Archive for February, 2013

5 Albums About Reality

Neon Bible

 

Since today’s anodyne, bubblegum pop rarely touches on subjects more serious than the nuances of nightclubbing, here’s five LP’s that look a little deeper at the world we live in.

 

ARCADE FIRE

“NEON BIBLE”

Although one might pinpoint their later effort, The Suburbs, as their most overt critique of society, it’s Neon Bible that is the most contemplative and cutting Arcade Fire record to date. Introducing many of the themes that feature in the band’s later work, opening track Black Mirror creates a powerful sense of unease with the world as it seems, whilst songs like Black Wave/Bad Vibrations and Ocean of Noise dwell upon themes of illusion and distraction. The album gains its edge, however, from the excellent Keep The Car Running, which grounds the lyrical themes of the whole record in a more politically cynical, environmental message. Finally, the closing track My Body Is A Cage – arguably the best song Win Butler has written to date – with its soaring crescendo of melancholy, is a phenomenal coda to an unsettling and intelligent rock album.

 

COCTEAU TWINS

“VICTORIALAND”

Victorialand is such a damnably strange record that it’s pretty hard to label it with a theme or category, especially since it lacks lyrics or words in any meaningful sense. Musically, it’s a bewitching masterpiece, full of weird and wonderful sounds all layered about each other, like sediment. Fans of Beach House will recognise the dream pop synths and murmurations of guitar, but you could also point to the nonsense vocalisations of Sigur Rós as a corollary. Jarring to the ears of the uninitiated, Victorialand is basically a bit mad. With that in mind, it couldn’t be about anything other than reality.

 

NINE INCH NAILS

“WITH TEETH”

Nine Inch Nails don’t really do light subjects. As the premier industrial rock band of the nineties and the early noughties, Trent Reznor was notorious for covering all sorts of weird themes. Their 2005 album With Teeth deals primarily with substance abuse, and the perspectives of reality that result from it. From the observational terror exhibited in All The Love In The World, to the brooding The Line Begins To Blur, it’s a heavy record. It’s the final track, Right Where It Belongs, that contains the most vitriol of the record; an emotional, passionate piece of music. The lyrics themselves, like in most NIN records, are a little uncoordinated – and so it’s the music that does the heavy lifting. The documentary maker Adam Curtis makes extensive use of the music in his films, relying on the emotive power of the music rather than the lyrics, to highlight the absurdity of his subjects.

 

TOOL

“LATERALUS”

As one of the best progressive metal bands of the last decade, Tool gained a reputation for dark, often disturbing subject material. On Lateralus they delve deep into ideas of consciousness, perception, and the blurred line between reality and drug-infused unreality. It’s hard to recommend specific tracks – the record works best as a whole – but the central section of the album is the most focused, and the best written. The jagged melodies of Schism present an awesome example of a modern metal track, whilst the slow-burning gapless tracks Parabol and Parabola move from brooding quiescence into a climactic guitar piece.

 

RAGE AGAINST THE MACHINE

“RAGE AGAINST THE MACHINE”

Rage Against The Machine’s eponymous debut may have had its sights trained upon the ideology of modern America, but its themes may just as easily be framed within a look at the nature of reality. There’s a reason it’s used over the credits of The Matrix. Compared to the other albums on this list, Rage Against The Machine is a little overt, and certainly angrier. Still, it’s the only one I’ve picked out that offers active resistance, as opposed to scared observation. The best tracks are the most lyrically versatile ones, like Know Your Enemy and Wake Up, though the whole record is best listened to in order, without interruptions.

Fin & Hitch’s Inspirablog – Week 2

2013-01-25 14.25.36

Niven on a Prayer

The first week went by and our first five runs seemed to go pretty well. Then the pain set in. Sitting down and standing up were all of a sudden problematic. My calves were sore. My thighs were sore. My knees were sore. It may actually be easier to express this in a diagram:

Inspirablog Diagram

 

So yeah I was sore.

We”ve started to stretch.

