Tuesday 19 December 2017

Charli XCX - Pop 2

Charli XCX - Pop 2

A big enough name that she commands our attention but not yet in the upper echelons of pop, Charli XCX finds herself in a strange position at the end of 2017. A few months back she stormed YouTube with the gender-bending video for Boys, though it failed to storm the charts in the same way. Before that in March, she released ‘Number 1 Angel’, a brilliant yet under-appreciated release that was perhaps held back by its status as mixtape and not the long-awaited third album.

Now, at the tail end of the year, she’s back with another mixtape: ‘Pop 2’. It’s another chance to experiment with her sound and give us a taste of the “official” album to come, even if it doesn’t provide the big hit that fans are clamouring for.

Over time Aitchison has been slipping further into the PC Music scene: a record label run by A. G. Cook with a hyperactive take on pop, chaotic computerised textures and processed vocals. Cook produced much of ‘Number 1 Angel’ and returns for ‘Pop 2’. And where his influence on the music of Charli XCX has previously been subtle amongst more palatable pop (think the Super Mario chimes in Boys), it’s in full force here.

It’s perhaps most prominent on standout Femmebot, which takes the sound to its literal extreme. “Go fuck your prototype,” she boasts in the verse, “I’m an upgrade of your stereotype” over vibrant production of bleeps and bloops, choppy rhythms and vocals wrenched through a vocoder. She takes on the role of a musical cyborg, supported by Dorian Electra and Mykki Blanco whose rap references Ghost In The Shell. Yet through the sonic frenzy, Aitchison’s songwriting still shines through with a fun hook and robotic tongue in cheek lyrics. She’s the figurehead to take PC Music mainstream.

The pairing of Cook and Aitchison brings a collision of pop and computerised sound, but they’re always in balance. Hooks are cut and spliced together, synth melodies glitter and glow, and samples are overlayed in ways that only a computer could do. It’s a celebration of the computer as a musical medium, but with Aitchison bringing the human songwriting to tie it all together. Delicious is pure euphoria, a trance rave for replicants. The candy-coated Unlock It is an addictive listen. And Porsche sees her fantasising about swapping love for money over hip-hop inspired clipped beats.

That latter track is a collaboration with MØ following 3AM (Pull Up) from ‘Number 1 Angel’. And it’s one of many features on ‘Pop 2’, Aitchison proving her pop credentials by pulling in names like Carly Rae Jepsen, Caroline Polachek, Tove Lo and ALMA. Those last two feature on Out Of My Head, the lead single from the mixtape. It’s probably the most chart friendly of the songs here, but you get the impression Aitchison no longer cares about that. This release is all about experimentation, creating music freely without agenda.

The results are sometimes inconsistent and the PC Music sound is divisive. But the intriguingly titled final song Track 10 is a Pollock-esque splattering of samples that sounds like a demo of ideas, perhaps even a tantalising look at what’s yet to come.

4/5

Gizzle’s Choice:
* Femmebot
* Delicious
* Porsche

Listen: ‘Pop 2’ is out now.




Monday 18 December 2017

Animal Crossing: Pocket Camp

Animal Crossing: Pocket Camp

Animal Crossing. It's a game about making friends with cute furry animals. A game about building a community. A game about customising your appearance and that of your home to reflect your personality.

That's as true with Pocket Camp, the mobile version of Nintendo's series, as it has been since the Gamecube days. You can be whoever you want to be - even wearing a Santa skirt, getting KK Slider the dog to play Jingle Bell Rock and pretending you're in Mean Girls. Sort of.

Animal Crossing: Pocket Camp

At least that's what Nintendo wants you to think. Really, it's pure evil.

For a game about friendship, it sure is materialistic. The only way to impress your fellow campers is to give them stuff - the stuff they demand from you. Maybe that's a poor fish they want to roast alive, a beautiful butterfly they want to hunt down for their "collection", or a fruit from a tree literally right next to them that they're too goddamn lazy to collect themselves.

Animal Crossing: Pocket CampAnimal Crossing: Pocket Camp

The premise of the game is to manipulate these furry little animals into becoming friends with you through the promise of gifts. And what do you get in return? Bits of wood and fluff you use to create new furniture to deck out your campsite and entice your new "friends" to come and visit. Except the demanding little bastards will only visit if you furnish the place with their specific taste in tables, chairs, and bizarre accessories. Something about feng shui apparently.

So who exactly is manipulating who? And what do you get in return? A job reference from a cartoon eagle? For all your work playing Santa Claus, they only ever demand more from you, their cute little faces staring expectantly, the fires of Satan burning in their eyes...

