With every passing year, the string-pullers at the ever-bourgeoning
Rock Sound magazine (we say bourgeoning, it's been a formidable force in
the industry for eons now) manage to outdo themselves in the Winter
tour stakes. Their annual showcase soirée is rapidly becoming as much of
a staple of the alt calendar as NME's February tour or, ahem, Kerrang's
regular rotation of EXACTLY THE SAME BANDS EVERY FOUR YEARS. Fitting,
then, that this time around, the blighters have only gone and nabbed one
of the finest live acts the genre currently has to offer, and one with a
pretty darn stonking new record to boot, and thrown them straight to
the top of the bill.
Canada's Billy Talent have been decimating
rabid audiences the world over for nearly twenty years now, honing their
craft, so the fact that they're bloody brilliant tonight virtually goes
without saying. The support, on the other hand, are another matter
entirely. Regrettably, due to some highly inconvenient transport
hiccups, we don't get to experience the purportedly bonkers Don Bronco
but reports from various elated sources speak of 'shredding', 'tunes
galore' and, curiously, 'choreography'. Smart money's on these guys
being catapulted to stardom in the next two years; catch 'em at a
shoebox near you while you still can.
Sadly, Stagecoach North
East were not kind enough to allow us to miss AWOLNATION, however. With
their delusions of 30 Seconds to Mars-esque grandeur (they even have a
logo that reeks of Jared Leto), tuneless guitar thrash-outs, liberal
injections of ill-advised keyboard wankery and, Heavens to Betsy, an 80s
power ballad the likes of which would make Foreigner cringe (seriously,
they even try to make the crowd put their arms around one another and
SWAY FROM SIDE TO SIDE... wasn't this kind of ultra-saccharine
codswollop outlawed in 1991?), the band sound a complete and utter mess,
as if all the ingredients were thrown into the pot and no one bothered
to do anything with them. It doesn't help that the sound guy seems
equally nonplussed, not really bothering to even try to make anything
listenable out of this garbage. The lead singer gets hopelessly lost in
the dirge... so much so, in fact, that his between-song attempts at
rousing some semblance of interest, or engaging with his audience (man),
fall utterly and embarrassingly flat. Hopefully, if tonight is any
sign, AWOLNATION will disappear off the face of the Earth before the
next Riot Tour rolls around.
In fact, if we didn't have Billy
Talent to rescue the show from the depths of mundanity, the future of
Rock Sound's showcase may well have been in serious doubt. As it is,
we're pretty certain we'll be back here same time, same place next year.
It only takes one measly strum of Ian's guitar, signaling the arrival
of 'Lonely Road to Absolution', arguably the new LP's best track, to
send shivers down every spine in the building and whip the expectant
masses into a jubilant frenzy. The band sound EPIC tonight; the hooks
catchier, the riffs dirtier and the between-song banter, well... it
seems like Ben's been taking a leaf out of the late Freddie Mercury's
book, addressing the crowd with a lavish, lovable flamboyance, climbing
atop the speakers and surveying the scene before him, strutting, posing
and, at the most appropriate times, losing himself in those delectable,
guttural screams (never is this more prominent than in debut album
classic 'Line and Sinker', during which we start to wonder whether he
has any vocal chords left at all).
The set, for the most part, is
spot on. There's a smattering of new tracks, all of which are met with
open arms by the adoring crowd, a healthy selection from Billy Talent
II, including a riotous 'Devil in a Midnight Mass' and, of course, the
anthemic 'Red Flag' to close and the still-sodding-astonishing 'Try
Honesty' and, get this, 'This Is How It Goes' from the early days. The
only real gripe is the (un)healthy injection of Billy Talent III
numbers; sure, we can live with 'Devil on my Shoulder' and even 'Rusted
from the Rain' but 'Saint Veronica'? 'Diamond on a Landmine'? Filler
tracks from a filler-heavy record, certainly their weakest to date, and
ones that bring the mood down just a smidgeon. Undoubtedly, the band
would've been better served by a few more older tracks but hey, it's
hardly as if it kills the show dead. The Newcastle contingent still bay
for more and, by the end, leave sweat-drenched, sated and utterly
knackered. And that's all we can really hope for, right?
In the
main, then, a successful evening from our Rock Sound hosts. With a band
of Billy Talent's might and experience, it's hard to go far wrong and
tonight's headline performance is a corker of a show. It's a shame we
have to endure the appalling AWOLNATION but there's no point in pleasure
without a little pain, right? Right.
Friday, 23 November 2012
Wednesday, 7 November 2012
The world's worst noise
Following a hook-laden half hour at Bar Loco this evening courtesy of Australia's finest power popsters The Wellingtons, this happened. 'Improvised guitar voice conversation. Through sound.' Quite. One man, his guitar, a bow and a woman wailing. Loudly. And continuously.
The world's WORST noise.
Sunday, 4 November 2012
TV review: Homeland 205: 'Q+A'
205: 'Q+A'
Written by Henry Bromell
Directed by Lesli Linka Glatter
Synopsis: Carrie and Saul try to get the truth from Brody for once and for all as they are holding him captive. Meanwhile Dana gets involved in a messy situation as she goes joyriding with Finn Walden.
Review: And who said television shows needed big budgets, lavish special effects and ambitious action sequences to be successful? Proof positive, if any were needed, that dialogue and chemistry are the cornerstones of any drama, 'Q+A' is an astonishing episode, built almost exclusively around the interplay between Claire Danes and Damien Lewis. While they may have scratched the surface of what made them Emmy winners in last week's 'New Car Smell', here they essentially give a warts-and-all presentation, turning one super-long, extraordinarily well written scene into, and I'll say it without any semblance of hyperbole (okay, maybe a little), a modern masterpiece. Carrie's systemic deconstruction of the self-built walls around Brody is an absolute delight to watch and crucially, it never drags for a second, despite being one of the longest scenes in the show's history. There are other sublime moments in the interrogation room: Carrie picking Brody up from the fetal position after she's broken him down, his phone conversation with Jess, the 'bad cop' moments from a prickly Peter Quinn (Rupert Friend is a superb addition, by the way: give him an Emmy too!) and, of course, the opening shots of a clearly terrified Brody, his legs shaking, his lips quivering, telling us all we need to know about his state of mind. If it weren't for the unfortunate intrusion of Dana and Finn's utterly reckless road trip, which, frankly, strains believability somewhat given what we know about these characters, this would most likely be the best hour of television we're likely to see all year. Unfortunately, these scenes have the undesired effect of wrenching us away from the real meat of the drama, distracting rather than entertaining. For all this is an extremely brave episode in many ways, if only the production crew had been that little bit braver and given us an entire hour set in that one room (Babylon 5's magnum opus, 'Intersections in Real Time', springs to mind here), then maybe we would've seen a perfect score. As it is, Homeland will have to make do with another (9).
Written by Henry Bromell
Directed by Lesli Linka Glatter
Synopsis: Carrie and Saul try to get the truth from Brody for once and for all as they are holding him captive. Meanwhile Dana gets involved in a messy situation as she goes joyriding with Finn Walden.