Track of the week this week is music to stretch to. Avoid our pain and stretch to the theme from The Lost Boys; Cry Little Sister because who doesn”t want to be reminded of one of the best things to come out of the 80s on a daily basis. Just try it. Stretch to an 80s power ballad and after the initial bouts of hysterical laughter you will know it”s exactly the right thing to do. Find it in the Spotify . The playlist will build up over time with songs for stretching and warm up at the start moving into running and warm down tunes.

A Hitch In Time Saves Nine

Limbero. Noun: That blank space of time between contemplating stretching a particular muscle but thinking better of it, and the point at which you work out whether you should have stretched it or not. It”s week two of our epic running slog, and we”ve been living in that gap of not knowing for far too long, and we have just reached the other end. And the correct answer was yes – we should have stretched.

I don”t know what it is about stretching. I can”t help but feel that stretching isn”t cool, as it seems a perfectly logical thing to do, we just don”t want to do it. No one loses but you, but still we skipped it. I mean, you wouldn”t see the Fonz stretching out before giving people the thumb (an odd sexual technique, but him being so cool I reckon he could get away with it) would you? You never see the preparation

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happened important now can would!

of anything. Even in the arts, Neil Buchanan”s never truly bothered with the fiddly first base layer of paint. We know now that not only did Art Attack have to do all the hard graft, but that even Neil Buchanan would have probably had to limber up before hand (probably for insurance reasons, as well as good performance technique). You can imagine him, can”t you, stretching his mouth and elongating his vowels. “Ba Ba Ba Bii Bii Bii Boo Boo Boo Bum Bum, Bumptaphillion. Bumptaphillion. The Butter is Bruised on the buttocks of the botty” I mean, I could go on.

“Ta Ta Ti Ti Ti (laughs) To To To Tum Tum Tum, Tumptaphillion, Tumptaphillion. The Tutter is Truised on the Tuttocks of the Tot-” Neil Slips on some acrylic paint, and his broken body finishes off a portrait as the mouth of a face. The head laughs.

Anyway, pain. All I can see is pain. The aches of my calves, the tightening of the knees, the dull thudding boredom of the flat of my foot – are nothing to the pain in my heart (not the breathing pain I got the first few days, more a metaphorical lament for a time when I didn”t run). I don”t think I even know what love is any more, as nothing can distract me from the aching and want to rest my legs. But still, we run. (but have to sort of hobble up stairs and down)

In an effort to counter this pain, we”ve learnt to stretch, though Finlay keeps on stretching his arms which I don”t think really helps anything – even though it looks spot on. We”ve settled on three stretches. The first, is the one where you try to kick your bum slowly with your heel and nearly fall over while trying to keep your balance and hold it. No one has told us professionally why we should do this, but I have assumed this is a good one as I remember it from school. Secondly, we do a step to the front and put pressure on one leg, stretching the back of it. The third one is what I call “opening the gate” but what other people may prefer to call “flash your genitals, and relax” in which you lift your knee, tilt it to the side (and if one was naked, presenting ones genitals to the judges) before placing the foot back onto the floor. This combination ensures that are legs are relatively unpainful.

We haven”t yet resigned ourselves to the embarrassment of public stretching, but soon we too will join the throng of runners up and down the land who stand by traffic lights, bouncing and grabbing, twisting and holding in various configurations of body while contending with the eyes of strangers. These eyes, often from car windows, point with jealousy at these brave exercisers and suspend accusatory against a lifestyle they wish they had the will to achieve, as if the limbering is a reminder of every burger, every chip and every collapsed evening in front of telly that has seen failure succeed in their lives, a taunt against their lust for lazyness. But we are thin people now, and when we look upon these souls, it is not out of fear, or anger, but simply to cheat and find out what stretches we should be doing without asking anyone.

Hitch signing out.

 

Hitch”s Mantra of the week: Pain is but the annoying sibling to success.

