Bright Star. The Most Poetic Film of Its Decade?

I first saw Bright Star in cinemas when it came out in late-2009, it was when I came home from University for the first time, so I was probably unable to appreciate the deep undercurrents, and meditative, poetic tone. Furthermore, I hadn't then studied Keats! But this all changed by the time I rewatched it last night, and I must exclaim, that I feel it's one of the most romantic, passionate, lyrical films of our times.

Jane Campion's film (the lady behind The Piano) charts the relationship between fashion designer Fanny Brawne (Abbie Cornish) and the poet John Keats (Ben Whishaw), and their whirlwind romance which was slow to bloom and suddenly died, complete with full on attempted cockblocking from John Schneider's fine portrait of Keats's best friend Mr. Brown (John Schneider).

What Campion does so brilliantly is to marry the spirit of Keats's poetry to the aesthetic of the film. The obvious examples would be when the characters blend into nature itself, connecting the human and the natural in an obvious, simple, effective way. There's a scene in which Keats lies on the top of a tree, or when Fanny reads a letter in a field of violets. In each case, the scene marries the intimate, nature of their romance with nature itself, marrying the artist of Keats and the personal romance plot. Furthermore, the costumes are always luminous, informing us  of character's deeper concerns. It isn't just Keats's poetry which is a focus, but Brawne's distinctive fashion designs. People who feel that period costume designs are all ostentatious, and a little pretentious, they should take note of how effective they are used throughout this film.

It is also a really sensual film, it begins with a close-up of Fanny stitching, and we somehow intuitively feel before we know the fact that it is a pair of hands stitching, just as Campion did at the beginning of The Piano. This sets the intimate tone which is sustained throughout the film, and the intimate moments between Fanny and Keats thus become a bit more personal, something understandable. Keats and Fanny share rooms nextdoor occasionally in the film, and there's one sequence in which they both place their hands on the wall, as we feel how anxious they are for each other's touch. It's truly heartbreaking, and we feel as anxious as they do for each other's touch.

I could talk about Campion's sublime filmmaking all day (which I've never been a fan of, I will try and revisit some after this), but the performances are particularly astonishing. On first viewing, I wasn't a fan of Schneider, but here I found him fully believable, a man we detest, but in the end I somehow felt for him.Whishaw gives a dedicated performance as Keats, but it is Cornish who steals the show. She captures the longing, the heartbreak, and the passion of Fanny so convincingly. And at the end when she finally breaks down, you cannot help but cry with her.

Finally, it is the way all this combines to create a magical whole, as Bright Star is more the sum of its tremendous parts. The poetic filmmaking style perfectly suits the subject and nature of the story. The rapturous, passionate romance may be hard for some to believe, but it just rings so true. A scene such as when Fanny believes she could die when she does not receive a letter after Keats has left to travel for work may seem hyperbolic to some, or utterly passionate to others. In the end, it's possibly the most romatic, poetic film of the 2000's next to Brokeback Mountain and In the Mood For Love.

Mercury Prize Nominees.

Well, that was more predictable than usual (complete with some unpredictable surprise omissions, and the 2 artists nobody's ever heard of) I'll give the rundown of the stuff I have listened to:

Anna Calvi, Anna Calvi- She's alright. Goes for the whole atmospheric, eccentric 'indie-girl', but she sometimes shrieks too much for me, strives for atmosphere but never quite pulls it off. A nice attempt, something I should love, but it just misses the mark for me.

Build a Rocket Boys!, Elbow - Again, quite underwhelming. Given their previous album, this is a definite disappointment, but will always be in with a shout for the coffee-table, Radio 2 crowd. It does have some beautiful moments though, not totally undeserved of a place.

James Blake, James Blake - A very lovely album. an experiemental-pop crossover which has some extraordinary, beautiful moments. It's both miminal and exciting, soulful and modern. A really interesting album to love. Could win it.

On a Mission, Katy B - Quite similar to Blake in that I really, really like her. She's created some of my favourite dancefloor filler of the past few years, she's both mainstream and artistic. not given the album enough spins, but I'm glad she's on the list.