Review: And who said television shows needed big budgets, lavish special effects and ambitious action sequences to be successful? Proof positive, if any were needed, that dialogue and chemistry are the cornerstones of any drama, 'Q+A' is an astonishing episode, built almost exclusively around the interplay between Claire Danes and Damien Lewis. While they may have scratched the surface of what made them Emmy winners in last week's 'New Car Smell', here they essentially give a warts-and-all presentation, turning one super-long, extraordinarily well written scene into, and I'll say it without any semblance of hyperbole (okay, maybe a little), a modern masterpiece. Carrie's systemic deconstruction of the self-built walls around Brody is an absolute delight to watch and crucially, it never drags for a second, despite being one of the longest scenes in the show's history. There are other sublime moments in the interrogation room: Carrie picking Brody up from the fetal position after she's broken him down, his phone conversation with Jess, the 'bad cop' moments from a prickly Peter Quinn (Rupert Friend is a superb addition, by the way: give him an Emmy too!) and, of course, the opening shots of a clearly terrified Brody, his legs shaking, his lips quivering, telling us all we need to know about his state of mind. If it weren't for the unfortunate intrusion of Dana and Finn's utterly reckless road trip, which, frankly, strains believability somewhat given what we know about these characters, this would most likely be the best hour of television we're likely to see all year. Unfortunately, these scenes have the undesired effect of wrenching us away from the real meat of the drama, distracting rather than entertaining. For all this is an extremely brave episode in many ways, if only the production crew had been that little bit braver and given us an entire hour set in that one room (Babylon 5's magnum opus, 'Intersections in Real Time', springs to mind here), then maybe we would've seen a perfect score. As it is, Homeland will have to make do with another (9).
TV review: Homeland 204: 'New Car Smell'
204: 'New Car Smell'
Written by Meredith Stiehm
Directed by David Semel
Synopsis: Following a secret debrief from Saul, a stunned Estes authorizes a covert operation to pursue intel recovered in Beirut - but not without putting his own trusted operative in charge. Brody, still reeling from his misadventures, gets another shock when he runs into Carrie at Langley. A casual invitation to bury the hatchet turns into an encounter neither of them could have foreseen. And Dana discovers she has something in common with Finn Walden, the Vice President's son.
Review: Well. As if the show-altering revelation at the climax of 'Beirut Is Back' wasn't enough, the Homeland scriptwriting staff manage to one-up themselves this week with the closing moments of 'New Car Smell', which surely must rank amongst the Top 5 'WTF?!' moments in the show's history, if not number one with a bullet. Instead of tip-toeing around the colossal Brody reveal and keeping us in a perpetual state of frustration for the next half of the season, gnawing at our nails, desperate to see the shit hit Nick's fan, so to speak, Homeland actually pulls the trigger only four episodes into its sophomore season, following some stellar scenes which reunite Carrie and Brody's characters and give Claire Danes and Damien Lewis further opportunities to demonstrate to all and sundry exactly why they won those Emmys. It's a brilliantly underplayed scene, totally out of leftfield, and it catches the viewer completely unawares; kudos to everyone involved for resisting the temptation to indulge in a lil' bit o' foreshadowing. What this means for the show is anyone's guess; to be honest, the story could go in any number of different directions at this point, not all of which are detrimental to the preservation of the Carrie/Brody relationship and hence, the backbone of the series. But let's not dwell on that too much for the time being... fact is, we have another top notch episode here, neatly paced and cleverly plotted. It's good to see decent use made of the perpetually drunk veteran too. The only real gripe is the burgeoning romance between Dana and Finn which, while undoubtedly important from a narrative perspective for future episodes (of course someone, somewhere, will take advantage of this development), feels a little underwhelming when taken in conjunction with all that surrounds it. It's difficult to care, to be honest, when you're faced with the prospect of an explosive Carrie/Brody reunion, and yeah right, as if the Secret Service would allow the VP's son to just go traipsing around A CONSTRUCTION SITE unsupervised with a girl. Uh and huh. (8)
Written by Meredith Stiehm
Directed by David Semel
Synopsis: Following a secret debrief from Saul, a stunned Estes authorizes a covert operation to pursue intel recovered in Beirut - but not without putting his own trusted operative in charge. Brody, still reeling from his misadventures, gets another shock when he runs into Carrie at Langley. A casual invitation to bury the hatchet turns into an encounter neither of them could have foreseen. And Dana discovers she has something in common with Finn Walden, the Vice President's son.
Review: Well. As if the show-altering revelation at the climax of 'Beirut Is Back' wasn't enough, the Homeland scriptwriting staff manage to one-up themselves this week with the closing moments of 'New Car Smell', which surely must rank amongst the Top 5 'WTF?!' moments in the show's history, if not number one with a bullet. Instead of tip-toeing around the colossal Brody reveal and keeping us in a perpetual state of frustration for the next half of the season, gnawing at our nails, desperate to see the shit hit Nick's fan, so to speak, Homeland actually pulls the trigger only four episodes into its sophomore season, following some stellar scenes which reunite Carrie and Brody's characters and give Claire Danes and Damien Lewis further opportunities to demonstrate to all and sundry exactly why they won those Emmys. It's a brilliantly underplayed scene, totally out of leftfield, and it catches the viewer completely unawares; kudos to everyone involved for resisting the temptation to indulge in a lil' bit o' foreshadowing. What this means for the show is anyone's guess; to be honest, the story could go in any number of different directions at this point, not all of which are detrimental to the preservation of the Carrie/Brody relationship and hence, the backbone of the series. But let's not dwell on that too much for the time being... fact is, we have another top notch episode here, neatly paced and cleverly plotted. It's good to see decent use made of the perpetually drunk veteran too. The only real gripe is the burgeoning romance between Dana and Finn which, while undoubtedly important from a narrative perspective for future episodes (of course someone, somewhere, will take advantage of this development), feels a little underwhelming when taken in conjunction with all that surrounds it. It's difficult to care, to be honest, when you're faced with the prospect of an explosive Carrie/Brody reunion, and yeah right, as if the Secret Service would allow the VP's son to just go traipsing around A CONSTRUCTION SITE unsupervised with a girl. Uh and huh. (8)
TV review: Homeland 203: 'State of Independence'
203: 'State of Independence'
Written by Alexander Cary
Directed by Lodge Kerrigan
Synopsis: Jessica (Morena Baccarin) is given a chance to impress D.C. high society with her fundraiser for veterans. In spite of an earlier argument, her husband Brody (Damian Lewis) plans to give a speech until Roya (Zuleikha Robinson) sends him to Pennsylvania. Carrie (Claire Danes) returns from Beirut and prepares to deliver her report at Langley
Review: A far quieter episode than its predecessors, 'State of Independence' is, nevertheless, another strong hour, benefiting from a taut, well-structured script and some considered, naturalistic direction (well, in places at any rate). The contrast between Carrie's crushing disappointment at not being welcomed back into the CIA with open arms and Brody's WORST. DAY. EVER could not be more pointed and it's played brilliantly. Claire Danes is simply superb in her scene with Estes and again in the horrifying suicide attempt that follows. In a shrewd move, Homeland's production crew eschew amateur dramatics during the sequence, abandoning underscore and camera trickery to present something painfully believable and, oft-times, difficult to watch. Importantly, it isn't so much Carrie's actual act of pill-popping that forces you to turn away; it's the sadness of all that has come before it, that she would dress up as if to go out on the town, hoping to find someone, something, anything to fill the void, but that she ultimately realises how fruitless it all is. That all of this can be successfully conveyed without the need for a single line of dialogue is testament to the strength of the overall production. By comparison, Brody's sequences don't quite satisfy the appetite as much, if only because of the utter implausibility of it all (and his ineptitude... seriously, offing the guy while you're on the phone to your wife? Really?!) but Monica Baccarin's speech and her scenes with Mike are first rate. And then there's that final, triumphant, moment... the pay-off to end all pay-offs, and it's magnificent. (8)
Written by Alexander Cary
Directed by Lodge Kerrigan
Synopsis: Jessica (Morena Baccarin) is given a chance to impress D.C. high society with her fundraiser for veterans. In spite of an earlier argument, her husband Brody (Damian Lewis) plans to give a speech until Roya (Zuleikha Robinson) sends him to Pennsylvania. Carrie (Claire Danes) returns from Beirut and prepares to deliver her report at Langley
Review: A far quieter episode than its predecessors, 'State of Independence' is, nevertheless, another strong hour, benefiting from a taut, well-structured script and some considered, naturalistic direction (well, in places at any rate). The contrast between Carrie's crushing disappointment at not being welcomed back into the CIA with open arms and Brody's WORST. DAY. EVER could not be more pointed and it's played brilliantly. Claire Danes is simply superb in her scene with Estes and again in the horrifying suicide attempt that follows. In a shrewd move, Homeland's production crew eschew amateur dramatics during the sequence, abandoning underscore and camera trickery to present something painfully believable and, oft-times, difficult to watch. Importantly, it isn't so much Carrie's actual act of pill-popping that forces you to turn away; it's the sadness of all that has come before it, that she would dress up as if to go out on the town, hoping to find someone, something, anything to fill the void, but that she ultimately realises how fruitless it all is. That all of this can be successfully conveyed without the need for a single line of dialogue is testament to the strength of the overall production. By comparison, Brody's sequences don't quite satisfy the appetite as much, if only because of the utter implausibility of it all (and his ineptitude... seriously, offing the guy while you're on the phone to your wife? Really?!) but Monica Baccarin's speech and her scenes with Mike are first rate. And then there's that final, triumphant, moment... the pay-off to end all pay-offs, and it's magnificent. (8)
TV review: Homeland 202: 'Beirut Is Back'
202: 'Beirut Is Back'
Written by Chip Johannessen
Directed by Michael Cuesta
Synopsis: CIA agent Carrie Mathison (Claire Danes) takes a risky position. An informant tells her that Abu Nazir (Navid Negahban) will be in Beirut the next day, but David Estes (David Harewood) does not believe the intel. Meanwhile, Brody (Damian Lewis) receives an invitation to the Pentagon.