Animal Crossing: Pocket Camp]Animal Crossing: Pocket Camp


Animal Crossing: Pocket CampAnimal Crossing: Pocket Camp


Or maybe their eyes are just red from the craving. You see, Pocket Camper is basically an allegory for drug dealing. These cutesy critters are craving and demanding stuff and you are their enabler, using your hard earned cash and materials to build the slickest gangster pad and prove your wealth to the world. I mean, just look at this stoner dog waiting for her next hit, or this hallucinating ostrich...

Animal Crossing: Pocket CampAnimal Crossing: Pocket Camp

Or maybe Nintendo are the real dealers here, delivering a pointless, never-ending quest that's thumb-shakingly addictive. What is the end goal? The animals don't stop coming, manipulation upon manipulation like an Inception of gift-giving that never leads anywhere. And when you can't play on the tube because the game requires a perpetual internet connection and you're stuck watching a spinning loading wheel while this stupid mouse just stares at you blankly and...GAH!

Animal Crossing: Pocket Camp

I've fallen down the rabbit hole. Someone please make it stop.


Sunday 17 December 2017

New Music Friday 15/12

Unless you're Beyoncé with a surprise release, you're gunning for Christmas number one, or you're Ed Sheeran featuring on literally everybody's new album, nobody releases much of worth this close to Christmas. Here's a handful of the week's new music...


Anne-Marie - Then

 Anne-Marie - Then

This isn't a proper single from Anne-Marie, but it proves that next year's album will be full of hits. It's a contrast to the fiery Ciao Adios and Alarm, with emotive lyrics and downbeat production driven by handclap snaps and gentle syncopations. She's still waiting for that big breakthrough moment, but she's not far behind 2017's biggest success Dua Lipa...



Lily Allen feat. Giggs - Trigger Bang

 Lily Allen feat. Giggs - Trigger Bang

'Sheezus' didn't quite get the love it deserved, but Lily Allen is back with a new album and Trigger Bang is the first single. With a rapped verse from Giggs, Allen is - as ever - going for an urban sound as she turns her gaze to toxic people in her past, but it's hard to tell whose poorly rhymed lyrics are worse.



Pale Waves - My Obsession

 Pale Waves - My Obsession

Listening to this new track from the Manchester four-piece, it's easy to see why they were chosen to support The 1975 on their North American tour in the summer. The stadium, jangling guitars and pop hooks don't stray far from the template that Matt Healy and co. developed, although there's also something of Chvrches' Lauren Mayberry in the vocals of front woman Heather Baron-Gracie. Yet even with such obvious influences, it's all slickly produced, euphoric as hell and proves the band are worthy of their recent BBC Sound Of 2018 nomination.



joan - tokyo

joan - tokyo

Here's another group working that synth-pop-rock vibe. Here the Arkansas duo are heading off to Tokyo in a rush of crazy love, riding a wave of 80s funk guitars and weird, vibrant electronica. "Don't know what the future holds, I just wanna feel this moment," goes the fizzing chorus - probably their best yet.



Michael Brun - Easy On My Love

 Michael Brun - Easy On My Love

Although best known for his remixes, Haitian DJ and producer Michael Brun has released a string of original tracks this year that blend progressive house with his Haitian roots. Easy On My Love leans more on the former, though the Kompa rhythms prevail. Janelle Kroll provides soulful vocals over the breezy production that's very easy to like.



MGMT - When You Die

 MGMT - When You Die

Moody acoustic guitars, oriental synth flourishes, simple melodies, weird dissonances. This 70s inspired track, the second release from their forthcoming fourth album, is kind of a mess. Yet its psychedelia and brutal lyrics ("Don't call me nice, I'm gonna eat your heart out") are strangely alluring, as is the magical video.



Robinson - Crave You

 Robinson - Crave You

The latest release from New Zealand's Robinson is a sultry, hypnotic track of yearning melodies as she mourns the end of a relationship. It's not a particularly original song, but its evocative, polished and a sign of good things to come.


Saturday 16 December 2017

Star Wars: Episode VIII - The Last Jedi

Star Wars: Episode VIII - The Last Jedi

The Force Awakens was a clever riff on A New Hope, following a loosely similar structure but with fresh characters as a way of resetting the series for a new trilogy. It offered an opportunity to revel in the familiar, while providing just enough novelty to keep the audience guessing. It worked as a one-off gimmick, but following that the series was in need of something new.

And so, the central theme of The Last Jedi is the idea of severing the past to make way for a bold new future, to fulfil destiny. Except the film, like its characters, is caught in a conflict here, a disappointing stalemate between old and new.

The theme is encapsulated best of all by its central trio of Rey (Daisy Ridley), Kylo Ren (Adam Driver) and the returning Luke Skywalker (Mark Hamill). Rey requires the tutelage of Luke to fully awaken her Force powers and reach her potential, but Luke has isolated himself, his trust shattered by Kylo. This narrative provides the film's most satisfying plot points, uncovering the truth of Luke and Kylo's shared past and navigating the shifting balance of light and dark between him and Rey, creating an interesting dynamic between the heroes and villains. Even so, Rey is a bland hero who finds her powers all too suddenly, while Kylo is a petulant and tempestuous teen without the necessary villainous gravitas. Luke, more than anything, is nostalgia personified.

