

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11th Jun 2010 - Add Comment - Tweet

The Cure

Disintegration (Deluxe Issue)

Polydor

On it's impending release I remember thinking of Disintegration as something of a sell out. A mainstream album on a major record label, which was getting the kind of promotion a new Kings of Leon record would get today. In hindsight, it is perhaps The Cure's darkest and most complete album - focussing their attention in a way that the singles-orientated band had not managed before, into what might as well be one, long brooding composition.

Which begs the immediate question of whether this 12 track masterpiece really needs an expanded, 44 song edition? The answer isn't exactly yes, but if taken as 'extras', this is a fantastic release, which honours the original beautifully. The first disc features a newly remastered version of the original album, making it easy to switch off when that finishes. If you're on a mission, disc two should perhaps be listened to first - as the variety of demos from different periods in the production really show the evolution of the album, without the dull repetition that so many deluxe issue succumb too. Songs evolve from Robert Smith's home demos, through band rehearsals, band demos and studio outtakes.

Delirious Night, Pirate Ships and Babble offer notable non-album tracks on this disc, perfect for mix-tapes - but the more up-beat nature and tempo of each makes it easy to see why they didn't make the cut for the sombre/uplifting final record.

Disc three features the entire album, live (from Wembley Arena! Sell out). Stick this one on last and the evolution of the record is complete, transporting you back to a packed concert as the alum is majestically and triumphantly performed.

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11th Jun 2010 - Add Comment - Tweet

Active Child

Curtis Lane

Merok

As the dying beauty of opener I'm In Your Church At Night fades gently into the background you'll ask yourself where on earth this sound came from and how dare it pop up and steal your heart this damn easy and with such little warning. Well it's the momentous achievement of Pat Grossi who's soaring falsetto vocals are the instant attention grabber. They float with a fragility that caries with it real power. Miscellaneous fuzz and effects follow it's every movement and when supported by the calamitous drums on Weight Of The World the effects are utterly dazzling. This music is dream-like in its production with different planes of sound from twinkling harp to great synth oceans sliding in front of the vocals and pushing everything into the distance and rendering it all untouchable. This only serves to encourage your ears and soul to strain even harder to reach the prize.

With such simple strokes Grossi produces epic magnitude and though the EP only spans 6 songs its power is astonishing. It's the soundtrack to a momentous event in your life.
Killer tracks: When Your Love Is Safe, I'm In Your Church At Midnight.

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11th Jun 2010 - 1 comments - Add Comment - Tweet

Wild Nothing

Gemini

Wild Nothing is the work of Virginia's Jack Tatum and though Gemini wears its 80's mope influences on its sleeve it does it with pride. Drenched in hazy sunshine, vocals buried in texture, swirling jangle guitars and synth washes all combine to create a glorious mud of sound that penetrates every pore of your being. It has the nostalgia of Pains Of Being Pure At Heart and the subtle mesmerism of The XX. It doesn't however have the heart stopping captivation of either of those bands but comes a close third. Like a gently drizzly day, you'd have to spend some time in this music for it to soak through, but soak through it certainly will. It sounds familiar but gloriously so.

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11th Jun 2010 - Add Comment - Tweet

Black Mountain

Old Fangs (Single)

Jagjaguwar

The first taste of Black Mountain's forthcoming album Wilderness Heart has arrived - and Old Fangs is no disappointment. Not exactly as expected, with the band moving their sound forward the best part of a decade to the late 70's/early 80's - but exactly as expected wouldn't be much fun would it? Empires will be smashed, dual vocals will rule and the psychedelic keyboards get their turn in the spotlight.

Wilderness Heart is due in September. Download Old Fangs now.

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11th Jun 2010 - Add Comment - Tweet

Public Enemies

The docu style and attention to detail are admirable, but the awful photography and music sink this.

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6th Jun 2010

The Wrestler

Assured, engaging performances from Aronofsky and Mickey Rourke in this tragic observational drama.

