Attack the Block.
From the trailer this movie looked like it maybe a little low budget. I thought it looked like a laugh and decided to check it out anyway. What I was met with from the outset was much higher budget than first thought. From the opening scene of views over London on what I can only assume is the 5th of November due to a huge amount of fireworks to the first discovery of a ‘creature’ it has all the signs of a gritty street flick in the vain of Kidulthood and sequel Adulthood. The language, characters and scenes are all familiar but with one slight twist, aliens. The only way I can described these bad boys is overgrown, eyeless critters with ultraviolet jaws.
As the story progresses some characters disappear, other grow and mature and there is a whole host of crazy chases involving riot vans, mini motos and even a pizza bike. The gang befriend a local nurse, much different to themselves and go head to head with the invading horde armed with knives, baseball bats, fireworks, a samurai sword, acoustic guitar and a cap gun.
Brought to you by the producers of Shaun of the Dead it’s a whole lot of fun scattered with jumps.
Futures x Lower Than Atlantis x Pegasus Bridge x Undercolour @ Bristol Academy 2
Tonight’s gig takes place in the O2 Academy 2, Bristol. As We climb the 3 sets of stairs that lead to the secondary performance room within the Academy, more of a wide corridor with a bar, the first of tonight’s four bands have already begun to play their set. Sweet vocals fill the air as Undercolour’s female lead, Steff, belts out over a rock/pop-punk backing. As we make our way through the predominantly young crowd to the back of the room we can still see the pint sized singer in clear sight overhead. The line-up tonight is of varied genres. Headliners Futures have picked the support bands themselves to kick of the English leg of their current tour that has already traveled on two Irish dates.
As Undercolour move into their latest single ‘Famous Scenes and Drama Queens’, which they state on numerous occasions is free at the gig or to download online, guitar duo Elliot and Sam kick it up a notch, matched by the highly energetic Suthee on bass and Scott on drums. A technical solo at the midway point has the crowd’s full attention and is executed with note perfection. There is very little movement from the crowd, which is surprising given the enthusiastic nature of the bands performance. Unfortunately, that is the long time association of being the very first band on stage. Vocalist Steff informs us that we are about to experience the bands first ever live cover but we are not told what of. If we know the words we should sing along though. They then break into a raucous version of Katy Perry’s ‘ET’. This is met with singsongs from the crowd and sporadic, dispersed movement. Undercolour are a very technically talented band playing a great mix of peppy rock and pop to get a crowd moving and singing along. They have just not been given an opportune spot on the night’s bill.
After a lengthy stage change, Pegasus Bridge emerge from backstage. Opener ‘While We Were Young’ announces the bands synth tinged indie style. The funky offbeat pattern gets heads bobbing and bodies moving. It is clear to see that a large amount of the 14+ audience are already fans of the band. As vocalist /guitarist Ed Turner graces the stage he is met with screams of adornment. He shows his recognition by thanking everybody for coming out tonight. The line-up is completed by Alex Howick on bass, Tom Lynam on drums and Callum Roxborough on keys. The bands latest single ‘Like Dogs’ shows Ed’s vocal ability with high notes pleasantly harmonised by Callum and incites a little crowd participation. ‘Paris’ shows off their more sombre side. With minor piano notes and atmospheric keys. The vocals are brought down a level and it is clear that this song has a lot of meaning for the band. Their closing tune finally gets some substantial movement within the crowd with most people bouncing and even a small tussle breaking out in the centre. I didn’t expect to see a lot of pushing and shoving from this set but the crowd were obviously very enthused.
The stage lights dim again after another technical changeover. A sample plays as the band takes the stage but it is difficult to hear what is being said over the cheer of the crowd. It is obvious that Futures are not the only band that a large number of the crowd are here to see tonight. As Lower Than Atlantis take the stage I move closer into the crowd to get a better view, through flailing arms and large hairstyles. Vocalist Mike Duce thanks the crowd for coming out tonight and the band slams right in to ‘(Motor) Way of Life’ the first track from the Watford quartets third studio album‘World Record’. The crowd is whipped into a frenzy as the main riff blares out and bodies fly in all directions. Singalongs are encouraged even if you don’t know the lyrics and guitarist Ben Swanson spends the best part of the opener on the barrier hanging over the front row. Fans grab at his fret board but he continues to play regardless. The band, completed by Dec Hart on bass and Eddy Thrower on drums move on to some other material from their previous album. ‘FAR Q’ makes it clear that the crowd are more familiar with the bands older material than their recent release.‘Taping Songs off the Radio’ is met with the same recognition and gusto and the majority of the crowd sing along word perfect with the tale of modern musical despair. The last time I saw Lower Than Atlantis was in a micro venue whilst they toured ‘Far Q’. I was a little disappointed at the time that a slight line-up alteration had softened them up from the harsh hardcore they produced on debut album Bretton’.