The balance of light and dark is reflected in the visuals too. The Last Jedi is a particularly colourful depiction of the Star Wars universe with cinematographer Steve Yedlin bringing some beautiful visuals. Washed out mystery mixes with glorious vibrancy, from the dizzying space battles, to the sweeping wind-swept vistas, to smoke curling around brooding heroes and villains alike. The final battle on the salt plains of Crait is a particular highlight, every movement throwing up blood-like scarlet debris.

It's colourful for its beasts too. There's a whole horde of new creatures and critters, from the cute little porgs seen in the trailer, to the nun-like caretakers of Ahch-To, the horse racing fathiers, and the crystal fox vulptices. They all lean towards the cuddly and amusing end of the spectrum and bring a light-heartedness that contrasts with the grim-faced protagonists, even if the menagerie - like the film - is bloated.

This also reflects a tonal shift from director Rian Johnson towards comedy. This is, perhaps, the funniest of the Star Wars films, which seems at odds with the serious plot. The script if full of overstatement, cliché and clunky jokes and, although nothing is Jar Jar levels of irritating, it's clear that with Disney at the helm the film is aimed more at children than ever. Despite some amusing individual moments, collectively the film errs too far into juvenile, fantastical silliness. Coupled with the misguided evangelising of Carrie Fisher's Leia Organa, it borders on disrespectful to the legacy of the franchise.

Most disappointing of all, though, is the lack of originality. The Last Jedi is a slave to its trilogy counterpart, The Empire Strikes Back, hitting all the same story beats. There's an opening escape by the Rebels, a Jedi in training with an old master before returning to save friends in peril, a parental plot twist, a siege against incoming walkers. It makes for a film that is crushingly predictable.

Anything that falls outside of these familiar tropes falls flat. The film is for the most part one long set-piece that never goes anywhere, stalling the narrative but without providing necessary characterisation. The focus is on introducing new characters, but too often they're barely developed (Laura Dern's Vice Admiral Holdo or Benicio Del Toro's DJ) or quite frankly ignored (John Boyega's Finn is given too little to do and his ongoing duel with Gwendoline Christie's Captain Phasma is little more than an afterthought). Where the old swashbuckling films were so successful was in the charm of its cast, but The Last Jedi relies too heavily on that nostalgia in place of developing original characters. Their inclusion here just isn't earned.

As the title scrolls by and John Williams' heroic anthem kicks in, it still sends tingles down the spine. And as a universe, Star Wars still has the ability to entertain and excite with well choreographed lightsaber fights and swooping space battles. Yet The Last Jedi is cripplingly unoriginal and feels more than ever like a cold, empty attempt at extending the lifespan of the franchise for the sakes of nostalgia. The Force, sadly, has grown tired and stale.

3/5

Watch: The Last Jedi is out now.


Wednesday 6 December 2017

The Woman In White @ The Charing Cross Theatre

The Woman In White @ The Charing Cross Theatre

At its heart, The Woman In White is a Victorian mystery. Based on the 1859 novel from Wilkie Collins, this musical treatment from Andrew Lloyd Webber (with lyrics from David Zippel and book by Charlotte Jones) tells a haunting story of abuse, love, and the downfall of a dastardly gentleman at the hands of some vengeful women.

This mystery, however, is wholly predictable - both in its plot and its music. The story remains a fun ride, even with its twists and turns easily deciphered, and Lloyd Webber's score marries operatic grandeur with pop melodies, lush orchestration with sinister synthesisers. That's to say, it's typical Lloyd Webber stuff.

The creative team also pilfer liberally from across musical theatre, but perhaps most of all from Sondheim's Sweeney Todd (and not just for its comedy Italian tenor). It's more ghostly than bloody, but the show has a similarly gothic mood, a complex score of recurring leitmotifs, and a theme of revenge.

This production, directed by Thom Southerland, is the show's first revival since its West End premiere in 2004. Here, in the claustrophobic Charing Cross Theatre, Morgan Large's elegant set design creates an eerie mood, with smart use of sliding screens, and evocative lighting from Rick Fisher creates a gothic chiaroscuro.

Yet the production is pulling in two directions, the horror atmosphere undermined by slushy romance and lyrics that range from sometimes clever to horrifyingly cliché and far from Sondheim's ingenious wordplay. This is the Disney-fied Sweeney Todd, polished to perfection and with comedy too overt to maintain the dark edge.

The lyrics also add little depth to the characters, but this ensemble cast are consistently superb, with brilliant vocals and as much characterisation as the book allows. Carolyn Maitland's Marian is perhaps the most interesting, suppressing her romantic feelings in favour of duty to her sister. But Greg Castiglioni as the eccentric Count Fosco and his showstopping number "You Can Get Away With Anything" is the major highlight.