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6th Jun 2010

Grosse Point Blank

90's highlight from John Cusack, which has aged well. Funny and suspenseful with some great lines.

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5th Jun 2010

The Soft Pack

The Soft Pack

Heavenly

I know this has been out for ages but I'm just loving it. Formerly known as The Muslims, this San Diego four piece wisely changed their name and emerged with a belated release of this debut proper. It doesn't rewrite anything but just hits all the indie-punk buttons in quite a mild mannered, but endlessly pleasing way. The formula is very much two minute breakneck shots of garage rock full of jangle guitars, frantic drums and all propelled by singer Matt Lamkin's deadpan swagger. Where this formula is broken is where this band really come alive. Midway through the record you get Pull Out. It establishes a steady beat early on and keeps it steady throughout. Lamkin's repeated vocals give it an almost Krautrock kind of mesmerism. It builds up on this pace then crashes down to return to the rolling drum beat, then starts the process again. Closing track Parasites continues this structure but eases down on the gas and finishes things with at a belting pace. It employs extended areas of driving guitar between Lamkin's shouted vocals and sees the last minute out in this fashion. I's the final sprint and it's electrifying.

There's been much hype surrounding this band, largely due to the name change but also some pretty memorable live shows. This hype has taken its time to manifest here in the UK and it might have been difficult for a small band's reputation to precede them this much. But this release does all that justice and more than wets the appetite for the future.

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4th Jun 2010 - 1 comments - Add Comment - Tweet

Darwin Deez

Darwin Deez

Lucky Number

The problem with this record is evident from the opening bars of the second song. You'll find it's a slowed down version of the first. And this feeling of familiarity runs from song to song and ultimately masks their merit. And they do indeed display their fair share of merit. Running very much in the Strokes / Albert Hammond Jnr school of indie pop this debut is comprised of very simple songs built around the guitar/ drum machine structure. Standout tracks are Constellations and Radar Detector and the reason being that they and a few others are the rare times when the song structure varies. This debut shows promise but does it over and over in the same way.

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4th Jun 2010 - 1 comments - Add Comment - Tweet

Male Bonding

Nothing Hurts

Sub Pop

Male Bonding are trio from London and after an early spell of pretty abrasive noise-pop they've evolved into a more well rounded band and have been scooped up by Sub Pop the lucky little beggars. Their early noise excursions still remain in the mix here but have been filled out with a delicious serving of mangy punk-rock packed full of hooks, fierce guitars, crashing cymbals, basically everything you'd want from this label. Very much in the neighborhood of bands like No Age or Abe Vigoda these guys marry perfectly the lo-fi scuzz with the garage-rock sensibility and always keeping a sideways glance in the direction of melody and structure. Nothing Hurts doesn't quite match the reckless abandon of Japandroids but it's brimming over with excitement and raw passion. Killer tracks are More Things This Way and Franklin.

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4th Jun 2010 - Add Comment - Tweet

James Murphy & Various Artists

Greenberg Soundtrack

Parlophone

Arranged and composed by LCD Soundsystem's James Murphy this soundtrack to Noah Baumbach's film is a fantastic mix of genres, tempos and moods. Kicking off with The Steve Miller Band's Jet Airliner this features many heavyhitters, the highlights being Galaxie 500 and Duran Duran surprisingly. But the real delights, unsurprisingly, come from Murphy himself. This is obviously the perfect vehicle for him to flex muscles not permitted in his day job. And these muscles conjure up a more thoughtful and etherial sound comprised of minimal song structures and reflective, fragile vocals. The whole collection is perfectly conceived and further illustrates Murphy's dominance of everything creative in the whole world ever.