Review: An episode that fires on all cylinders and pulls no punches. Picking up the gauntlet thrown down by last week's 'The Smile', 'Beirut is Back' offers more thrills, spills and squeaky bum time clenchers than you can shake a proverbial at, throwing Carrie and Saul smack bang in the middle of the action and wasting no time in reuniting Brody's agenda with that of our favourite ex-CIA agent. The juxtaposition between the scenes involving Abu Nazir in Beirut and Brody in the Pentagon is superb, chock full of dramatic tension. And just when you think it can't get any better... the production crew only go and unleash one hell of a battle sequence on us as Carrie loses her mind (well, maybe) and goes scurrying around her informant's apartment. On top of all this, there's another fuck-tonne of scintillating character moments, including Carrie's heart-to-heart with Saul on the rooftop, and that ending, which is, right now, the biggest 'holy shit!' moment since Lost's infamous first flash-forward. A cracking hour of television. (9)
Written by Chip Johannessen
Directed by Michael Cuesta
Synopsis: CIA agent Carrie Mathison (Claire Danes) takes a risky position. An informant tells her that Abu Nazir (Navid Negahban) will be in Beirut the next day, but David Estes (David Harewood) does not believe the intel. Meanwhile, Brody (Damian Lewis) receives an invitation to the Pentagon.
Review: An episode that fires on all cylinders and pulls no punches. Picking up the gauntlet thrown down by last week's 'The Smile', 'Beirut is Back' offers more thrills, spills and squeaky bum time clenchers than you can shake a proverbial at, throwing Carrie and Saul smack bang in the middle of the action and wasting no time in reuniting Brody's agenda with that of our favourite ex-CIA agent. The juxtaposition between the scenes involving Abu Nazir in Beirut and Brody in the Pentagon is superb, chock full of dramatic tension. And just when you think it can't get any better... the production crew only go and unleash one hell of a battle sequence on us as Carrie loses her mind (well, maybe) and goes scurrying around her informant's apartment. On top of all this, there's another fuck-tonne of scintillating character moments, including Carrie's heart-to-heart with Saul on the rooftop, and that ending, which is, right now, the biggest 'holy shit!' moment since Lost's infamous first flash-forward. A cracking hour of television. (9)
TV review: Homeland 201: 'The Smile'
201: 'The Smile'
Written by Alex Gansa & Howard Gordon
Directed by Michael Cuesta
Synopsis: Carrie Mathison is making progress with her mental health after her Electroconvulsive Therapy. A former asset threatens Carrie's peace. Brody learns Nazir may not be happy with a nonviolent approach. Dana lets a secret slip.
Review: And Homeland comes racing out of the block like there's no tomorrow. 'The Smile' kickstarts year two with one hell of a jolt, putting the pieces firmly in place and positioning the key players in order to set up what will inevitably be a roller-coaster ride of a season. After the insular personal politics of the first year, it's good to see a whole different side to the work of our favourite CIA operatives; the production crew do some stellar work in making the sequences on the ground in Beirut seem believable, engaging and, above all, nail-bitingly tense. None of this detracts from the show's penchant for character, however, and once again, we're treated to some truly beautifully written scenes, particularly between Brody and Jess (the Islam revelation is a long time coming and it doesn't disappoint) and, importantly, Carrie and Esties. While the expediency with which Carrie is back in play does leave something of a sour taste in mouth (and it's why the episode scores an 8 when it could so easily have been a 9), the dialogue and interaction between the two characters in the sequence in which he asks for her help is absolutely top drawer stuff. This is a show at the top of its game with a cast and crew who are deservedly confident in their abilities. Hell, even Dana's material is pretty gosh darn enjoyable. A great start. (8)
Written by Alex Gansa & Howard Gordon
Directed by Michael Cuesta
Synopsis: Carrie Mathison is making progress with her mental health after her Electroconvulsive Therapy. A former asset threatens Carrie's peace. Brody learns Nazir may not be happy with a nonviolent approach. Dana lets a secret slip.
Review: And Homeland comes racing out of the block like there's no tomorrow. 'The Smile' kickstarts year two with one hell of a jolt, putting the pieces firmly in place and positioning the key players in order to set up what will inevitably be a roller-coaster ride of a season. After the insular personal politics of the first year, it's good to see a whole different side to the work of our favourite CIA operatives; the production crew do some stellar work in making the sequences on the ground in Beirut seem believable, engaging and, above all, nail-bitingly tense. None of this detracts from the show's penchant for character, however, and once again, we're treated to some truly beautifully written scenes, particularly between Brody and Jess (the Islam revelation is a long time coming and it doesn't disappoint) and, importantly, Carrie and Esties. While the expediency with which Carrie is back in play does leave something of a sour taste in mouth (and it's why the episode scores an 8 when it could so easily have been a 9), the dialogue and interaction between the two characters in the sequence in which he asks for her help is absolutely top drawer stuff. This is a show at the top of its game with a cast and crew who are deservedly confident in their abilities. Hell, even Dana's material is pretty gosh darn enjoyable. A great start. (8)
Live review: Twin Atlantic (w/Charlie Simpson), Newcastle O2 Academy, 01/11/12
Oh, what a difference the Radio 1 playlist makes. It's surprising to
think it in this super-selective day and age, where new music is
available at the touch of a button and we can filter any tracks, artists
and genres we don't like out of our lives for good, but the airwaves
still hold significant sway over the success of our much-loved bands.