Streamlined and intimate, this revival is comfortingly safe rather than shockingly thrilling. And with its subtext of victimised women rising up against abusive men, its strangely pertinent this Christmas.

3/5

Watch: The Woman In White runs at the Charing Cross Theatre until 10th February.

The Woman In White @ The Charing Cross Theatre

The Woman In White @ The Charing Cross Theatre
Photos: Darren Bell

Saturday 2 December 2017

New Music Friday 01/12

It's December, it's nearly Christmas and as a gift, 'Reputation' is now available on Spotify. It's far better than most of New Music Friday, but there's the odd gem if you listen hard enough.


Ed Sheeran & Beyoncé - Perfect Duet

Ed Sheeran & Beyoncé - Perfect Duet

These two together is probably the most unlikely duet pairing in music history. But after the snow covered cheese-fest of the Perfect video, it's clear that Sheeran is really gunning for that Christmas number one - dragging poor Beyoncé into the mix is just a desperate attempt to increase that fanbase and wrack up the streams.



Louis Tomlinson - Miss You

 Louis Tomlinson - Miss You

I thought Tomlinson was the dance guy of the 1D alumni? But here he is singing about how hard it is being famous over grating pop punk production. It's clear he just doesn't know his musical personality and is instead releasing this lazy rubbish with one of the worst vocals of the year.



Martin Garrix & David Guetta feat. Jamie Scott, Romy Dya - So Far Away

Martin Garrix, David Guetta, Jamie Scott, Romy Dya - So Far Away

Despite collaborating with three (!) other artists, Garrix has managed to make So Far Away sound like every one of his other tracks. That's to say, it begins with a soft and moody verse before lurching into a rowdy chorus of crashing rhythms and basslines it's very easy to sing Scared To Be Lonely over. Guetta adds some polish and the two vocalists fail to be heard over the cacophony.



Django Django - In Your Beat

Django Django - In Your Beat

For all its weirdness, In Your Beat is perhaps the most accessible of Django Django's singles. Production-wise it's all over the place, but in the best possible way - it's manic joy with a strong vocal hook to tie it all together.



Kiesza & SKYGGE - Hello Shadow

Kiesza & SKYGGE - Hello Shadow

Kiesza came out of nowhere back in 2014 with Hideaway, which turned out to be one of the year's best hits. Hello Shadow marks the return of the Canadian singer and while it lacks the hooks and universal appeal of her earlier work, the big beats are back in full force.



Nick Jonas - Watch Me

Nick Jonas - Watch Me

This is the second song that Jonas has provided for the forthcoming animated film 'Ferdinand' about a Spanish fighting bull. The first was soppy ballad Home that actually has an enjoyable, driving rhythm to it. Watch Me, though, is a sort of funky hip-hop affair that your kids will no doubt be dancing along to during the film's credits. I guess he's being paid a lot for this...



Mahalia - No Pressure

Mahalia - No Pressure

Mahalia came to prominence with the sultry Sober. No Pressure continues her smooth R&B sound, which belies a biting criticism of the music industry: "say no to the yes men, 'cause they're the ones that don't question how you're feeling week to week." It's not a hit, but a strong statement from a rising artist with big things ahead of her.



Kate Boy - True Colours

 Kate Boy - True Colours

Sweden's Kate Boy have been quiet since the release of their euphoric debut 'One'. True Colours is a more subdued affair, but retains their brooding, percussive sound - pulsing beats, synth flourishes, and a vocal from Kate Akhurst that swirls like smoke in the dark.




Wednesday 29 November 2017

Björk - Utopia

Björk - Utopia

Each of Björk's albums has a different sound world. There's the techno-pop of 'Post', the delicate electronica of 'Vespertine', the sheer chaos of 'Volta', and the unique mix of instrumentation and technology of 'Biophilia' amongst others.

For 'Utopia', it's flutes. At the core of the production is a twelve-piece Icelandic flute ensemble, the wind instruments an obvious representation of the natural world. Adding in plucked harps, birdsong, animal calls and orchestral strings, Björk creates a veritable jungle of sound, rich, lush and warm. Amongst it all is her vocal, frequently used as just another texture within the cacophony. That's perhaps most apparent on Claimstaker, with a skipping bassline and strings that gradually become more expansive as Björk sings of becoming one with nature.

'Utopia' is multi-faceted, however, both musically and metaphorically. As, perhaps, you'd expect from Björk, it's all underpinned by technology and, like with her previous album 'Vulnicura', beats are provided by Venezuelan producer Arca. This is a utopia where the natural world blends with technology, a futuristic biome of wind instruments and throbbing rhythms. Take the sprightly Courtship, for instance, where a dance of flutes and beats flutter and skitter about one another, or the title track where processed rhythms shuffle in and out of focus like insects. Even at its most sparse, the album brims with beautiful, harmonious moments amongst its abstractions.