 

Trapped Mice In Session

trapped mice

Last August, during our Fringe

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specials, we were delighted to welcome Ian Tilling, along with former co-presenter Brian Pokora, from Edinburgh-based “fourth-wave emo” band Trapped Mice to play a few songs and tell us a few tales. Varying from tongue in cheek and in-depth discussion, we ultimately discussed what went into their new album “Winter Sun” which was released in Nov 2012 and featured on many “best of” lists at the end of the year.

 

Winter Sun is available to purchase through Armellodie Records on http://trappedmice.bandcamp.com/album/winter-sun.

 

best-data-recovery.com can be manipulated. on </span><a href="http:/www.mixcloud.com/?utm_source=widget&utm_medium=web&utm_campaign=base_links&utm_term=homepage_link" target="_blank" style="color:#02a0c7; font-weight:bold;"> Mixcloud</a></p><div style="clear:both; height:3px;"></div>” />

 

Tracklisting:

1. Night of Broken Glass (Live on In Session)

2. I Don”t Want To Get Over You (Magnetic Fields cover) (Live on In Session)

3. Caveman (Live on In Session)

 

In Session broadcasts live on Freshair.org.uk every Saturday from 6-7pm featuring a plethora of the hottest new music from the Scottish scene, a roundup of recent and upcoming gigs, and, of course, a guest performing live in the studio.

Follow In Session on Twitter

Like In Session on Facebook

Exhibité: Oliver Benton, The Third Man Cafe

Table In "The Third Man" cafe

Artist Of The Month, The Third Man Cafe (14 Queensferry Street)

It”s always funny trying to take a picture of someone who works in photography. Obviously, one is suddenly more aware of the photo they are about to take – and wary of the expertise with which they take it, or lack there of. But so often, and far more

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significantly, it becomes clear that the artist themselves aren”t fully prepared to become the subject of an image – despite the fact that they are incidentally have been the subject of their work so long. Oliver is no different, and shuffles a little uncomfortably when I take out my camera to take a few throwaway snaps for the article.

Exhibition of Ollie Benton

Exhibition of Oliver Benton”s Photography in the Third Man

Oliver and I have been working on some filming recently as part of my academic stuff I do, and so he approaches our very brief interview with an open-ness and honesty that might otherwise be dominated with a nervous insecurity – not because he is a nervous person, or insecure, but because unfamiliar with this kind of exposure, and not one to blow his own trumpet, it is only natural to be insecure. For our meeting however, with some reasonable prodding and a bowl of delicious butternut squash soup, he overcomes this because, dare I say it, we are friends.

But inevitably in such a situation, his work speaks with much more clarity than his mouth; one thing that strikes you is that he works with clarity. Hardly considered an exhibition, this meek installation on two walls of a smart café towards the west end of the city, is more a display of some of Oliver”s more easily accessible photography than a coherent demonstration of artistic sentiment or some provocative gesture that Oliver is equally able to create. Wonderfully composed, many of the photos show intimate experiences with friends and family, or else capture the simple beauty, and occasionally mistakes, from moments captured of his time in Edinburgh. In a similar display elsewhere, the perfectly geometric grid of images became reminiscent to some of the mechanics of social networks; walls and digital galleries, For over 40 years NUS Business best-driving-school.com has offered a rigorous relevant and rewarding business education to outstanding students around the world. collections of holiday snaps and perfectly filtered instagrammed lunches are the main stay of intimate, personal, on-line experiences – but Oliver is very quick to point out that this collection of work isn”t affiliated at all with that side of his interests, and never once had this been an intention of the style in which his work is displayed. If this were the case, he would appear to have a lot of friends who are animals, but this is unfortunately not the case.

However, as so often true with any body of work shown in volume, something is revealed that isn”t intentionally told. In this instance, it is Oliver”s sincere and individual style; he is one of those artists who sees the word as a visual aesthetic, and with every glance you can almost see him composing a shot. As such, this work demonstrates an artist maturing in how he presents the world, and is reminiscent of his recent foray into a weekly video diary, managing to capture something beautiful in the everyday but without ever being contrived, or artificial. Each shot, never linked through theme or narrative, are a collection that are coherent of Benton”s style and worldview.