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4th Jun 2010 - 1 comments - Add Comment - Tweet

Holy Fuck

Latin

Young Turks

This is the third album from the beautifully named Holy Fuck and it's an altogether tighter affair than its predecessors and dwarfs them all in terms of size. As the the ambient 4 minutes of 1MD opens the album it looms into view like an advancing apocalyptic, 7 storey doomsday machine. As its debris clears Red Lights booms with colossal rhythm and the pace and magnitude rarely lets up until the dying textures of the brutal closer P.I.G.S. Their combination of synth melodies, crunching rhythm and booming guitars seem to gel more concisely here and as each song serves to build this machine higher and stronger and the even more threatening Latin will leave you wasted and spent in its wake.

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4th Jun 2010 - Add Comment - Tweet

Melvins

The Bride Screamed Murder

Ipecac

This is the first proper Melvins release for two years and the third to feature Jarred Warren and Coady Willis from Big Business. The two preceding albums (Senile Animal, Nude With Boots) were chock full of twin-drummer assaults and memorable tracks that somehow combined the best of the Melvins sound with that of Big Business. This new release has its moments, but ultimately fails to satisfy.

Speaking as a total fan-boy, I can't say I'm not disappointed. I've travelled more miles to see this band play live than any other. I've always loved the new ideas that come with shifting line-ups, and lived with this new release for a month before posting my review, but I can't get over the fact that this album is (at best) hotch-potch, and at worst, weak.

It's certainly diverse - the opening track The Water Glass is a rallying cry for the Melvins massive - all military cadence drumming and boot-camp chanting. OK, a bit baffling, but perhaps it'll work live. Things suddenly look up with track 2 - Evil New War God. This is the best track on the album - classic Melvins chunk winding into a doomy synth assisted riff during it's outro. Great stuff, but from here on in, the pickings get much slimmer. Pig House starts out promisingly enough but ends up in a rock-bolero - that most hackneyed and corny device. Even if it's meant to be ironic, it still sounds cheesy.

I'll Finish You Off is next - and to my ears it sounds just like a Big Business track. I'm not hearing much Buzz and Dale in there. Electric Flower follows and this could be said to be the other highlight of the album. Hospital Up comes next, which sounds like a track that might have been left off Nude With Boots - it starts well but dissolves into two minutes of faux-jazz fucking around. The joke wears thin after about 20 seconds. Inhumanity And Death is a bit incoherent - a stitch-together of left-over riffs, or orphans that don't really get along with each other. Then we get an 8 minute version of The Who's My Generation played as a sloppy bar blues. Once again, the irony is lost on me - it's just boring. The Melvins have done some awesome cover versions over the years (White Punks On Dope, Promise Me) but this doesn't come up to scratch.

The album winds down with PG x 3 - a folksy tone-poem played through three times - on melodica, a-capella, and on fuzz guitar. It ends with a child's voice counting numbers and looping on the number 4. I quite like this, but it's not exactly Steve Reich. Perhaps that repeated number 4 is reminding us that there are four people in the Melvins, each with equal input. Perhaps - but I'm not sure if this serves as a declaration or a disclaimer.

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3rd Jun 2010 - Add Comment - Tweet

Sex & the City 2

Shallow, literally offensive drivel, that's a lot more #2 than the first one, which I enjoyed..

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30th May 2010

Tropic Thunder

Sometime amusing parody of every war movie ever. Great Tom Cruise cameo too.

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28th May 2010

Radio Dept.

Clinging To The Scheme

Century Media

This record is the moment you pull open the curtains on a bright summers morning and your eyes gradually adjust to the change in light as the day creeps into focus. They come from Sweden and Clinging to The Scheme is their third release. It's a dreamy blend of 80's indie-pop and gentle dance beats. It glistens with freshness and clarity as unassuming melodies drift up, out of the sun-soaked haze to take your breath away. Highlights include Heaven's On Fire and Never Follow Suit.