If this sounds like a clichéd vision of a utopia, know that this comes through the filter of Björk with all her unique eccentricities. It's also a somewhat political album in places: the focus on the natural world in particular a reflection of her views on climate change. Tabula Rasa depicts a blank slate in which Björk passes the torch to a younger generation (perhaps even her daughter specifically) and urges us not to repeat "the fuckups of the fathers" and notes now is the time "for us women to rise". This is Björk at her most urgent and feminist.

Above all, though, 'Utopia' is an album about love and in that sense, it makes an opposing companion piece to the visceral melancholy of 'Vulnicura' in which she explored her breakup with former partner and artist Matthew Barney. Now she's re-discovered love and this utopia is full of it. But love for whom? Or what?

On Blissing Me, all hypnotic harp and gentle beats, she sings of "two music nerds obsessing", perhaps over music, over each other, or both. And on Arisen My Senses, she sings of opening herself sexually and awakening her senses, the melodies overlapping in overwhelming ecstasy, those jittering flutes becoming the fluttering butterflies and nerves of newfound love. On the spine-tingling Saint, however, music is her salvation, personified as a female saint who heals with powerful music: "music heals too," she sings, "I'm here to defend it."

Be it love for others, oneself, or for all things, this utopia is a place of union: of the natural and technological worlds, of Björk and her collaborator. But there's anxiety here too, trouble in paradise. "I care for you," she yearns on The Gate over a sparse atmosphere of creeping synth flutters and beats, suggesting her nervousness and vulnerability. Losss sees her reflecting on her troubled past, a memory that's always there to be overcome. More explicitly, Sue Me addresses the custody battle with Barney for their daughter over abrasive, aggressive production. Even closer Future Forever has particularly minimal production, as if the hopeful future she describes is just a delicate dream.

Body Memory is the opus of the album, a distillation of all its themes. Each verse takes us on a journey through her life: the natural world, love, destiny, legal battles. At each stage her "body memory" kicks in as she learns to trust her instincts, the production developing through chaos and calm. It's also an ode to sex and the uncertainties of intercourse with a new partner, of overcoming anxieties of the past and forging ahead. It's grand and almost operatic, but at ten minutes long it's also long-winded. That goes for the album as a whole - her longest yet. Björk revels in this utopia, in this newfound love, but it's not always easy to be swept along with her.

Half the fun of a Björk album, though, is uncovering meanings in her lyrics. It's like a game. And 'Utopia' is full of complexities and layers, of strange experiments and mesmerising beauty, a manifesto for a brighter world and a statement of future intent. In our present times, this utopia is a nourishing comfort and a distant dream.

4/5

Gizzle's Choice:
* The Gate
* Body Memory
* Saint




Tuesday 21 November 2017

Final Fantasy X HD Remaster

Final Fantasy X HD Remaster

I think I might hate Final Fantasy X. And that's strange because it really is a very good game, perhaps even the last truly great game in the series (XII went a little too off piste for me).

Playing the game again in its HD remastered form only highlights its strengths and weaknesses, even if nostalgia has coloured the view. The world itself is as stunning as you remember, despite some blurry PS2 textures and disappointingly grainy CGI cutscenes. I first played the game during a summer holiday back in 2003, but all the sun I needed was in the tropical paradise of Spira. After the adult, more apocalyptic tones of the previous games in the series, Final Fantasy X offers a vibrant, colourful world: from the intricately detailed patterns on clothing and walls, to sprawling vistas of jungles, beaches and glittering forests. Even today, it's still a worthy spectacle.

Final Fantasy X HD Remaster
The game's music, from series composer Nobuo Uematsu, is one of his best scores and it's here presented in rearranged form. The game's opening really exemplifies the contrasts in his magnificent music: the haunting chorale of the opening cutscene followed by a cinematic with screaming rock guitars. And along the journey, there are breezy piano melodies, military marches, church hymns, and futuristic synths, but it's the way that themes are developed and interwoven that really impresses.

The story, though, is Final Fantasy X's best asset. It incorporates many of the traditions of the series - fantastical summons, familiar characters and beasts, and a magic vs technology theme - but it's plot is a biting criticism of religion as the group of heroes journey to battle Sin and save a world that's caught in a spiral of death. Yet while that sounds melancholic, the bright visuals and cast of chirpy characters provide welcome contrast. Their idiosyncratic design matches their memorable personalities and lead protagonist Tidus, while initially annoying, honourably overcomes his daddy issues over the course of the game, making up for a love story that's underwhelming.