The English Riviera, Metronomy - One of my favourite albums of this year by a long way. A wonderfully minimal, simple sound but at it's heart it's a cracker. It all sounds so simple, but it's a completely passionate love letter to a place and a time. It's perfect for the British Summer, and it really is a grower, think of it as The XX for the daytime.

Let England Shake, PJ Harvey - This is something else, a true piece of art. It's not even pretentious or overly ostentatious, it's full of little jokes, quirks. Musically, it's exceptional, lyrically it's better than Tennyson. It doesn't really belong on this list, rather on the Turner Prize. It's so passionate, so beautiful. She will be the first person to win this prize twice, no doubt. One of our best singer/songwriters out there by a mile with a rich body of work. Read my review of the album. And if it wins I get £80 thanks to an early bet.

Good Days at Scholls Emau, Gwilym Simcock - No idea what this is. Someone tells me it's the jazz entry. I don't really like pianists, I find them a little dated. I want Led Bib!

Disc-Overy, Tinie Tempah - Meh. Never listened to the album, but his songs are all the superlative of its genre, his lyrics are amusing (intentionally? who knows?) and the production on the songs I've listened to is pretty great. Too bad it's shit and really not up my street.

Man Alive, Everything Everything - Pfffft! A bad Wild Beasts imitation. (Where were the actual thing?!) A shit attempt at indie art-pop. It goes for quirky but is extremely grating. Probably my least favourite on here, it's ambitious, but ultimately an infuriating listen.

Peanut Butter Blues and Strawberry Jam, Ghostpoet - Meh, it's pretty good but nothing to warrant being on here imo. Just decent, late night listening. Nice and atmospheric, interesting ideas, but none of it really does much for me personally. Quirky title, could be the 'surprise winner'.

21, Adele - Very predictable. Yeah she has a nice voice, and sings 'powerful' songs, and she's clearly struck a chord with the public. But a bit too waily for me, and her songwriting is really dull. She needs to move on from boring unrequited love subject matter. Still, even I'd say it's decent. Not gonna win though.

Diamond Mine, King Creosote and Jon Hopkins - Never heard of it. sounds nice from the clip they played, I usually love the folky one I've never heard of, this was a surprising entrant in that category though.


The Ommisions.

No The Horrors?! Good. Instead of ripping off 1980s shoegaze, they've gone onto early 90's Britpop such as Suede. It sounds alright but they just need more interesting ideas.

Lack of Radiohead?! Silly mistake. A truly modern, thoughtful record. If it isn't as groundbreaking as Kid A or OK Computer, that's only 'cos they're up there with Sgt. Peppers and Pet Sounds. easily one of the best albums of the year

Wild Beasts were one of the favourites to win it. Even if I'm the only one who doesn't like it quite as much as their other two, it's still one of the best of the year. And no idea how Everything Everything got on instead of it. Ridiculous shout.

Jamie XX - Better than Katy B or James Blake for me. Plus Gil Scott's just died. Sad times! The lack of Emmy the Great and Guillemots is as disappointing as it is predictable. And a shout out for This Is the Kit, who probably didn't have the money to go for it.

So I thought the Mercurys would be a good time to start this again...

I will do some predictions and then offer some thoughts when the list comes out. I always like this award (as I do award ceremonies in general) though I've no idea why. It's obviously not there to represent my taste, so I'm never in love with the nominees, but it does create some healthy discussion about British music, it usually introduces me to one or two artists a year, and when people start 'predicting' albums, there's usually about 5 I start listening to a lot which I'd never have known about before. Maybe that will happen here for you!

Anyway, here are my predictions, though it's not to say I love the following:

Adele - 21
PJ Harvey - Let England Shake
Wild Beasts - Smother
James Blake - James Blake
Anna Calvi - Anna Calvi
Metronomy - The English Riviera
SBTRKT - SBTRKT
The Horrors - Skying
Jamie XX - We're New Here
Radiohead - The King of Limbs
Token Jazz (Led Bib? Kit Downes Trio?)
Token Folk (The Unthanks? Bellowhead?)