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28th May 2010 - Add Comment - Tweet

Sage Francis

Li(f)e

Anti

It's been a long time coming but finally the follow up to 2007's Human The Death Dance drops and it sees Mr. Francis all grown up. I remember seeing Sage Francis at Plastic People many many years ago as he stood in the middle of the crowd spitting venomously into his mic and backed by a CD of recorded beats that he himself had to operate. Well Li(f)e is a far cry from that set up and is the first time Sage's unique and intricate poetry is given the panoramic backdrop of a a full and live band, not to mention the guest appearances. Opener Little Houdini sees Sage hook up with Grandaddy's Jason Lytle and Slow Man teems up with Joey Burns of Calexico. The result is a far richer concoction and one that works on may levels. It's more low key than previous releases and the warmth with which his beats emanate seem to give Sage's rhymes more body.

Three Sheets To The Wind livens up the general slow pace with Death Cab For Cutie's Chris Walla on guitar, Slow Man shimmers with midwest heat and closer The Best OF Times continues Sage's tradition of ending on an epic note. WIth rich orchestration he wrenches the heartstrings to the bitter end.

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28th May 2010 - Add Comment - Tweet

Moon Duo

Escape

Woodsist

Moon Duo are a San Francisco duo consisting of Sanae Yamada and Eric Johnson who in case you didn't know is the guitarist behind the swirling psychedelia of Wooden Shjips. Escape, their debut full length is very much a continuation of the head-fuck hypnotics that Wooden Shjips ooze out. It spans only 4 tracks and clocks in at just under half an hour as you'd expect. As the guitars whip up a monotonous pounding rhythm Johnson's vocals emanate with a whisper and get buried under the calamitous sonic onslaught. Some are slow and driving and some are nimble but all are bloated with strength.

Escape is a worthy addition to what Wooden Shjips do so well. Eight minute opener Motorcycle, I Love You never lets up with it's narcotic repetition and Stumbling 22nd St fizzes with scuzz. Awesome.

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28th May 2010 - Add Comment - Tweet

Harlem

Hippies

Matador

Hippies is the Matador debut from this Austin three-piece and it improves on the previous Free Drugs effort. This doesn't stray too far from the archetypal dirty knees of your favorite garage bands and is all the better for it. Out of the ramshackle compositions come sugary choruses, rolling guitars and a frantic rhythm section. Vocal duties are often shared and the hooks are spat out at an alarming rate. It's non stop for just over forty minutes and sixteen of the finest jangle-pop you'll hear for a while.

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28th May 2010 - Add Comment - Tweet

Phosphorescent

Here's To Taking It Easy

Dead Oceans

I guess there's two ways to approach a critical analysis of this record. Firstly on its own merit and as a piece of work independent of its predecessors and then secondly in direct comparison to said predecessors. Taking the first route, Here's To Taking It Easy is blissful. Matthew Houck's fragile vocals are complemented and bolstered by a full band and swelling, rich orchestration full of horns, meaty rhythm and soaring backing vocals. It comes off the back of 2009's For Willie, an album of Willie Nelson covers, and sees Houck's writing happier, fuller and and more linear.

Now for the second route. Houck's 2007 release Pride was an exceptional piece of work. It was uncompromising and difficult, it was haunting and utterly bewitching. As track after track sprawled out over nine minutes it hypnotized you with its looped vocals and stark atmospherics. Houck's same fragility threatened to break under this weight and the tension was what kept you hanging on. There is very little of that approach in this record and so I must admit to a certain degree of disappointment. I had figured the tempo and general upbeatness of For Willie was due to it being covers. But it looks like this is the way Houck is heading. Having said that, I love it as a country record, full of heartfelt tales of sorrow and love-lost. I think I'm over-thinking this way too much.

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28th May 2010 - Add Comment - Tweet

Rachel Getting Married

Part laidback masterpiece, part wordy pretentious actor-led twaddle. I struggled to finish.

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27th May 2010

Ghosts of Girlfriends Past

McRomcomedy does Scrooge.