Get a track A-listed on a major radio station and suddenly, it's
everywhere; not only are the musos blasting it through their over-sized
headphones on the way to Rough Trade, but now 'the man in the street',
the one who 'likes a bit of everything', is whistling it on his way to
work and, even more importantly than that, the teenyboppers have taken
it to their hearts and plastered posters of the lead singer all over
their bedroom walls. Glasgow's Twin Atlantic have recently had the good
fortune to discover all of this (working in tandem with a support slot
on Blink 182's arena tour which will undoubtedly have helped matters),
and now, instead of playing in shoeboxes to 100 or so sweat-drenched
devotees, they're selling out Academy venues across the country and
receiving singalongs the likes of which would've made Liam Gallagher
jealous in Oasis's heyday.
It's a heart-warming experience to see a band who have slugged their guts out over the last few years get rewarded for their hard work with such a raucous reception as they receive tonight. In a set that's 20 songs in length, which is, in itself, highly commendable for a band with one full-length, one mini-album and an EP, there's nary a moment's silence; the crowd bellows back every last word of each of the 12 tracks from 'Free' and, during the lesser-known 'Vivarium' songs, the majority continue to slam face-first into one another, forming moshpits galore and occasionally diving stagewards with reckless abandon.
Twin Atlantic seem genuinely bemused by all of this activity; while their fanbase has been steadily growing in Scotland for some time, this is the first English show they've played to such a large, adoring crowd, and it shows. Sam plays off the audience's seemingly endless energy throughout, slaying his guitar from the onset (he breaks one set of strings during the first song, a blistering 'Time for You to Stand Up') and flitting around the stage constantly; one moment, he's on his knees, unleashing a filthy riff on us, the next, he's atop the drumkit, throwing triumphant poses. And of course, at show's end, following an almighty 'Make A Beast of Myself' (complete with giant balloons! Who doesn't love giant balloons?!), he's in the crowd, having completed a successful dive from the stage, and is shaking all of our hands and lapping up the adoration.
All of this may be an altogether different experience to previous Twin Atlantic shows in Newcastle - Academy 2 last year and the phenomenally manic, sweaty Digital show in 2010 - but it is no less spine-tingling. 'Lightspeed' still sounds gigantic, 'Yes, I Was Drunk' is effortlessly epic, 'What Is Light? Where Is Laughter?' threatens to tear all of our faces off and the mudhole being stomped in the Academy floor during 'The Ghost of Eddie' causes several concerned looks to spread over the faces of the poor, helpless security staff. Inevitably, though, it's 'Crash Land' that provides the evening's most memorable moment, thanks to a beautiful chorus of voices from the crowd which prompt Sam to keep silent for over 50% of the song. It's testament to just how far they've come in the last 18 months and frankly, it's fucking fantastic.
There are plenty other moments we could mention - the tender reworking of 'You're Turning Into John Wayne', the monstrous 'Free', 'A Guidance From Colour'! - but frankly, we're running out of space. Suffice to say, Twin Atlantic were on fire tonight, playing off an energetic, adrenalin-fueled crowd to provide one beast of a show. If this is what Radio 1 playlisting can do for the band, then get the entire album on there pronto. Just, let's leave Charlie Simpson at home next time, all right guys? Sorted.
It's a heart-warming experience to see a band who have slugged their guts out over the last few years get rewarded for their hard work with such a raucous reception as they receive tonight. In a set that's 20 songs in length, which is, in itself, highly commendable for a band with one full-length, one mini-album and an EP, there's nary a moment's silence; the crowd bellows back every last word of each of the 12 tracks from 'Free' and, during the lesser-known 'Vivarium' songs, the majority continue to slam face-first into one another, forming moshpits galore and occasionally diving stagewards with reckless abandon.
Twin Atlantic seem genuinely bemused by all of this activity; while their fanbase has been steadily growing in Scotland for some time, this is the first English show they've played to such a large, adoring crowd, and it shows. Sam plays off the audience's seemingly endless energy throughout, slaying his guitar from the onset (he breaks one set of strings during the first song, a blistering 'Time for You to Stand Up') and flitting around the stage constantly; one moment, he's on his knees, unleashing a filthy riff on us, the next, he's atop the drumkit, throwing triumphant poses. And of course, at show's end, following an almighty 'Make A Beast of Myself' (complete with giant balloons! Who doesn't love giant balloons?!), he's in the crowd, having completed a successful dive from the stage, and is shaking all of our hands and lapping up the adoration.
All of this may be an altogether different experience to previous Twin Atlantic shows in Newcastle - Academy 2 last year and the phenomenally manic, sweaty Digital show in 2010 - but it is no less spine-tingling. 'Lightspeed' still sounds gigantic, 'Yes, I Was Drunk' is effortlessly epic, 'What Is Light? Where Is Laughter?' threatens to tear all of our faces off and the mudhole being stomped in the Academy floor during 'The Ghost of Eddie' causes several concerned looks to spread over the faces of the poor, helpless security staff. Inevitably, though, it's 'Crash Land' that provides the evening's most memorable moment, thanks to a beautiful chorus of voices from the crowd which prompt Sam to keep silent for over 50% of the song. It's testament to just how far they've come in the last 18 months and frankly, it's fucking fantastic.
There are plenty other moments we could mention - the tender reworking of 'You're Turning Into John Wayne', the monstrous 'Free', 'A Guidance From Colour'! - but frankly, we're running out of space. Suffice to say, Twin Atlantic were on fire tonight, playing off an energetic, adrenalin-fueled crowd to provide one beast of a show. If this is what Radio 1 playlisting can do for the band, then get the entire album on there pronto. Just, let's leave Charlie Simpson at home next time, all right guys? Sorted.
Sunday, 28 October 2012
TV review: Supernatural 804: 'Bitten'
804: 'Bitten'
Written by Robbie Thompson
Directed by Thomas J. Wright
Synopsis: The Winchesters track down a killer and the investigation leads them to found footage of three college students investigating mysterious animal attacks.
Verdict: In a move that will undoubtedly divide fans, Supernatural eschews its regular format this week in favour of a home-movie style point-of-view episode that presents a typical monster-of-the-week tale from an entirely different set of perspectives. Sure, the use of 'amateur footage' to tell a story is nothing new (in fact, it's one of the most conventional horror tropes out there), but it is definitely refreshing to lose the usual procedural, investigative structure and see a paranormal event unfold before the eyes of three college friends. Of course, that means less Jensen and Jared but hey, if it means we get no doggy flashbacks and a tonne of homoerotic undertones, I'll take it.
The key to the success of this piece is the strength of the leads. The three actors are brilliant and play their parts straight, refusing, at least initially, to succumb to hyperbole. This, combined with some cracking, organic dialogue, helps ground the episode in reality, lending events a believability that can often be lacking in the show (and that's understandable when faced with such outrageous circumstances). There's a healthy amount of horror in all of this too, aided by the jerky, off-kilter camera angles and use of handheld, and as for that opening sequence... well, I thought I'd started up American Horror Story by mistake.
It's a shame that the episode becomes a victim of its own success in places: there's obviously a complete lack of logic in the characters' continued use of cameras, even in the most dire of circumstances, and things do get a little OTT towards the end, particularly when Brian says he doesn't want to be Piggy any more but wants a shot at being Ralph; euck, we really did not need the heavy-handed Lord of the Flies reference, thanks. Still, 'Bitten' is certainly a major improvement on 'Heartache' and, for all it is a side-step from the main arc, it stands well enough on its own merits to warrant a repeat viewing. (7)
Written by Robbie Thompson
Directed by Thomas J. Wright
Synopsis: The Winchesters track down a killer and the investigation leads them to found footage of three college students investigating mysterious animal attacks.