I definitely think Katy B will be on there, but I don't know who to get rid of. It's while looking at these predictions when you realise how strong music is at the moment in Britain, contrary to a conversation at the pub the other day.

A few other alternates: Arctic Monkeys (an old favourite), Mount Kimbie (maybe instead of SBTRKT), Wiley (As rap has been ignored on my list), Cornershop (the surprise nomination?), Elbow (an old favourite), Tinie Tempah (another pop favourite). Obviously a few more out there. I'm really hoping Emmy the Great or Guillemots sneak on there.

You can note there's quite an electronic feel to my predictions, but that's definitely the way music is going at the moment. Even the indie nominees, Radiohead and Wild Beasts, seem to be embracing electronic music more than guitars at the moment. There we go, will blog angrily later, and will leave you with a song from Cornershop:

Gonna start this up again.

Probably using a different format than 'song of the day' to allow me to write when I want so it doesn't feel like a pressure, and then hopefully have something more pleasurable to write and to read. I'm gonna start talking about movies, too, probably with a weekly film round-up or a 'film of the week' feature. Similarly, when I talk about music, it will be specifically about a song, an album, an artist, or a more general round up of what I've been listening to. I know a few people who read this blog last time round who liked it, and hopefully you'll enjoy it again!

Eye, The Smashing Pumpkins

Lost Highway's soundtrack, for me, is up there with the retro synth-rock, ambient sounds of Marie Antoinette or the 'Best Of: Grunge', otherwise known as Singles. Its dark, disturbed, dub-metal sounds are eerily moody and atmospheric, complimenting the Lynch film perfectly. It's be-witching, haunting, and probably the best thing Reznor's ever put together. It features regular Lynch collaborator Badalamenti through to the popular legends such as Lou Reed and David Bowie, right through to heavy industrial rock such as Marilyn Manson and Nine Inch Nails. The song I've chosen is a hidden gem from The Smashing Pumpkins, one of those songs which is hidden on a film soundtrack which you simply chance by.

This song draws on the horrifying eroticism of Lynch's film, which he apparently loved instantly. I did too. I still remember watching the film for the first time, reminding me to find out what this song was called afterwards, and I often return to it, one of my favourite tracks from The Smashing Pumpkins.

Movin' On Up, Primal Scream

Wedding Song, Anais Mitchell ft. Bon Iver

The introduction to Mitchell's 'folk-opera', an album which sets the myth of Orpheus and Eurydice against Depression era America. She evokes the both the mythical and 30's America through some really careful arrangements and some beautiful instrumentation, and after hearing her in interviews, she's perhaps one of the most passionate musicians I've ever heard. Wedding Song is the introduction to this album, as the couple get married. Bon Iver playing the role of Orpheus, as the slightly more cynical Eurydice played by Mitchell herself.

Cheated Hearts, Yeah Yeah Yeahs

Move on Up, Curtis Mayfield

Nothing better on a sunny day! The 4 minute mark is particularly wonderful!

I Need a Dollar, Aloe Blacc

I first heard this about 3 or 4 months ago and loved it, I googled it to death and couldn't find out what it was, so it was a really pleasant surprise to hear it on the radio recently. The sound is very much like John Legend (very much a good thing) and the subject matter reminds me of the album Legend did with The Roots, Wake Up! which really appeals to me.

Village Green, The Kinks

Thirteen, Big Star

I always thought Alex Chilton was a middling Replacements song, but after realizing he was the lead singer of Big Star, it all made sense. It's simply a brilliant tribute to rock music. It made me look up some of Big Star's music, and this is just lovely. Elliott Smith also did a cover, if it sounds at all familiar.

Take My Hand, Matt Berry

Archangel, Burial

You Are The Sunshine of My Life, Stevie Wonder

Etre, Nicolas Jaar

Just flicking through my Napster library, and I'm assuming my brother downloaded this, but it's a brilliant album. Full of beautiful, haunting sounds which at first wash over you sublimely, but at certain points in the songs they become delicately haunting. Space is the Only Noise is such a brilliant, poetic title, perfectly suited to the album and all the ideas presented here. It's just startling, and I'm surprised he's not as big on the indie scene as he should be... such a fascinating, rewarding artist. If it sounds pretentious, stick with it if you're into your chilled out electro. On my first listen, I would compare it in quality to the dizzying heights of DJ Shadow's Entroducing... or Burial's Untrue.