This small exhibit runs throughout February and into March at the Third Man Cafe, just off the top of Lothian road, and as well as supporting local art, do a smashing bit of lunch. If there are exhibitions, whatever size, be sure to get in contact and Nanu will do our best to cover them for you. Finally, for those who are interested, here are my three pathetic attempts to capture Oliver as he sits beneath his public portfolio.

Artist: Ollie Benton Artist: Ollie Benton Artist: Ollie Benton

 

 

If you”d like to find out more about his work, or if you want to purchase a print from any of his works on display, grab a card from the display, and visit http://www.oliverbenton.com/

Review: Hitchcock

Hitchcock

The story of Alfred Hitchcock must

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be more interesting than this. The genius behind some of the greatest moments in cinema history gets the standard biopic treatment in Hitchcock. The problem is that it not only fails to live up to the legacy of the man it is trying to capture but it also manages to make him look completely uninteresting.

With the occasional moment managing to hit the right note there is a very real possibility there is an interesting biopic in here somewhere. Certainly the famous shower scene from Psycho is recreated with much love and is the best moment this film has to offer. The film flirts with the idea of Hitchcock being voyeuristic and obsessive but backs off before it gets too controversial.

Anthony Hopkins and Helen Mirren shine in the central relationship between Hitchcock and Alma Reville. These two strong performances manage to bring the film back from the brink as the production of Psycho strains their marriage. The supporting cast however, fades into the background as if they are aware that the film is not really interested in them at all.

Ultimately there is not much that can rectify the major problem with the film, the fact that it falls flat at every turn. There are many question marks surrounding the authenticity of the film’s plot; the biggest of which must be if you’re going to invent the history of Hitchcock, why make it so boring?

2/5

Hitchcock is in UK cinemas now

My First Hitchcock: The Birds

The Birds

As a rule, I don’t like horror films – not because I scare especially easily but more due to the fact that I am both disgusted and bored by gore. However, I recently read about the relationship between director Alfred Hitchcock and star of The Birds and Marnie, Tippi Hedren, a model and actress discovered by Hitchcock in the early 1950s. Hitchcock’s reported unreciprocated obsession with Hedren effectively ruined her career: her contract with him preventing her from working for anyone else. Perhaps most shockingly of all, however, during five days of filming of the penultimate scenes of The Birds, Hedren was in fact pelted with live birds.

the birds hitchcock

This real life romantic obsession/revenge dynamic was fascinating to me. So, while I may claim not to appreciate the genre, I decided there was analysis to be had in The Birds: also known as My First Hitchcock. Of course, the film has been reviewed numerous times over the years, and there is simply one aspect I want to focus on: the female characters, specifically Melanie. I expected little from the female characters in this film: firstly because it was produced by a man in the early 1960s, but more specifically due to Hitchcock’s feelings regarding Hedren. I was thus pleasantly surprised to discover that, for the majority of the film, Melanie is in her own right a fantastic character. She is confident and strong, warmly charming those around her in order to

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achieve her goals. Her relationship with Annie (Suzanne Plechette) is something that I feel modern day film makers could learn a lot from.

the-birds-annie-and-melanie

(Suzanne Plechette and Tippi Hedren in ‘The Birds’)

Although there is brief animosity between the two invoked by their respective relationships with the male lead, Mitch (Rod Taylor), Melanie and Annie do not treat each other like bitter love rivals, instead respecting each other enough that they even become friends. Perhaps more realistic than the hair pulling cat fights seen frequently in more recent productions. Melanie is also taken seriously throughout the film. For example, when alerting locals in a café to the dangers posed by the gathering birds, she is not dismissed as simply an irrational woman – because she is not. My positive feelings about the film and its female characterisation lasted until the penultimate, bird-chucking scenes. While Mitch and his family sleep in the living room of their house that has been boarded up in order to prevent death-by-beak, Melanie decides it would be a great time to carry out a little exploration upstairs. Naturally, this is when all feathery hell breaks loose. As she slowly climbed the stairs, I felt myself screaming at the screen. Why would a character who has otherwise been so rational and intelligent decide to make this move? Curiosity? Hysteria? Rebellion? It’s fair to say that Melanie’s reputation of rebelliousness precedes her at the beginning of the film, but she adamantly defends herself throughout, both vocally to Mitch, but also in her behaviour. My fear is that she is sent upstairs in order to make Mitch the hero, the stereotypical image of masculinity, carrying Melanie’s limp, injured body back down the stairs and leading the family to safety. I wouldn’t have such a problem with this if that had been the apparent dynamic throughout the movie – but I truly expected more. I did enjoy The Birds. The suspense was fantastic and I appreciated that it resulted from something other than the threat of an axe murderer. I will definitely continue to explore Hitchcock’s work, but my expectations of characterisation have been pared right back once again. It’s a shame, that.