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23rd May 2010

LCD Soundsystem

This Is Happening

DFA

From the solid dance record that was their self-titled debut, LCD Soundsystem have managed to successfully evolve into one of the most essential acts around today. As solid as the debut was, you'd be forgiven for pegging them as a one trick pony. 2007's Sound Of Silver put paid to any of that by topping all the 'best of' lists that year, including All My Friends gaining the top spot on my "best tracks of the decade" list. With that record they stepped out of their dance shoes and became so well-rounded it's almost annoying. James Murphy's got his shit locked down. He hooks the chicks with his onstage antics and charisma, and appeals to the guys by looking like a record company executive that's trying his hand on the shop floor - and aceing it every time.

So what next then for Murphy and crew? Well there's only one thing for it. You follow all that up with an equally tough record and meet the throbbing expectation head on. I say "equally tough" but This Is Happening isn't quite as satisfying as Sound Of Silver although it's close enough. Opener Dance Yrself Clean is a hell of a way to kick off a record; starting slow then punching in with the most pleasing beats since Daft Punk last played in his house. All I Want is the other power-track here and one that really displays the multi-string bow with which this band wield their charm. Centered around a looping guitar chord, it stretches out over six minutes with very little in the way of chorus, it just goes on and on with trance-like sensibilities which are interjected with bleeps and synths that swirl and dive around this structure. Pow Pow is reminiscent of I'm Losing My Edge and also Talking Heads' use of spoken word. Closer Home wraps everything up so perfectly with a near eight minute swirler of unbridled joy. It's another one that's gloriously reminiscent of Talking Heads and one that displays Murphy's trick of "all verse" delivery. The length of these songs coupled with the "all meat and no fat" structure gives an album like this some considerable might.

Everything James Murphy creates under this banner will ultimately be classed as dance music but this has an intelligence rarely seen in the genre. It's fiercely contemporary with songs like All I Want but then gloriously retro with Change and You Wanted A Hit. It's got its weak points however. Somebody's Calling Me is a bit tedious and lead single Drunk Girls (which just sounds like a lazy attempt to prick up the ears of radio listeners) is a touch thin. Having said that, along with I Can Change it's really the only conceivable choice they've got in terms of releases, when every other song here averages out at seven minutes. But when you're surrounded by such quality it seems darn-right picky to pinpoint these as weaknesses. It's a pretty rare thing when you get an album that I clearly haven't enjoyed as much as the predecessor that's so good there's really no reason to mark it any lower. (Having said that Sound Of Silver should really have been 4.5)

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17th May 2010 - Add Comment - Tweet

Vicky Christina Barcelona

Woody Allen's paper thin romance owes a heavy debt to Whit Stillman's 'Barcelona'.

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16th May 2010

The Game

Always on the edge of unwatchable, Davd Fincher's paranoid thriller still got game.

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16th May 2010

Waltz With Bashir

Intriguing, animated drama-documentary about the 1982 Israel/Lebanon war.

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16th May 2010

State of Play

Thoughtful, thoroughly engaging reboot of the BBC show - with added papers vs blogs context. Excellent.

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15th May 2010

The National

High Violet

4AD

Stumbling across Alligator in Fopp on a non-descript weekday afternoon in 2005 worked out to be one of the sweetest and unexpected musical highlights of the past ten years. Since then, this Brooklyn band has consistently honored that experience by confidently building on Alligator's success. 2007's Boxer raised the bar to heights that even Alligator rarely hinted at - and so, expectation was swollen and bloated beyond the humble proportions that this band cultivate. Since Boxer the Dessner brothers have proved themselves to be quite a creative force in today's industry putting out the Dark Was The Night and Long Count projects, so with all that added experience High Violet was set to be stellar.

I have to admit though to feelings of disappointment throughout many of the initial listens here. Boxer's rich soundscapes and widescreen ambition seemed to have been compromised in favor of a much more low key sound. Matt Berninger's dichotomous writing can lift you up on "A wingspan unbelievable" with confessions of inadequacy and insecurity but here seemed to fall short of those heights and feel more content to leave you wallowing. The pace also hints at this redirection of vision. Boxer was a drummers album and High Violet rarely exploits this aspect to the same extent.