Shutterbugg, Big Boi

White boy listening to black music... It must be decent.

Tangled Up In Blue, Bob Dylan

I played this on Guitar Hero today, and then suddenly felt an urge to go on a long walk and listen to Blood on the Tracks repeatedly. It was brilliant. I just love this song, but I also love how it can mean so many different things to so many different people, so I won't press my thoughts on it too much...

Take Care, Beach House

I Speak Because I Can, Laura Marling

'My husband left me last night/Left me a poor and lonely wife/I cooked the meals and he got the life'

What a way to open a song. It's simply one of the most powerful verses I've ever heard. The striking word play of the man leaving you think would start the narrative of the song, but it immediately reverts back to the woman, reminding us of Marling's focus throughout the album. The whole song has this mythical quality, reminding the listener of Penelope and Odysseus. Yet what I find so startling is that it could be applied to any time period. From the Ancient Greeks, through to a Bronte heroine, a woman of the modern age ('I cooked the meals and he got the life' could still ring very true in many 'equal' households), or Laura herself dealing with her break-up with Charlie Fink (some bitterness regarding his public outpouring of their relationship in the main refrain?). Marling's folk music really lends itself well to this timeless quality which is striking for a woman of just 20.

Musically, too, the song plays upon folk convention beautifully. It starts with a quiet guitar, but then through the song, it becomes more worldly, incorporating a really stirring sitar, and the drums gradually becoming more heavy, then you get these little quiet interludes linking into the lyrics wonderfully. I love the introduction of the man's backing vocal, reminding us of how she's still haunted by her husband, their memories, and the prospect of his return.

The song builds to such a powerful crescendo, some of the most emotional of recent years even if the narrative of the song is relatively ambiguous (has she cheated on her husband? has her husband left on a voyage? etc.) The voice she inhabits is totally different from anything else she's done, taking on a woman who's left lonely, trying to 'figure out what she believes.' For me, Laura Marling is the voice of womanhood for our generation.

Little Fluffy Clouds, The Orb

I was reading an article on the Guardian today about the best openings of albums. whilst this might not rank quite that highly on my list, it's certainly noteworthy. Never listened to The Orb before and I find that electronic music suits this weather quite nicely, this song in particular!

Gypsy, Fleetwood Mac

I think the latest Guillemots album has put me in the mood for Fleetwood Mac, and so I decided to give Mirage a first proper listen whilst travelling today... I loved it, got on with it really well and had some sumptuous songs, and this song in particular is just sublime.

Acrophobia, Penguin Villa

I finally got round to watching Uncle Boonmee Who Can Recall His Past Lives Today (y'know, that Thai film which won the Palme d'or at Cannes last year, most famous for the scene in which a princess has sex with a catfish?) anyway, it was fantastic, so moving, so dreamlike, showing that abyss between life and death like I've never seen before whilst being endlessly cinematic.

Anyway, this song came at the end, and it captured the bittersweet, dreamy tone of the film perfectly. Before looking up interviews with the director, I just had to listen to this again. If you watch films in a foreign language, then it shouldn't matter that much with music, either.

Sea of Love, Cat Power

The Rescue Blues, Ryan Adams

I never listened to Ryan Adams. I always thought him and Bryan Adams were the same person, but I always just misheard the name. Apparently not. So I was pleasantly surprised when I started listening to some of his stuff the other day. His album Gold is occasionally moving, and extremely easy to listen to, it makes decent background music just if you're pottering about the house or reading a book. His voice is also very nice...

Album Review: Walk The River, Guillemots

Fyfe Dangerfield is no longer in love, as we found him on his previous outing Fly Yellow Moon. Instead, he is loveless, isolated, but at least he has the grand music of his bandmates to back him up. Whereas Fly Yellow Moon was Dangerfield's spontaneous collection of songs written and quickly recorded in the rapture of a short-term relationship, Walk the River (streaming in full here) is the meticulous aftermath where the band reflect in detail on inevitable lost love, crafting an album that's as cohesive as it is heartbreaking.