Verdict: In a move that will undoubtedly divide fans, Supernatural eschews its regular format this week in favour of a home-movie style point-of-view episode that presents a typical monster-of-the-week tale from an entirely different set of perspectives. Sure, the use of 'amateur footage' to tell a story is nothing new (in fact, it's one of the most conventional horror tropes out there), but it is definitely refreshing to lose the usual procedural, investigative structure and see a paranormal event unfold before the eyes of three college friends. Of course, that means less Jensen and Jared but hey, if it means we get no doggy flashbacks and a tonne of homoerotic undertones, I'll take it.
The key to the success of this piece is the strength of the leads. The three actors are brilliant and play their parts straight, refusing, at least initially, to succumb to hyperbole. This, combined with some cracking, organic dialogue, helps ground the episode in reality, lending events a believability that can often be lacking in the show (and that's understandable when faced with such outrageous circumstances). There's a healthy amount of horror in all of this too, aided by the jerky, off-kilter camera angles and use of handheld, and as for that opening sequence... well, I thought I'd started up American Horror Story by mistake.
It's a shame that the episode becomes a victim of its own success in places: there's obviously a complete lack of logic in the characters' continued use of cameras, even in the most dire of circumstances, and things do get a little OTT towards the end, particularly when Brian says he doesn't want to be Piggy any more but wants a shot at being Ralph; euck, we really did not need the heavy-handed Lord of the Flies reference, thanks. Still, 'Bitten' is certainly a major improvement on 'Heartache' and, for all it is a side-step from the main arc, it stands well enough on its own merits to warrant a repeat viewing. (7)
TV review: Fringe 504: 'The Bullet That Saved the World'
504: 'The Bullet That Saved the World'
Written by Alison Schapker
Directed by David Straiton
Synopsis: After infiltrating a subway station to recover a vital piece of Walter's plan, the Fringe team meet up with an old friend... and must determine if he can be trusted.
Verdict: Wait. Hold up. Pause that and rewind a second, would ya? They killed Etta? ETTA? Olivia and Peter's progeny? The child upon whose shoulders the fate of the world seems to rest? The symbol of hope (see 501)? Well, if the Fringe writers are trying to one-up Homeland's production crew in the 'WTF?' stakes then they're doing a mighty fine job. The impact of that suckerpunch is pretty damn intense and the ripple effects will doubtless be felt throughout the rest of the season. Kudos to everyone involved for keeping foreshadowing to a minimum, thereby making the scene all the more shocking, and also to Anna Torv and Josh Jackson for some absolutely stellar acting in both their final moments with their daughter and the aftermath at hour's end.
For all this will undoubtedly be the episode's major talking point for weeks to come, there's still a whole 35 other minutes worthy of our attention and Alison Schapker does a fine job of keeping up the pace and generating a whole whack-load of tension to keep us on the edge of our seats. The concept of Walter retaining evidence of previous Fringe events is an absolutely brilliant one, completely in keeping with his character (if a little out of the blue), and the decision to have the team create events of their own is a nice nod to continuity. It's also somewhat disturbing, taking the actions of the team into questionable territory (using deadly poison gas against guards? Some might cry terrorism), further blurring the fine line between hero and villain.
If there are flaws, they're to be found in some of the more unusual decisions made this week: Peter's trip to the pawn shop is sweet and everything but would he really risk throwing everything away for a necklace? How inept can the Loyalists be to miss every single shot at, and chance of capturing, the Fringe agents? And while things remain enjoyable for now, how much longer can the game of cat and mouse with the Observers (chase, capture, rescue, chase etc) endure? But let's not dwell too much on those right now... poor Etta! Poor Olivia! And Peter! Oh, and Broyles is back! Man, oh man. (8)
Written by Alison Schapker
Directed by David Straiton
Synopsis: After infiltrating a subway station to recover a vital piece of Walter's plan, the Fringe team meet up with an old friend... and must determine if he can be trusted.
Verdict: Wait. Hold up. Pause that and rewind a second, would ya? They killed Etta? ETTA? Olivia and Peter's progeny? The child upon whose shoulders the fate of the world seems to rest? The symbol of hope (see 501)? Well, if the Fringe writers are trying to one-up Homeland's production crew in the 'WTF?' stakes then they're doing a mighty fine job. The impact of that suckerpunch is pretty damn intense and the ripple effects will doubtless be felt throughout the rest of the season. Kudos to everyone involved for keeping foreshadowing to a minimum, thereby making the scene all the more shocking, and also to Anna Torv and Josh Jackson for some absolutely stellar acting in both their final moments with their daughter and the aftermath at hour's end.
For all this will undoubtedly be the episode's major talking point for weeks to come, there's still a whole 35 other minutes worthy of our attention and Alison Schapker does a fine job of keeping up the pace and generating a whole whack-load of tension to keep us on the edge of our seats. The concept of Walter retaining evidence of previous Fringe events is an absolutely brilliant one, completely in keeping with his character (if a little out of the blue), and the decision to have the team create events of their own is a nice nod to continuity. It's also somewhat disturbing, taking the actions of the team into questionable territory (using deadly poison gas against guards? Some might cry terrorism), further blurring the fine line between hero and villain.
If there are flaws, they're to be found in some of the more unusual decisions made this week: Peter's trip to the pawn shop is sweet and everything but would he really risk throwing everything away for a necklace? How inept can the Loyalists be to miss every single shot at, and chance of capturing, the Fringe agents? And while things remain enjoyable for now, how much longer can the game of cat and mouse with the Observers (chase, capture, rescue, chase etc) endure? But let's not dwell too much on those right now... poor Etta! Poor Olivia! And Peter! Oh, and Broyles is back! Man, oh man. (8)
TV review: Fringe 503: 'The Recordist'
503: 'The Recordist'
Written by Graham Roland
Directed by Jeff Bennett
Synopsis: The Fringe team meets with a group of humans who have taken refuge in the forest and seek to preserve humanity's history any way they can.
Verdict: After the whizz-bam suckerpunches of the season's first two hours, you'd be forgiven for thinking that 'The Recordist' is a bit of a slow-burner. Graham Roland's script is, at times, more akin to one of last year's 'case of the week as metaphor for the arc' episodes, wherein a standalone menace (or, in this case, infection) ties into the on-going narrative and moves it on a few paces, albeit cautiously. And this isn't necessarily a bad thing: the tree people, as I'm going to have to call them, are a pleasant touch, further establishing the extent to which the Observers' invasion has decimated the planet and thereby intensifying their credibility as a threat. The relationship between the group's leader and his son is also rather touching (the kid, notably, is excellent) and the knock-on impact this has on Olivia and Etta is much welcome.
There are a few niggling plot points, however: it seems a little implausible that the meticulous Observer horde would overlook this particular area of woodland for so long, however remote it is. The leader's sacrifice is also a little stilted and feels less akin to his character than the moments in which he professes to being scared. And then there's the risk of infection to the Fringe team which rears its head for a minute or two to give us a nifty mid-episode cliffhanger and is then effectively resolved, with no further mention for the rest of the hour. With a little tightening of the script, these problems could've been ironed out but as it is, they detract a little from the overall quality of the episode. Still, by no means a bad effort and quite possibly a breath of fresh air from the frenetic pace of the rest of the season. (7)
Written by Graham Roland
Directed by Jeff Bennett
Synopsis: The Fringe team meets with a group of humans who have taken refuge in the forest and seek to preserve humanity's history any way they can.
Verdict: After the whizz-bam suckerpunches of the season's first two hours, you'd be forgiven for thinking that 'The Recordist' is a bit of a slow-burner. Graham Roland's script is, at times, more akin to one of last year's 'case of the week as metaphor for the arc' episodes, wherein a standalone menace (or, in this case, infection) ties into the on-going narrative and moves it on a few paces, albeit cautiously. And this isn't necessarily a bad thing: the tree people, as I'm going to have to call them, are a pleasant touch, further establishing the extent to which the Observers' invasion has decimated the planet and thereby intensifying their credibility as a threat. The relationship between the group's leader and his son is also rather touching (the kid, notably, is excellent) and the knock-on impact this has on Olivia and Etta is much welcome.