But to cut a long story short, now I bloody love it. I must have had it on repeat constantly for the last week and this new direction has seeped into my soul and to this day refuses to release me. I guess a good way to describe High Violet is in depth rather than height. While Boxer could often soar, these songs bury deep and take you to much darker places and all with the same tools. The same rich pallet is employed here as it swirls and builds with intricate subtlety around Berninger's baritone hum. Having their own studio and the gift of time afforded them space to obsess over every minute of this record, but instead of suffocating under these conditions it thrives - and it takes a skilled group of musicians with enough self awareness to achieve such a result. Speaking about their approach to High Violet, Aaron Dessner says "Matt expressed a desire to hear things that "sounded like hot tar. Or loose wool." This goes some way to describe the finished product that is High Violet. Songs like Sorrow and A Little Faith drip out with such thickness that given a decent pair of headphones it's quite easy to lose yourself in their density. Anyone's Ghost and Afraid Of Everyone are hollow depictions of loneliness and isolation, while Bloodbuzz Ohio continues where the Boxer heights left us.

Seeing them on their tour of Boxer I was quite worried to witness the bloated endings that seemed to have been tacked on to most of the songs. At the tail and of the vocals the Dessners' would step forth tho the front of the stage and elevate each song to a Wilco like frenzy of feverish guitars, and it really didn't suit their style. High Violet opener Terrible Love does this too but I am very pleased to see the restraint that this album shows and it never does it again. Given their astonishing rise this band would be forgiven for letting some of it go to their heads but this record shows this not to be the case. It is a work of admirable restraint yet progressive enough to honor the memory of what's gone before.

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13th May 2010 - Add Comment - Tweet

Thief

An unlikeable and unsubtle performance from James Caan lets down this prototype Michael Mann action flick.

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8th May 2010

CQ

Fun, self-aware, retro sci-fi parody from Roman Coppola.

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3rd May 2010

Hot Tub Time Machine

(dir. Steve Pink)

"It must be some kind of... hot tub... time machine" Craig Robinson deadpans to the camera when he and his buddies find themselves in a ski lodge in 1986. That's about the depth of the plot in this wilfully stupid comedy. Which is what makes it work. It feels like a film where they came up with a title that they liked, and then wrote backwards around it. There's the odd bit of psychological depth - dudes aren't happy with assholes they've grown up to be, could this be a chance to fix the mistakes of the past? - but it's all buried in a pacy round of 80s gags and puke jokes. Lots of 80s ski bunny action too if you've ever wondered what life was like up on the slopes then. (Bonus fact - it was shot in Fernie, Canada, and looks a lot like certain other Chimp-friendly destinations.)

John Cusack trades off his 80s persona, taking every chance to diss the decade (all "Reagan and Aids") - although it's weird having some kid play the 80s version of him as we all know exactly what he looked like. Rob Corddry plays a similar pissed-off/manic role to the one he had in What Happens In Vegas; Clark Duke is Cusack's nephew experiencing the 80s for the first time (what? no wi-fi?); Craig Robinson is funny when checking out his Kid N Play boxcut.

More 80s cameos from Crispin Glover (aka George McFly) and Chevy Chase as the possibly mystic hot tub repair man. Nice nods throughout - Bowie skiing on MTV ads, Scritti Politti sounding great (I'm ready for the greatest hits coming out soon), and some ski patrol lunks freaking themselves out over some Red Dawn-style commie paranoia.

Could do without the homophobic panic that runs through a lot of these mindless slacker comedies though, and if you think about it too hard, the ending isn't really a total win, but hey, this isn't a Brief History Of Time, it's a Hot Tub Time Machine. 

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28th Apr 2010 - Add Comment - Tweet

Gran Torino

Disappointing swansong for Clint's acting career, with any promise hamstringed by a v clumsy script.

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27th Apr 2010