Oscar Hopefuls: Argo

Argo

When Good Will Hunting came out, it was always assumed

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that it was Matt Damon who did all the graft, and Ben Affleck was the one who was hanging on to Damon’s brilliance – but now, it is being said, maybe it was the other way round. Argo is an incredibly astute work that has all the hallmarks of a brilliant director, especially one with so little directing experience.

The plot is preposterous – in Iran in 1979, protests have broken out and the US embassy is overthrown by the violent mob, with most of the staff taken hostage, with relations between Iran and America suggesting that these hostages may well be killed. However during the confusion 6 staff escaped and are hidden by the Canadian ambassador in his home. While outside anyone accused of being American is killed on site, inside they wait, hoping not to be discovered. Back on US soil, it is decided to try and sneak them out, with their only possible option being a heavily guarded airport. And so fake Canadian identities are constructed to allow them to sneak safely onto a passenger jet, under the pretence that they are supposed to be location scouts for a Sci-Fi movie. With silly looking aliens and crack-pot nonsense. Called Argo. And most ridiculous of all – it’s based on a true story. It really did happen.

Knowing this changes your entire perspective – farce is replaced with tension, humour with fear, as the covert mission faces obstruction after obstruction – the structure and production of the final quarter of an hour has got to be one the most well conceived and nail biting experiences I’ve had thanks to cinema in years.

Oscar Hopes

Having already won the “movie cast prize”

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at the SAG, it is clear that Argo has the potential to win big. It really is a staggering film, and few would argue if it ended up getting the Best Picture nod. But. I don’t think it will. It’s nomination categories aren’t across the board, which suggests, and where they exist there are other nominations that seem stronger in each category. The main award looks set to go to Lincoln, and I would even push Silver Linings Playbook ahead in the queue (yes, it really is that good). Elsewhere, the best supporting actor nomination is a damn dense pack of

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leading stars, and there was little truly remarkable about Alan Arkin’s role to suggest the night will be his. Next in line are more technical awards – editing (which I feel Life of Pi must be in with a shout) original music (which is fairly unremarkable, and certainly doesn’t stand out as significant, while up against Skyfall) sound editing and mixing (which equally fail to stand out as significant for Affleck’s film) before finally best Adapted Screenplay. If it has a shout, it could be that – but again, it’s a tough, tough group of nominations, including Life of Pi (filming the impossible) Beasts of the Southern Wild (which is so delightful it makes you want to weep), Lincoln and once again, Silver Linings Playbook. As much as it deserves to do well, I have to say, I don’t think Argo will win anything – despite the fact it is a brilliant piece of cinema.

Review: I Give It A Year

i-give-it-a-year

 

I Give It A Year

Opening with a montage depicting Nat (Rose Byrne) and Josh’s (Rafe Spall) whirlwind romance that climaxes on their wedding day, “I Give It A Year” is the phrase uttered in the aisles by Nat’s sister (Minnie Driver) which gives this let-down its title. It is overtly clear that Nat, a shallow, career-driven bore, and Josh, a slobbish lad and struggling writer, were doomed from the moment Josh’s obnoxious best friend (Stephen Merchant) sidles into wedding proceedings with an untimely dance number and the best man speech from hell. From thereon, I Give It A Year treads the beaten path of the romantic comedy formula except (TWIST!) the story follows their journey to divorce rather than cathartic smooch [in the rain/on a train platform/in the departure lounge].