There are a few niggling plot points, however: it seems a little implausible that the meticulous Observer horde would overlook this particular area of woodland for so long, however remote it is. The leader's sacrifice is also a little stilted and feels less akin to his character than the moments in which he professes to being scared. And then there's the risk of infection to the Fringe team which rears its head for a minute or two to give us a nifty mid-episode cliffhanger and is then effectively resolved, with no further mention for the rest of the hour. With a little tightening of the script, these problems could've been ironed out but as it is, they detract a little from the overall quality of the episode. Still, by no means a bad effort and quite possibly a breath of fresh air from the frenetic pace of the rest of the season. (7)
TV review: Fringe 502: 'In Absentia'
502: 'In Absentia'
Written by J.H. Wyman & David Fury
Directed by Jeannot Szwarc
Synopsis: After Walter's mind is damaged by Windmark's telepathic probe, the team goes to Walter's old Harvard lab to find the information they need to defeat the Observers.
Verdict: While it's certainly sad to see this show on its last hurrah, there's definitely something to be said for having a planned end date; just as with that other J.J. Abrams stalwart (oh, you know the one), Fringe feels tauter, better plotted and, crucially, more focused than ever in its final season, setting out its trajectory and sticking firmly to it, losing any potential wastage along the way (monster-of-the-week episodes are fine when executed deftly but these are the last days and we need no distractions, thank you very much).
So 'In Absentia' moves the arc plot along another twenty or so paces, bringing Harvard back into the mix (but without Daisy... or did Walter amber her too?) And carving out the basic structure for the hours to come in the form of the tapes that contain Walter's master plan. While this could become tiresome and repetitive, in the hands of Fringe's executive producers, it will doubtless be a thrilling ride. And if they continue to expertly marry the movement of the central narrative with considered character establishment, all the better. There are some wonderfully quiet moments here, from Olivia's disappointment at Etta's tactics to Etta's justifications to just about every line given to the guard. Lost's Radzinsky is absolutely superb as a man broken by the system, quietly searching for redemption. Wyman and Fury's shades of grey give these sequences extra clout, refusing to become bogged down in traditional tropes of good and evil, making everything all the more human. Another excellent episode then... even with Walter's somewhat cheesy final speech. (9)
Written by J.H. Wyman & David Fury
Directed by Jeannot Szwarc
Synopsis: After Walter's mind is damaged by Windmark's telepathic probe, the team goes to Walter's old Harvard lab to find the information they need to defeat the Observers.
Verdict: While it's certainly sad to see this show on its last hurrah, there's definitely something to be said for having a planned end date; just as with that other J.J. Abrams stalwart (oh, you know the one), Fringe feels tauter, better plotted and, crucially, more focused than ever in its final season, setting out its trajectory and sticking firmly to it, losing any potential wastage along the way (monster-of-the-week episodes are fine when executed deftly but these are the last days and we need no distractions, thank you very much).
So 'In Absentia' moves the arc plot along another twenty or so paces, bringing Harvard back into the mix (but without Daisy... or did Walter amber her too?) And carving out the basic structure for the hours to come in the form of the tapes that contain Walter's master plan. While this could become tiresome and repetitive, in the hands of Fringe's executive producers, it will doubtless be a thrilling ride. And if they continue to expertly marry the movement of the central narrative with considered character establishment, all the better. There are some wonderfully quiet moments here, from Olivia's disappointment at Etta's tactics to Etta's justifications to just about every line given to the guard. Lost's Radzinsky is absolutely superb as a man broken by the system, quietly searching for redemption. Wyman and Fury's shades of grey give these sequences extra clout, refusing to become bogged down in traditional tropes of good and evil, making everything all the more human. Another excellent episode then... even with Walter's somewhat cheesy final speech. (9)
Saturday, 27 October 2012
TV review: Fringe 501: 'Transilience Thought Unifier Model-11'
501: 'Transilience Thought Unifier Model-11'
Written by J.H. Wyman
Directed by Jeannot Szwarc & Miguel Sapochnik
Synopsis: In the year 2036, Peter, Astrid, Walter, and Etta set out to find Olivia and free her from amber. Once they do, they discover she holds the key to finding the plans for a weapon to defeat the Observers... but Walter is captured and interrogated for the same information.
Verdict: With a measly 13 episodes until the end of the line, Fringe ups the ante tenfold with an action-packed rollercoaster of a season opener that neatly establishes the template for weeks to come, jostling simultaneously between crazy, plot-fueled chase sequences and tender, often crushing, character moments. There's a notable sense of urgency about the whole hour, intensified by the magnificent duel directorial abilities of Szwarc and Sapochnik, who do an absolutely cracking job of making the decimated landscape of 2034 come to life. Of course, we've had a taster of this season's delights already - last year's superb 'Letters in Transit' - so it should come as no surprise that the production crew are a dab hand at these things but still, what they manage to achieve on such a tight budget is nothing short of astonishing. There are moments of genuine horror - Windmark's interrogation of Walter is gut-wrenching (he's one hell of a villain, ain't he?) - as well as punch-the-air euphoria (Etta reunited with her mother), but let's give credit where credit's due and talk about that final scene, eh? While it may seem like something of a cop-out to have Walter lose some of his memories again, the moment of poignancy that results more than makes up for it. John Noble is absolutely fantastic here, doing so much with so little, and the direction, lighting, camerawork and soundtrack all combine to produce a striking two minutes of television that will doubtless be talked about for months to come. And all to a Yazoo song... who'd have thunk it? (9)
Written by J.H. Wyman
Directed by Jeannot Szwarc & Miguel Sapochnik
Synopsis: In the year 2036, Peter, Astrid, Walter, and Etta set out to find Olivia and free her from amber. Once they do, they discover she holds the key to finding the plans for a weapon to defeat the Observers... but Walter is captured and interrogated for the same information.
Verdict: With a measly 13 episodes until the end of the line, Fringe ups the ante tenfold with an action-packed rollercoaster of a season opener that neatly establishes the template for weeks to come, jostling simultaneously between crazy, plot-fueled chase sequences and tender, often crushing, character moments. There's a notable sense of urgency about the whole hour, intensified by the magnificent duel directorial abilities of Szwarc and Sapochnik, who do an absolutely cracking job of making the decimated landscape of 2034 come to life. Of course, we've had a taster of this season's delights already - last year's superb 'Letters in Transit' - so it should come as no surprise that the production crew are a dab hand at these things but still, what they manage to achieve on such a tight budget is nothing short of astonishing. There are moments of genuine horror - Windmark's interrogation of Walter is gut-wrenching (he's one hell of a villain, ain't he?) - as well as punch-the-air euphoria (Etta reunited with her mother), but let's give credit where credit's due and talk about that final scene, eh? While it may seem like something of a cop-out to have Walter lose some of his memories again, the moment of poignancy that results more than makes up for it. John Noble is absolutely fantastic here, doing so much with so little, and the direction, lighting, camerawork and soundtrack all combine to produce a striking two minutes of television that will doubtless be talked about for months to come. And all to a Yazoo song... who'd have thunk it? (9)
Live review: Dry the River (w/Arcane Roots, Last Winter Dance Party), York Fibbers, 26/10/12
Okay,
listen. Being the unashamedly crass hacks that we are, it's all too
tempting to draw parallels between the conditions inside tonight's
pressure cooker of a venue and those outside; to make the oh-so-cliched
observation that, while the first, really rather heavy, snows of the
season are tumbling down upon a bitterly cold York city centre, within
these four walls, the atmosphere couldn't be any warmer (and that's not
just because the heating's been cranked up to the max). And yeah, it's
painful just typing that, but you know what? It's bloody true. The sold
out crowd packing themselves into Fibbers treat tonight's headliners
like long-lost family, welcoming the band with open arms, lovingly
embracing each track with their vocal chords and, crucially, hanging on
every word they say.