Final Fantasy X HD Remaster
In battle, the characters' unique abilities ensure combat is perpetually satisfying. Where other games in the series are more complex, the transparency of Final Fantasy X's battle system is thoroughly enjoyable: swapping characters in and out to make use of their varied techniques and improving their statistics on a vast board of power ups. Throw in some flashy overdrive moves and the series' coolest summons and there's spectacle to match the simple strategy.

So why the hate? Sadly Final Fantasy X is lumbered with absolutely infuriating side quests. Gaining access to the best weapons and most powerful summons requires playing through extra content that reveals a gaping wound of flaws. There's chocobo racing and butterfly catching that both demand absolute precision while wrestling with shoddy controls and a confusing camera. There's Blitzball, a broken and easily abused mini-game that proves how no sport benefits from menus. And then there are the super bosses, which sharply spike the difficulty and require hours upon hours of tedious grinding to overcome.

Final Fantasy X HD Remaster
Of course, fans of the series have come to expect this content and it is technically optional. But when the main quest is surprisingly short (for RPG standards) and its battles, though fun, very rarely demand much in the way of skill, you'll be longing for further challenging content. These side quests are such a slog to get through, however, they turn a fun game into a chore, souring an otherwise excellent experience.

And yet, I can't seem to stop playing. That's testament to the lively personalities of Tidus and co. and a battle system that's comprehensive and intuitive. Plus, there's always the sequel to play through...


Sunday 19 November 2017

New Music Friday 17/11

Well this is an absolute turd of a week for new singles, but there's a handful of tracks worth a listen...


Björk - Blissing Me

 Björk - Blissing Me

At first listen, this new track from forthcoming album 'Utopia', lacks impact. But really, it's a balm to the hyped up rhythmic pop otherwise released this week. Delicate harps cascade in a shower of light, hypnotising, warm and blissful. Björk sings of finding love, of "two music nerds obsessing". Is this her falling in love with her collaborator, or just finding mutual respect? Either way, it's clear she's moved on from the heartbreak of her last album and that's a joy to hear.



Stefflon Don & Skepta - Ding-A-Ling

Stefflon Don & Skepta - Ding-A-Ling

This is your new feminist rap anthem. The hook is a child singing "I want you to play with my ding-a-ling" meant to belittle the men sending the rapper dick pics, her feisty verses proving she can more than take on the boys. "Someone best tell him who the fuck I am," she spits. She's Stefflon Don. Don't forget it.



Maggie Lindemann - Obsessed

Maggie Lindemann - Obsessed

Maggie Lindemann's previous single Pretty Girl was a surprise hit, especially with its Cheat Codes remix. Obsessed isn't exactly a revolution, but its Clean Bandit-esque production is slick, sounds relevant, and ensures this is a fun little pop track. It might just outdo her last.



Francis Novotny - Broken Arrow

 Francis Novotny - Broken Arrow

Growing up in Gothenburg, Novotny moved to Paris for its house scene. But his music is a kaleidscope of influences, Broken Arrow starkly based around a sinuous string melody and off-kilter beats, deftly mixing up the production with vocal harmonies and modern touches. It's impressively weird.



L Devine - Like You Like That

L Devine - Like You Like That

The first track from her newly released 'Growing Pains' EP, Like You Like That is a breezy, whimsical electro-pop track with production from Copenhagen's Siba. It's youthful and fun, with a emotive, relatable edge - a fine introduction to the rest of the EP.



Steve Aoki x Lauren Jauregui - All Night

Steve Aoiki feat. Lauren Jauregui - All Night

Steve Aoki is one of the highest paid DJs in the world and has collaborated with a tonne of artists on various singles. And yet, his most recognisable recent hit was on Just Hold On with Louis Tomlinson (incidentally, the best thing Tomlinson has been near). Here he's featuring the vocals of Fifth Harmony's Lauren Jauregui, this also being one of the best things she's been involved in. It's slower than the usual dance music, allowing for more polished sensuality. Which rubbish artist will he choose to raise up next?



Diplo feat. MØ - Get It Right

Diplo feat. MØ - Get It Right

This is hardly the first time these two have collaborated (who could possibly forget Lean On) but let's hope it's not their last. Both artists are better than this: it lacks a truly memorable hook and the chorus drop is generic to the extreme. They need another chance to get it right.



Luis Fonsi feat. Demi Lovato - Échame La Culpa

 Luis Fonsi feat. Demi Lovato - Échame La Culpa

Luis Fonsi has literally released the same song again and thrown in some vocals from Demi Lovato. Latin music is better than this.



Justice League - Zack Snyder

Justice League - Zack Snyder

"What's your super power?"
"I'm rich."

Ben Affleck's Batman really is the Trump of superheroes, buying his way to power without talent. He's incapable of compassion. He's incapable of leadership. He's incapable of winning fights alone. He's just the worst. This is all to make him seem human - after all, he doesn't have a super power and his rival (Superman, Henry Cavill) is an alien from outer space. But he's just pathetic.

