The “2016 sucked, but at least the culture was good” sentiment was played out even before the narcissist-in-chief became the U.S. Commander-in-Chief; a man so comically awful that the story behind his rise to power won’t stop being a tragedy about the fall of humanity until long after humanity has fallen. Continue reading
I spent almost eight full weeks looking for a place to live in Madrid. I assumed that having a secure base would allow me to finally establish a more permanent routine of learning, earning, and burning money & free time doing fun things in the capital of an incredible country. But instead I spent three out of four of my working days this week in bed. And Friday and Saturday too for good measure. Continue reading
When Star (Sasha Lane) meets Jake (Shia LaBouef) he proposes that she join him and his friends in their work as a travelling magazine sales crew, in Andrea Arnold’s latest Cannes triumph.
Their instant spark convinces her to abandon the broken and impoverished home life she leads in Kansas, and set out with the team. Under the watchful eye of the white trash queen bitch Krystal (Riley Keough), she travels the south and Midwest of America, selling subscriptions and experiencing a greater amount of life than she previously had. But as she pursues a relationship with Jake, her newfound freedom and family is placed in increasingly precarious situations. Continue reading
This review was originally published to The Edge on October 6th 2016
There’s a lot to say about the influence of the 80s on modern culture. The decade’s sounds resonate in acts like Blossoms and Bastille, who appear to be balms for people who aren’t fans of the prevalence of electronica and R&B in modern Pop. This nostalgia is in the text, context, and metatext of so much media: Stranger Things drips with it, whether or not it’s a positive thing for you; Sing Street, set in that decade, emanates a deep love of the music and experience of youth; the number of modern teens who continue to love John Hughes’ films, usually because they tend to capture a sense of the extremes and angst of youth and relationships, speaks for itself. (Sidebar:Ferris Bueller’s Day Off is a badly made and evil film.) Continue reading
This review was originally published to The Edge on 18th September 2016
By the tenth time in Goldroom’s West Of The West that a song title wriggles its way into the lyrics immediately before the standard EDM drop, like an overeager BASE jumper pushing through a crowd and doing star jumps to wave goodbye as they throw themselves off a cliff, you’d be excused by anyone for laying blame for this at the feet of the critic’s favourite: darned, lazy formula! Yet a formula is not inherently bad.
Opening track ‘Silhouette’ manages to do the right thing with it – take a simple structure, a proven format, and build more unique and attention-catching melodies upon it. Full of finger clicks, hand claps, a consistent snare beat, and twangy guitars backed by a pleasantly throbbing bassline, it’s pretty standard fare; it’s also got the playful energy of an adolescent sat in front of GarageBand for the first time. Before they’ve figured out how to maximise the parts they already have, they’ve found new ones to throw into the mix. It sounds bad, but the song is fresher, more upbeat for this. It contrasts oddly with the very restrained, yearning lyrics: a constant refrain of “Without you” every two bars or so in the verse, the sentence finishing before the drop as “Without you I’m a silhouette!”
The whole album alternates between this overzealous, endearing production, and more restrained, consistently more vanilla arrangements. For the more modernHONNE-esque slap-guitar riffs and the clumsy, subdued seduction of ‘Freeway Lights,’ there’s the plain pleasantries of ‘Back To You.’ Its apathetic use of the EDM structures introduced over half a decade ago ensures it has no memorable moments of its own. Unlike ‘Silhouette,’ the production is too consistent to be particularly colourful, and lyrics like “Racing fast but the nights go slow / It’s heavy on my soul” are delivered with no commitment to their (possibly accidental) poignant reflection on unrequited love.
There’s only one song that feels entirely sincere in its use of these tropes on the whole record. Fourth track ‘Lying To You,’ one of several that leans on 80s synths, has a terrific guitar-led bridge. It builds up to a simple chorus – “I’d be lying if I said / You’re not always in my head / Yeah, I’d be lying to you” – and it feels like a hit in waiting with the cheesy, limp lines delivered with commitment by Goldroom (Josh Legg) himself. But when this earnest, yet tame and predictable track is the best you’ve got amidst a sea of duller moments, it’s hard to be anything close to excited.
West Of The West is released on September 25th by Downtown Records
This article was originally published to The Edge on 14th August 2016
Here’s how I imagine The Spitfires’ elevator pitch for A Thousand Times going down: “Imagine you’re standing in a lift listening to the tame, boisterous, and uninventive pop sounds of elevator music, timidly conducted through the air. Suddenly, the brakes screech, you judder to a halt, and the music continues; now it’s far louder. The sound of the brakes continues as you’re brought painfully slowly down the shaft in this metal torture box that refuses to give you the rapid and sweet release of death from an aural nightmare of the soul-crushingly boring, and the ear-splittingly horrific. We’re going to make an album out of that experience!” Continue reading
This article was originally published to The Edge on 10th August 2016
Perhaps Elizabeth Le Fey, the girl behind the solo act that is Globelamp, should have written a book rather than make an album. Globelamp emerged after her own exit from Foxygen, which later completely split up.The Orange Glow is her second record, reportedly written “as a reflection of the last year and a half and how [she]got out of it alive.” That period included both a breakup and the death of her best friend so it’s hardly like she has nothing to draw on, but this occasionally ethereal fairytale fails to get across the devastating power of those experiences. Continue reading
This article was originally published to The National Student on 27th July 2016
You’d be hard pressed to think of a film from the last year that opens with a scene more on-the-nose as Nerve.
Emma Roberts’ Vee is procrastinating on her Macbook, Facebook stalking her high school’s football star, and listening to “sick choons” on Spotify. We see close ups of her cursor as it hovers over various icons; it waits temptingly over the “Like” button for her crush’s photo; we see her biting her lip, her facial movements tentative in extreme close-up; Vee gets a Facetime call from her best friend Sydney (Emily Meade). Continue reading
This article was originally published to The Edge on 26th July 2016
If you wanted to make a music video that did everything that you might expect of it, ‘Low Lands’ by Gojira, would be a very good place to start gathering inspiration. It’s a narrative-less, confusing array of horror-genre establishing images, intercut with images of a (pretty darn rad) metal band rocking around an enormous bonfire sans instruments to their own song. Continue reading