After going home after the gig and listening to their new production I kicked myself for ever thinking they had lost their edge. The lyrics are like modern day poems that kids and adults alike can really relate to. Everyone is suddenly ordered to sit down until the next song kicks in. As the band blast forth in to ‘I’m not Bulimic..’, a fast paced narrative about being unemployed in the current economic downturn, a multitude of bodies fly into the air and a swirling mosh pit engulfs most of the audience. The anthemic last verse is belted out by the band and fans a like. “We are the kids of the recession. Credit cards, overdrafts, loans and no pensions. We are kids, we’ll learn our lesson by years of living in a country in depression.” The words are shouted with such meaning you can feel even the youngest of the kids here tonight understand the pain and frustration.
By the time Futures get to the stage the already sweaty and hyped up adolescent horde are eager to get going again. Opener ‘Sixteen’ gets the entire crowd bouncing as one. Arms flail and bodies collide as the indie rock powerhouse reaches a sing along chorus. “I’ve been breaking bones since I was sixteen. Now I’m three years on and I feel so good.” Even members of tonight’s audience who had never heard a single track by the Buckinghamshire four-piece are belting out the words. The bands latest single ‘Oxygen’ echoes Jimmy Eat World through and through. From Ant West’s harmonised vocal over guitar intro to a down tempo stripped back verse and back again into a lively and dynamic chorus. Backed up by Casey Roarty on guitar to his right, Christian Ward on bass to his left and George Lindsay, hidden unfortunately at the back of the stage, on drums. The recent Mercury Records sign ups really know how to work a crowd and build a good rapport between songs. Too many bands warble on about nothing whilst tuning guitars or taking a well earned beverage break but Futures take this opportunity to once again thank the audience for coming out tonight and also the support bands, individually, for playing alongside them. The enthusiastic throng start to bob once more as they kick off ‘Sal Paradise’ a song off their current touring album ‘The Holiday’. ’Thank You’ gives the quartet a chance to really show their appreciation toward everyone who came to see them play tonight and this one is dedicated to them. A short break sees the band tune up for one final song and the announcement of the song being about ‘The Boy Who Cried Wolf’ is met with screams of wholehearted approval. The crowd know this will sadly be Futures last track for the evening and they put every last joule of energy into bouncing around, bumping each other and singing along. It’s clear to see now why the majority of tonight’s audience are of such a younger age group. The huge amount of energy put out by the band is met in equal parts by the crowd and in some places it is hard to keep up with either of them.
Review by Brad Lunam
I had herd many negative comments prior to seeing this movie but the title typography alone was enough to make me go anyway. After viewing the trailer earlier this year I knew this was going to be one of the films you just have to see in the cinema, and boy was I right. From the get go Zack Snyder’s iconic style shone through making an fast paced, highly complex opening sequence make perfect sense whilst looking gorgeous. But I wont go into too much detail of the films specific events. The aforementioned negative points had all related to the story and the way the tale is told. I don’t know if these people saw the same movie as me but the way the movie played out was both unique, experimental and highly entertaining. Imagine if you will The Great Escape, but with fire breathing dragons, violent robots and reanimated steam powered nazi corpses. Sounds pretty ace right? It was.
The Evolution will not be Televised.
Technology thought of the day:
When I am at home and on the laptop I will often post various things to people/my wall on Facebook. Each time these get a comment/like/etc I get a notification on the page. As well as this, my phone is still connected to Facebook and I get a push notification on that too. Now I know I could just log out of the Facebook app, but then I’d forget to log back in. I could also stop the push notifications. Again, I would like to know whats happening on my Facebook when I am out and about.
In conclusion, all I am asking for is for Facebook to realise I am connected in two places and stop my phone from receiving these alerts when my internet page has caught them first. Then when I close the web based version of the sight, re engage the mobile version.
Hit the design blogs hard tonight
A lot of inspired posts in the queue for tomorrow. Reblogs for tonight.
In an age where we get blasé about mind-boggling new technologies, it’s nice to be stopped in your tracks by an idea that uses little more than a trolley and a leaf blower to create its magic.
I want a REALLY basic tumblr theme with my logo up in the top left and links to stuff (Ask/archive/design) underneath. None of the standard themes fit this and everytime I try and do it myself, I fuck it up. Hit up my ask with any advice, thanks.
After watching American Psycho for the third or fourth time it got me looking on IMDB at related films. The Machinist popped up as a related film as it also stars Christian Bale (Portraying Trevor Reznik here). I had seen the shockingly thin images of Bale before but never realised they were from this movie. I had a quick read of the synopsis and it sounded like my kind of film. For one Bale plays an intense insomniac who has not slept in over a year. He begins to lose his grip on reality and after a horrific accident at his work place paranoia and delusion set in. He acuses those closest to him of conspiring against him, yet they are clueless as to why. A fantasticly shot film with deep, moody tones and an accompanying eerie soundtrack make this a movie to remember.