Really, it's Wonder Woman (Gal Gadot) who's the true leader of the Justice League. She possesses everything Batman doesn't - charm, power and personality - and in the process carries the other heroes and the whole film on her back. For a female character to be in this position in what is usually such a macho heavy genre is progressive, but it's undermined by the amount of low angle ass shots that are wholly unnecessary.

That's the least of your troubles in this hodgepodge of a film. With Superman dead after the events of Batman vs Superman, the world is in disarray without its key symbol of hope and justice. It needs a leader. Instead it has Batman, desperately seeking the assistance of four other heroes in the face of an unknown enemy.

That would be Steppenwolf, a shoddy CGI character voiced by Ciarán Hinds who's little more than an excuse for the Justice League to assemble, Avengers style. It's a film about the power of unity, of teamwork over solo effort. It's ironic, then, that the film is so inconsistent in its tone.

Torn between the grand operatic melodrama of its director Zack Snyder and the comic quips of writer Joss Whedon (of Marvel fame), Justice League is pulled in two opposing directions that cancel each other out. The busy camerawork and poor special effects lack grandeur, but worst of all the film is crippled by terrible scriptwriting that will have you groaning until your throat is hoarse.

The narrative leaves little room for character development, meaning each member of the league is little more than an elevator pitch. Wonder Woman at least we've already got to know in Patty Jenkins' brilliant film earlier this year. But Aquaman (Jason Momoa) is part gruff viking, part glam rock superstar in spandex who does little more than drink and woop throughout; Cyborg (Ray Fisher) has a potentially interesting daddy issue that's poorly explained and falls flat; and The Flash (Ezra Miller) is a poor man's Quicksilver from X-Men, who's forced to spout some of the most cringeworthy lines of all.

The film does have its moments - just enough to keep you entertained between shoving popcorn in you face. And in Wonder Woman, we have the true superhero of our time. But if there's any justice, D.C. will give up on this particular league (or recast Batman at least).

2/5

Watch: Justice League is out now.

Thursday 16 November 2017

Poison @ The Orange Tree Theatre

Poison @ The Orange Tree Theatre

Poison is a play that simmers with tension, where anger, bitterness and regret bubble away beneath the surface. When these emotions eventually do overflow, it's as cathartic as it is catastrophic.

Written by Dutch playwright Lot Vekemans, the play is here presented in English with a translation from Rina Vergano first performed in New York last year. It sees a divorced couple (coldly referred to in the script as just "he" and "she") reuniting in a cemetery where their child son is buried - a toxin has seeped into the ground, meaning the graves must be dug up and moved elsewhere.

Yet just as this is eventually unveiled to be a ruse, the cemetery itself is a metaphor for their failed marriage. Grief over their child's death has poisoned their relationship, seeped its way into the foundations and ripped them apart. When they meet in the cemetery a decade after the father (Zubin Varla) walked out on the mother (Claire Price) on New Year's Eve, their lives have drastically diverged and the damage to their relationship is irreversible.

Price's mother is initially cheery, but it's all a mask for a woman who wallows in depression and grief. Its addictive nature consumes her and she remains lost in the past, unable to progress in life. Varla's father is shadowy and intense, but has found peace with the tragic events and moved on to a new wife and prospective child. Over the course of the 80 minute run, their emotions shift like a kaleidoscope as they prowl around one another on the stage, poking and prodding one another with emotional knives to breaking point.

It makes for grim and uncomfortable viewing, yet this bleak play is ultimately hopeful. Vekemans takes a philosophical stance on grief and does offer a brighter future for both characters - even if its denouement remains open-ended.

Simon Daw's simple production only heightens the cold chill between the characters. The actors' delivery is at times stilted, perhaps the consequence of a translation that doesn't always feel natural. But they soon settle into a rhythm and offer emotionally charged, captivating performances. Ultimately, the pregnant pauses and frosty silences between their lines prove utterly compelling.

4/5

Watch: Poison runs at the Orange Tree Theatre until 2nd December.

Poison @ The Orange Tree Theatre

Poison @ The Orange Tree Theatre
Photos: The Other Richard


Wednesday 15 November 2017

Taylor Swift - Reputation

Taylor Swift - Reputation

There's a sense this album has been a long time coming. From celebrity relationships to narrative exclusions, Taylor Swift has been poked and prodded by the media throughout her career. It's this that's shaped (her) 'Reputation': an album of pent up rage, of reclaiming every bad word against her, of setting the record straight. As the fierce opening track questions, "are you ready for it?"

As per usual, the context of the album has been more of a focus than the music. But this time around it's Swift's own doing, on her own terms. Her refusal to engage in media interviews and promotion is both to distance herself from their scrutiny and to ensure that the album alone is her voice unfiltered.