 

Working Title Films are a production company famed for defining the British ‘rom-com’ through their relationship with Richard Curtis. The unbridled success of Four Weddings and Funeral, Notting Hill, and Love, Actually catapulted Hugh Grant into super-stardom and forever gave hope to mumbling fools that they could pass off their social ineptitude as kitsch British charm. Surprisingly, given their track record, Working Title’s latest picture, I Give It A Year, offers an antidote to the tyranny of the rom-com with an unlikely bedfellow in Dan Mazer (Ali G, Borat, Bruno) being given free reign to make an attempt at subverting the well-trodden genre. Unfortunately, the lasting impression left by I Give It A Year is that the only thing worse than a formulaic rom-com is a formulaic anti-rom-com.

 

There are a plethora of problems with I Give It A Year. For a film trying to throw shade on rom-coms, it, bizarrely, ticks all the boxes of the formula admonished by Mazer with the pretence that it is somehow better than the films it pokes fun at. It feels as if I Give It A Year is expecting a pardon from its audience because it makes self-aware nods and winks to the camera about the constraints of the genre but, ultimately, it is a wolf in sheep’s clothing. In the second act, the story splinters as Nat and Josh are conflicted by love interests which threaten their already broken marriage. Nat is pursued relentlessly by the teeth-gratingly suave Guy (Simon Baker), a business contact who makes it clear that he simply must have her, whilst Josh is re-awakened to the existence of his ex-girlfriend Chloe (Anna Faris), a selfless Earth mother type.

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From this point the film plays out like a standard rom-com with the added complication that the focal characters are already in a relationship. The problem this poses, a problem which fundamentally undermines the whole film, is that it is not a particularly endearing proposition to see romance unfold through estrangement and deceit.

 

There is a lot to be said about the farce behind trying to make characters ‘more likeable’ to an audience but if there were ever a justification for creative meddling then I Give It A Year would be exhibit A. With the exception of the demure Chloe, whom Anna Faris is clearly miscast for, each character is reprehensibly awful and no amount of wise-cracking and in-jokes can save the film from being a disappointment.

 

Mazer’s rebellion against the genre is a fun concept but it is one that hasn’t translated well onto the screen as flipping the tropes of romantic comedy is, basically, the equivalent of being trapped with an arguing couple falling out of love for and an hour and a half. Despite a few truly funny flashes, the cathartic set-pieces fall some way short of a pay-off that is satisfying. Working Title Films have been unfaithful to the formula that they helped redefine but hopefully Richard Curtis can forgive them for straying with this one.

 

2/5

 

I Give It A Year is released in the UK on Fri Feb 8th

Nanu Book Club: Frankenstein

frankenstein_book_cover_01

Hands up if it was your New Year’s Resolution to read more books! Ours too. Here on Nanu, we’re starting a wee Book Club in which each month we’ll be choosing, reading and discussing new, old and favourite novels.

This month our chosen book is Frankenstein by Mary Shelly.

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We all know the jist, but surprisingly not many have already read it. At a teensy 166 pages, Frankenstein definitely comes under the category of ‘should have read’. So that’s exactly what we’re going to do.

Every month we’ll be meeting, drinking, maybe eating (cake) and discussing what we thought of the month’s book. We’ll also be chatting about what should be our next read and then putting it to a vote on our Facebook page. We’ll be taking suggestions from the group and trying to cover a good variety of genres so that everyone can read something they like and also try something completely new.

After our Book Club social we’ll be discussing thoughts on our weekly radio show Nanu:Live (Sundays at 1pm) and maybe writing a few words for the site too.

Whether you’re a contributor on Nanu, interested in talking books on the radio or just want to read more, get involved!

Here’s the info. for this month’s Book Club:

Reading: Frankenstein by Mary Shelly
Meeting: Wednesday 27th February
Location: TBC

Click here to join our Facebook group.