Dead Mans Shoes
A straight up revenge film from Shane Meadows. The harrowing story of a soldier returning to his home town in order to avenge the death of his mentally-disabled brother. Extreme tension builds as the unpredictable lead character, Richard (Paddy Considine), toys with the gang who bullied, abused and tortured his brother, before enforcing his extreme vengeance.
It doesn’t matter what style of music you make or play, what little sub-genre you set camp in. It all sounds like shit to your mum.
Spend over an hour writing reviews of the top four albums I have been listening to this week: 2 notes
Post a picture of Mulder featuring on The Simpsons: 99 notes and 2 followers.
What has been deafening me - Week 1
Clockwise from top left:
- From first to last Dear Diary my Teen Angst has a Bodycount
- Laura Marling - Alas I Cannot Swim
- James Blake - James Blake
- Defeater - Empty Days and Sleepless Nights
This week, and also the primary week of what has been deafening me, contains an array of genres. Every week will contain various albums and most weeks will resemble such diversity as this. What can I say, I have a varied music taste.
First up is a blast from my emo past. Dear Diary.. shoots me straight back to my 15/16 year old self, MySpace and the sweeping fringes I used to sport. Still one of my favourite albums, mostly because of the memories it holds. This attack of raw guitars and heartfelt lyrics accommodates some of the genres greats such as Note to self, with it’s instantly recognisable opening riff leading to Sonny Moore’s powerful vocals, and Ride the Wings of Pestilence, a dark and morbid story of slaughter. In contrast, tracks such as Emily and Minuet show the lighter, more delicate side of the band. I think my favourite track, aside from those mentioned previously, would have to be ‘Kiss me, I’m Contagious’. A blistering audio assault telling a wild west tale of six shooters, poker and gunfights at noon. To be honest there is no song on this album I like a huge amount more than the rest. As far as I can remember it was one of the first albums I bought that I could listen to all the way through. With previous musical purchases I had always been disappointed in at least one track and had to skip it everytime I played out the CD, but not this one. I don’t care if people judge me on my musical tastes but I still think this album is phenomenal.
In stark contrast is Alas I cannot Swim by Laura Marling. A beautiful, yet somewhat dark collection of acoustic songs. Often accompanied by extra vocalists, a piano and even bird song, she tells stories of ex-loves, nightmares and coming of age. Her brooding tracks such as Old Stone and Night Terror show a deeper, more somber side to her mostly up-beat, sanguine persona. Recorded and released when she was only 18 and nominated for the 2008 Mercury Music Prize, ‘Alas..’ shows great talent and experience in someone so young. I am a great fan of her second release ‘I Speak Because I Can’ and look forward to her many future releases.
I had herd the name James Blake being thrown at me a lot over the past 6 months or so and could not figure out why. Turns out that my username on many dubstep and other forums contains CMYK, incidentally the name of James Blake’s EP release prior to his full length album. So one day I tapped him in to YouTube and came across his cover of ‘Limit to Your Love’ by Feist. The opening plonky piano chords coupled with slightly confusing lyrics enticed me to listen further and am I glad I did. Having a fairly strong speaker set up I was then hit with the enormous bass that pulsates wildly around the 1 minute mark. Now I am a huge lover of bass music but very rarely does a tune make my monitor shake and furniture rattle. Thankfully this songs is included on the album accompanied by many other tracks with very prominent sub bass. This album, as with the previous albums discussed has a varying song style. There are tracks such as album opener ‘Unluck’ and ‘I Mind’ that rely heavily on the electronic baselines overlaid with modified vocals scattered amongst tracks like ‘The Wilhelm Scream’ and ‘Lindesfarne I’. The latter I often refer to as a male version of Imgogen Heap’s hit ‘Hide and Seek’. Blake sings a capella with the aid of a vocoder or similar device in a heart catching, intricate piece.
Having not given this too many listens this week I have still not figured out the entirety of Defeaters latest album and narrative ‘Empty Days and Sleepless Nights’. As with all of Defeaters other releases the album follows a main character through story of their life or at least part of it. ‘Empty Days…’ follows the story of a man whose father had recently deceased leaving him with a hefty debt. He turns to the drink for help but this only makes his situations worse. Saddled with this and his mother complete with her addiction eating her away it all becomes too much. Opener Warm Blood Rush comes forward with all the force you would expect from a Massachusetts hardcore band. An open letter to God concerning his Father and Brother. A huge sense of melancholy and anger penetrates the album. Seeping through each track through lyrics and the emotion in lead vocalist Derek Archambault’s voice. I will give it many more listens in the coming weeks and try to figure out more to the story.
Well that is my round up of music that is tickling my ears this week. Sorry to clog up your dash. Any Opinions, insights or anything you have to add just send me a reply/ask/reblog.