Dry the River are probably used to all of this by now; playing sold out shows up and down the country (and across the oceans, natch) to ever-increasing audiences may make the reverence on display this evening seem par for the course. The supports may not be accustomed to such reactions, however; and while the standing ovations and passionate singalongs may be reserved for later in the evening, there is, nevertheless, a politely attentive, and appreciative, mood in the air during both Last Winter Dance Party's half hour of wonderfully epic alt folk (check out the addictive 'Dawn Chorus' now... free download on their Facebook!) and the abrasive guitar assaults of Kingston's brilliant Arcane Roots who almost, almost, upstage their successors tonight in the intensity stakes. It's certainly refreshing to be part of a crowd that's genuinely interested in the music as opposed to chugging down the next pint while chatting idly to one another, and when this filters through to the support slots too, well, everyone's a winner.
To be fair to DtR, mind, it's virtually impossible not to keep your eyes permanently glued to the stage during their suitably colossal 60 minutes. Naturally, there's the much-touted audio-visual dichotomy of five relatively scrawny, tattooed-to-fuck former hardcore kids making such heartwrenchingly tender and beautiful music which, in itself, is enough to send a dozen or more jaws dropping to the floor every time Peter opens his mouth and THAT angelic voice comes spilling out... but that's only part of the story. Fact is, these guys know how to put on a show, when to let the tunes speak for themselves and when to let loose and unleash holy hell on their instruments.
So there are moments of unrelenting beauty: an achingly expansive 'Demons', the acapella opening to 'Weights and Measures', doused with enough melancholy to make even the most steadfast among us shed a tear or two, every solitary second of 'Bible Belt' and, lest we forget, the inspired decision to close the encore with an acapella rendition of 'Shaker Hymns'... in the middle of the crowd. And then there are the gargantuan numbers: the impassioned choruses of 'No Rest', the anthemic 'New Ceremony' and the piece da resistance, the six minute behemoth that is 'Lion's Den', which builds and builds into a climax of unfathomable proportions, each member of the band drawing deep to give us every ounce of energy they can possibly muster. It's a thrilling experience, leaving lumps the size of golfballs in the throats of every stunned spectator in the building.
And that's pretty much the go-to response for tonight's performance. With only 9 songs, no shoes and a few Maryland cookies (no, we don't know either), Dry the River blow every expectation out of the water, demonstrating their consummate skills as musicians but, more importantly than that, delivering something genuinely emotive and real. The passion, energy and intensity on display tonight is what live music was made for and it's brilliantly invigorating. Hats off to DtR then; there's absolutely nothing cold about this evening's show. Sorry... couldn't resist.
Dry the River are probably used to all of this by now; playing sold out shows up and down the country (and across the oceans, natch) to ever-increasing audiences may make the reverence on display this evening seem par for the course. The supports may not be accustomed to such reactions, however; and while the standing ovations and passionate singalongs may be reserved for later in the evening, there is, nevertheless, a politely attentive, and appreciative, mood in the air during both Last Winter Dance Party's half hour of wonderfully epic alt folk (check out the addictive 'Dawn Chorus' now... free download on their Facebook!) and the abrasive guitar assaults of Kingston's brilliant Arcane Roots who almost, almost, upstage their successors tonight in the intensity stakes. It's certainly refreshing to be part of a crowd that's genuinely interested in the music as opposed to chugging down the next pint while chatting idly to one another, and when this filters through to the support slots too, well, everyone's a winner.
To be fair to DtR, mind, it's virtually impossible not to keep your eyes permanently glued to the stage during their suitably colossal 60 minutes. Naturally, there's the much-touted audio-visual dichotomy of five relatively scrawny, tattooed-to-fuck former hardcore kids making such heartwrenchingly tender and beautiful music which, in itself, is enough to send a dozen or more jaws dropping to the floor every time Peter opens his mouth and THAT angelic voice comes spilling out... but that's only part of the story. Fact is, these guys know how to put on a show, when to let the tunes speak for themselves and when to let loose and unleash holy hell on their instruments.
So there are moments of unrelenting beauty: an achingly expansive 'Demons', the acapella opening to 'Weights and Measures', doused with enough melancholy to make even the most steadfast among us shed a tear or two, every solitary second of 'Bible Belt' and, lest we forget, the inspired decision to close the encore with an acapella rendition of 'Shaker Hymns'... in the middle of the crowd. And then there are the gargantuan numbers: the impassioned choruses of 'No Rest', the anthemic 'New Ceremony' and the piece da resistance, the six minute behemoth that is 'Lion's Den', which builds and builds into a climax of unfathomable proportions, each member of the band drawing deep to give us every ounce of energy they can possibly muster. It's a thrilling experience, leaving lumps the size of golfballs in the throats of every stunned spectator in the building.
And that's pretty much the go-to response for tonight's performance. With only 9 songs, no shoes and a few Maryland cookies (no, we don't know either), Dry the River blow every expectation out of the water, demonstrating their consummate skills as musicians but, more importantly than that, delivering something genuinely emotive and real. The passion, energy and intensity on display tonight is what live music was made for and it's brilliantly invigorating. Hats off to DtR then; there's absolutely nothing cold about this evening's show. Sorry... couldn't resist.
Live review: Muse, Glasgow SECC, 24/10/12
Let's get one important point out of the way before we begin: Muse are
an incredible live band. There is simply no denying the fact that Matt,
Chris and Dom are masters of their craft, perhaps THE masters, expertly
amalgamating extravagance, spectacle, technical wizardry, bone-crunching
guitar riffs and spine-tingling singalongs to produce a heady five
course musical meal that has crowds devouring the palms of their hands
throughout. It almost goes without saying that Muse shows are like no
other, and that the extortionate amount you undoubtedly paid for it will
be repaid tenfold by at least SOME of the 120 minute rollercoaster ride
unfolding before your eyes (and ears).
And so it is tonight at Glasgow's cavernous SECC, when the ivories tinkle the opening refrain of 'The Resistance'; when Matt launches into a heart-wrenchingly beautiful - and most unexpected - 'Ruled by Secrecy'; when Dom's thunderous drums drive a militaristic 'Uprising'; when Chris straps on the ol' harmonica, signalling the arrival of a brutal, pounding 'Knights of Cydonia'; and of course, when Matt slays seven shades of the proverbial out of 'Plug-In Baby' and 'Stockholm Syndrome', perhaps the finest, messiest, certainly noisiest headfuck of a closing duo you are ever likely to experience. These are the moments that stick with you, that send shivers careering down your spine, that thrill, that excite, that re-affirm your belief in this most colossal of bands.
It's a shame, then, that these moments are getting fewer and further between, that Muse seem hell-bent on abandoning the very things that make them such a delight to watch. Doubtless Matt, Dom and Chris are extremely proud of their latest effort, 'The 2nd Law', and that they, quite understandably, want to take any opportunity they can to share their new-born with the world. It's just unfortunate that it also happens to be something of a dud; unquestionably their worst record to date and quite frankly, hopeless in a live setting. Disappointing, then, that they choose to air no fewer than TEN - count 'em! - songs from it this evening which leaves a lot less room for those that are far likelier to elicit a positive reaction.