'Reputation', is a pop album about identity, about fame, about relationships suffering under the public eye. It's about Swift looking inwards for inspiration. Yet rather than coming off as stiff and uptight, there's an underlying knowing cheekiness that ensures she retains some self-deprecating humanity.

That's perhaps best summed up in End Game, featuring Future and Ed Sheeran. Her desire for an "end game" in love is threatened by the fact her "reputation precedes [her]", but she dryly notes "I swear I don't love the drama, it loves me". Even the two collaborators seem to reflect her songwriting past and an electronic future tinged with hip-hop - vocoders, trap beats and sombre synths proliferate throughout the album.

Lead single Look What You Made Me Do is certainly a biting declaration of intent. Together with its snarling semi-rapped follow up ...Ready For It? they set up pre-conceived ideas for 'Reputation' that, ironically enough, Swift undermines. Really, the album is as multi-faceted as Swift's own image, both musically and lyrically.

On Something Bad she revels in a darker image over industrial beats as if taunting us, but elsewhere there are moments where the bombast crumbles into vulnerability. "My reputation's never been worse," she laments on Delicate as she tentatively opens up to a prospective lover, while on Dress she admits "I don't want you like a best friend, only bought this dress so you could take if off" with a sense of hushed, sensual intimacy.

Mostly, the album balances hard and soft under the helm of producer Max Martin, with the polished sounds of Carly Rae Jepsen and Tegan & Sara providing plenty of inspiration. The bubbling Gorgeous may be a twee ode to the guy with the "indie record that's much cooler than mine", but it sees Swift in giddy, girlish mode that's a welcome contrast to the remainder of the album. The Style-esque Getaway Car could easily have been a cast-off from '1989', while Dancing With Our Hands Tied moves into euphoric dance-pop, its bittersweet mood and yearning melodies suggesting a touch of Robyn. The most obvious influence, though, is the dry, gritty tone and speech-like melodies of Lorde, here matched with the clever songwriting we've come to expect from Swift.

Initial shock and context aside, 'Reputation' is essentially a slick, modern update of her new pop sound that's crammed with potential singles. Yet context is unavoidable here and by the end, Swift emerges with her reputation intact. More than that, she's reasserted herself as the reigning princess of pop - no matter what you might think of her.

4/5

Gizzle's Choice:
* ...Ready For It?
* End Game
* Dancing With Our Hands Tied

Listen: 'Reputation' is out now.


Monday 13 November 2017

Sam Smith - The Thrill Of It All

Sam Smith - The Thrill Of It All

Some of the greatest songs ever written by the greatest artists in history are about heartache. It's a human emotion we can all relate to.

Sam Smith seems desperate to join that pantheon of great artists. So desperate that he's written two albums worth of break-up songs, forever playing the victim and crumbling under the weight of LGBT acceptance. By the end of the cloying 'The Thrill Of It All', you'll feel exhausted from wading through all the gloopy over-emoting and wish he'd just grow a backbone.

The album opens with Too Good At Goodbyes, in which he bemoans his unluckiness in love like a lost puppy dog. What follows is mostly a series of pathetic ballads, his vocal alternating from a whispy falsetto to a whiny tenor like a deflating balloon. "Come on baby, do you worst," he sings in the chorus of Say It First, all clingy and hopelessly negative. On Midnight Train he apes Radiohead's Creep as he asks "am I a monster?" for breaking up with a lover, his tone self-centred rather than apologetic ("I can't stop crying, I hate that I've caused you pain"). Perhaps worst of all is the title track, in which he blames his failing relationships on his fame. So much for the relatable everyman.

When One Last Song and Baby, You Make Me Crazy come along you'll be thankful for the upbeat tempo, despite the generic soul production. But listen carefully to the lyrics and it's no different - "you say that you're leaving, but I don't think I can let go / When you put the phone down I begin to cry" begins the latter song. No amount of horns and percussion can mask the heartbreak - it's perpetual.

Perhaps what exemplifies Smith's desperation for universal acceptance most of all is his refusal to add gender pronouns to songs, despite positioning himself as a gay popstar. In an interview with Zane Lowe, he revealed that only four of the songs were based on personal experience. It's as if he's trying to distance his songwriting from himself, from his homosexuality. In the words of RuPaul: "if you can't love yourself, how the hell are you gonna love somebody else?"

For that reason, HIM is the real standout track, probably the only one worthy of attention. Whether based on experience or not, it's a song that specifically references a male lover. However its opening is addressed to "Holy Father", the chorus of "it is him I love" blurring the line between religion and sexuality, reflecting the conflicting emotions of the song's character. That's clever. That's personal. That's giving a real reason for heartbreak beyond victimhood.

And yet the album continues down its dark and dreary path. He's aiming for mournful and cinematic and grandiose sweeping emotion. Instead, it's pure tedium.

1/5

Gizzle's Choice:
* HIM

Listen: 'The Thrill Of It All' is out now.