Muse could be forgiven, perhaps, if the lazy, almost parodic, sound of the album was given a complete make-over live, confounding expectations and forcing you to re-evaluate the record. Sadly, this is not the case: the flat songs still sound flat and, worse still, they kill the jubilant mood created by anthems like 'Time Is Running Out' and 'Starlight'. Five or six tracks might have been forgivable; 'Supremacy' does sound mega, 'Survival' was the Olympic song after all (though there is no way in hell it should close the show... talk about a Radio 2 ending), 'Madness' IS a single, though God only knows why, and at least 'Panic Station' makes people dance, but 'Animals'? 'Explorers'? Opening with 'Unsustainable'? Making us wait through ALL of 'Isolated System' before we return for the encore? Matt running around like Bono on steroids during 'Follow Me'? 'LIQUID STATE'? There really is no need for such an excessive amount of new material, particularly when the songs bleed into one another in the setlist ('Liquid State' into 'Madness' into 'Follow Me' into 'Undisclosed Desires' has got to be the worst run of Muse tracks EVER). Oh sure, we're all grateful for a toilet/bar break every now and again but not when it makes up approximately 50% of the show.
Of course, the biggest casualty of this over-reliance on new material is the loss of space for the old. Gone are any tracks from 'Showbiz', with the one concession, the first verse of 1997's 'Host', welcome but insufficient to remedy the loss of 'Unintended', 'Muscle Museum' or indeed, anything else from that record. Unforgivably, 'Hysteria' is nowhere to be found, despite the baying of the crowd and the fact that it contains the finest guitar solo to have ever wormed its way out of Matt's fingertips; a decent but hardly special 'Map of the Problematique' takes its place.
And then there's the 'New Born'/Stockholm Syndrome' thing. The two finest songs in their arsenal, both phenomenal live, and they'll only play one each night. They've even made a thing of it, notifying fans beforehand and, worse still, using a roulette graphic on-stage just before playing which of the two has been selected for that night, with the two songs as the only options; as if, you know, they haven't already decided beforehand. While this is undoubtedly supposed to manufacture some excitement, all it does is remind us of what we're NOT going to get. It's almost insulting, as if Muse are having a good laugh at our expense; "hah, yeah, we know you love 'em both but you know what, fucking TOUGH. We're gonna do what we like."
Frankly, we expect more from the UK's finest live performers. All the extravagant visuals, elaborate sets (the pyramid IS nifty), ludicrous suits, Star Trek onesies (Dom, you are a cad) and flash shades in the world cannot make up for the loss of the very thing that made Muse such a thrilling experience in the first place: the tunes. Sure, this is by no means a car crash of a performance; there are plenty astonishing moments, more than enough to justify the ticket price probably, and to make any first-time gig-goers think they've probably just witnessed the best show on Earth. It's just... we expect, no, we NEED, more from Muse. If they're to retain their reputation, Matt, Dom and Chris need to strip the '2nd Law' portion of the set to its bare bones, restore the tracks that got them to this point and cut back heavily on the Mercury and the Bono. Oh, and quit playing drum and bass jams too, you're too good for that shit. Disappointingly, then, the verdict is a resounding must try harder.
And so it is tonight at Glasgow's cavernous SECC, when the ivories tinkle the opening refrain of 'The Resistance'; when Matt launches into a heart-wrenchingly beautiful - and most unexpected - 'Ruled by Secrecy'; when Dom's thunderous drums drive a militaristic 'Uprising'; when Chris straps on the ol' harmonica, signalling the arrival of a brutal, pounding 'Knights of Cydonia'; and of course, when Matt slays seven shades of the proverbial out of 'Plug-In Baby' and 'Stockholm Syndrome', perhaps the finest, messiest, certainly noisiest headfuck of a closing duo you are ever likely to experience. These are the moments that stick with you, that send shivers careering down your spine, that thrill, that excite, that re-affirm your belief in this most colossal of bands.
It's a shame, then, that these moments are getting fewer and further between, that Muse seem hell-bent on abandoning the very things that make them such a delight to watch. Doubtless Matt, Dom and Chris are extremely proud of their latest effort, 'The 2nd Law', and that they, quite understandably, want to take any opportunity they can to share their new-born with the world. It's just unfortunate that it also happens to be something of a dud; unquestionably their worst record to date and quite frankly, hopeless in a live setting. Disappointing, then, that they choose to air no fewer than TEN - count 'em! - songs from it this evening which leaves a lot less room for those that are far likelier to elicit a positive reaction.
Muse could be forgiven, perhaps, if the lazy, almost parodic, sound of the album was given a complete make-over live, confounding expectations and forcing you to re-evaluate the record. Sadly, this is not the case: the flat songs still sound flat and, worse still, they kill the jubilant mood created by anthems like 'Time Is Running Out' and 'Starlight'. Five or six tracks might have been forgivable; 'Supremacy' does sound mega, 'Survival' was the Olympic song after all (though there is no way in hell it should close the show... talk about a Radio 2 ending), 'Madness' IS a single, though God only knows why, and at least 'Panic Station' makes people dance, but 'Animals'? 'Explorers'? Opening with 'Unsustainable'? Making us wait through ALL of 'Isolated System' before we return for the encore? Matt running around like Bono on steroids during 'Follow Me'? 'LIQUID STATE'? There really is no need for such an excessive amount of new material, particularly when the songs bleed into one another in the setlist ('Liquid State' into 'Madness' into 'Follow Me' into 'Undisclosed Desires' has got to be the worst run of Muse tracks EVER). Oh sure, we're all grateful for a toilet/bar break every now and again but not when it makes up approximately 50% of the show.
Of course, the biggest casualty of this over-reliance on new material is the loss of space for the old. Gone are any tracks from 'Showbiz', with the one concession, the first verse of 1997's 'Host', welcome but insufficient to remedy the loss of 'Unintended', 'Muscle Museum' or indeed, anything else from that record. Unforgivably, 'Hysteria' is nowhere to be found, despite the baying of the crowd and the fact that it contains the finest guitar solo to have ever wormed its way out of Matt's fingertips; a decent but hardly special 'Map of the Problematique' takes its place.
And then there's the 'New Born'/Stockholm Syndrome' thing. The two finest songs in their arsenal, both phenomenal live, and they'll only play one each night. They've even made a thing of it, notifying fans beforehand and, worse still, using a roulette graphic on-stage just before playing which of the two has been selected for that night, with the two songs as the only options; as if, you know, they haven't already decided beforehand. While this is undoubtedly supposed to manufacture some excitement, all it does is remind us of what we're NOT going to get. It's almost insulting, as if Muse are having a good laugh at our expense; "hah, yeah, we know you love 'em both but you know what, fucking TOUGH. We're gonna do what we like."
Frankly, we expect more from the UK's finest live performers. All the extravagant visuals, elaborate sets (the pyramid IS nifty), ludicrous suits, Star Trek onesies (Dom, you are a cad) and flash shades in the world cannot make up for the loss of the very thing that made Muse such a thrilling experience in the first place: the tunes. Sure, this is by no means a car crash of a performance; there are plenty astonishing moments, more than enough to justify the ticket price probably, and to make any first-time gig-goers think they've probably just witnessed the best show on Earth. It's just... we expect, no, we NEED, more from Muse. If they're to retain their reputation, Matt, Dom and Chris need to strip the '2nd Law' portion of the set to its bare bones, restore the tracks that got them to this point and cut back heavily on the Mercury and the Bono. Oh, and quit playing drum and bass jams too, you're too good for that shit. Disappointingly, then, the verdict is a resounding must try harder.
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