The album begins with the title track, as it begins 'Fell in love with a boy, grew tired of it,' as he uses the metaphor of an animal on the run to express his loneliness. 'I'm still here' Fyfe pines, yet he is haunted, feeling hunted. The ambiguity of that word startling. Similarly, on I Must Be a Lover, one of the more pop-orientated songs, ends in a chorus of 'let the memory go' and on I Don't Feel Amazing Now (the title says it all, eh?) it seems he's after meaningless sex, after the disappointment of a lost love: 'I don't wanna know your name, I don't ever wanna speak again/I just wanna be somewhere I can lose myself, is that alright?' It's a song that is full of power, it's bluntly depressing, and as filthy as you'll hear Dangerfield. Thematically then, Walk the River seems a little one note, but that all helps the album to become really coherent, certainly a record you'll turn to after a break up when you've worn out the Mac's Rumours, or Noah and the Whale's First Days of Spring.


Musically, again, it is perhaps their most unified album. They long ago ditched the rich orchestration which made me love them in the first place, they've turned from a double bass to a standard electric bass, their drumbeats seem less jazz-infused, and there's no sign of a typewriter. But if you are after a band who can create a textured, dreamy sound from standard instruments, this is a great example. It verges on shoegaze, and it all has this spaced out feel. In an interview, Dangerfield has said he had been obsessed with the idea of being in space, which is found in the music and makes a perfect analogy for the isolation Dangerfield is so clearly describing throughout the album. The guitars are sparse, and there's lots of reverb and effect, take the opening of Inside for example, you may as well be gazing at the stars whilst walking on the moon. If you can accept that they've lost the musical bombast and originality that once made them so popular, then you should be able to appreciate that they've discovered a sound that is deeply atmospheric, moody and wholly engrossing. If they've ditched the conventional orchestral strings, they've created a just as effecting and unique sound through a standard rock-band set up.


I initially had doubts about Walk the River. Red proved to be one of the most disappointing albums of the decade, and it seemed as if my first favourite band were going to fade away, embarrassingly try and sell out to the mainstream, and these thoughts weren't dispelled when I first listened to The Basket. But when listened to in the album's context, near the end, you can only then understand the complex nature of the song, the burst of joy is actually regret for a relationship past, and in this light, what was once a flimsy pop song becomes one of the most melancholy songs the band have ever produced. The fade-out of the song is spot on, it's the deterioration of those happy memories, or the promise of new romance only to be lost again, which is only made apparent by one swift production choice.


That's the beauty of the Guillemots and their music, it's so deft, so meticulous, yet so easy to listen to at the same time. This album could be dismissed as a band maybe forgetting their original roots and becoming slaves to soft-rock, rambling on about lost love. Yet they'd miss the subtlety of the songwriting, the magical, intimate atmosphere, the richly smooth, earnest vocals. It isn't a patch on Through the Windowpane, which for me is one of the most magical albums ever recorded. Walk the River doesn't have any songs you instantly fall in love with like Trains to Brazil, nothing as life-affirming as We're Here nor anything quite as majestic as Sao Paulo. Yet I have nothing but love for the Guillemots right now, a band who have recaptured glimmers of their early promise and have crafted their most consistent album yet, and one of my favourite albums of the year so far.

I'll Take Care of You, Various Artists.

This is one of those really old numbers which loads of bands go on to cover, and so many versions are great, I often listen to them in one go. I think the original, or an early version at least, was by the Bobby "Blue" Band, and the name of that band sums up the mood of the song completely:

The first version I heard was by Mark Lanegan, and it was also the title of his covers album. His voice (as I've mentioned before) just has so much soul, and his deep growl fits this song wonderfully, reminding you of old men with so many regrets in an old smoky bar, it's really minimalist but delicately moving:

Finally, there was a version made by Gil Scott-Heron (which was again remixed by Jamie from The xx) in which the strings are the most evident change. It seems much more cinematic than the original, very exaggerated, but again so much soul runs through it. You can tell Gil's had years of living, and so much time to encounter similar situations. He's lived, and that's what gives the song such a raw and earnest tone. With the re-mixed version, it has this 90's disco vibe, with a modern dub-step twist, making it a completely new song. It seems really jarring after listening to all the other versions, but once you settle into it, it's really impressive. In the final few seconds, there's a man who whispers 'fucking hell', as if he can't deal with the emotion of his situation. A really subtle way to being this song into the 21st century, plunging you to how you might feel in a club when your depressed and have had a wee too much:

I find it amazing that a song can mean so much to so many great musicians, that they can rework it with so much passion. A song can have its own meaning to everyone, as you can hear from these examples, and I find it really interesting in how artist's try to differentiate, or acknowledge different aspects of the initial version. It's really affecting to listen to all the little differences between these songs, and while I don't expect anyone to listen to all four in one go, it surprisingly doesn't get boring, instead it's even more interesting. It possibly lends a greater insight into an artist's concerns than listening to their original songs. I can't decide which version is my favourite, but it's no wonder that this song has inspired so many talented singers.

Come On! Feel the Illinoise!, Sufjan Stevens

Such a mammoth song. So epic in its approach to songwriting and its lyrical content. The arrangement is just stunningly zany, it has everything going on and more. The lyrics are crazy, so uplifting and so depressing at exactly the same time. You know those days where you wake up and feel happy, sometimes for no specific reason? I always stick Sufjan on as I did today, he is so life-affirming, yet grounds you to reality at the same time. He's so heart-on-sleeve, so earnest, but never loses sight of the bigger picture of what he's talking about. Musically, it's my favourite pop-rock song of the 2000's... Maybe! It's certainly brilliant.

Angela Surf City, The Walkmen

The Walkmen are such a perfect rock'n'roll band. Their albums always consist of extremely listenable gut-wrenching songs about teenage alienation and day-to-day anxieties of young people, but told with such verve, passion and brilliant songwriting that I don't know anyone who've given them a listen who haven't returned to them.

Their last album, Lisbon, was no different. And it became one of my favourite albums of the year and probably my most listened to album of 2010. Becuase I listened to it so much around the Autumn months, it reminds me of a very specific time, and the music was a perfect soundtrack to coming to grips with a new place, new relationships, and essentially, growing up.

One of the standout songs of the album is Angela Surf City. It's a pulsating take on unrequited love, a fleeting relationship about a girl who never really shared her emotions (you kept your jaw wired closed), how he used to have to simply try and read her 'signs', and is now living in regret, trying to love onto the times when he held her. Musically, it's so American, the whole album reminding me of a coming of age Hollywood road movie, and as ever the vocals just engage you, the singer's heart constantly ripping out your own. It's an energetic, regretful and ultimately sad listen.

Forty Six & 2, Tool

I'm pretty sure loads of fanboys have written loads about Tool's music, and you could google plenty of meanings to the song, and I'm sure you'll also find a lot of details on the meticulous songwriting. Even on the song's Wiki page there's some details about Jungian psychology and science, which some might find pretentious, other's will find it pretty interesting. So there's no point adding to that with my probably inferior knowledge, Tool being a band with a huge cult following and all. But as a piece of music this is just glorious, an onslaught of bitterness accompanied by some pretty incredible bass, and if you can even vaguely stomach this song, it's really worth giving the rest of their material (particularly their albums Aenima and Lateralus) a listen.

Will Do, TV On the Radio

What a Monday morning for new music. New albums from Guillemots, Metronomy, Foo Fighters, Cass McCoombs, Panda Bear and TV on the Radio have all become available for us to sink our teeth into At least a couple of these will surely become among my favourite albums of the year, and thus, this should be a day I won't forget. As I type, I'm giving TV on the Radio's latest album, Nine Types of Light, a listen.

I did want to choose All Falls Down, but sadly, I couldn't find a link. So instead, I chose their latest single, which is still very charming. TV On the Radio never losing their ability to infuse genres, making a really funky rock song, full of melancholy regarding a relationship of unrequited love. I'm also really fond of this video... Give it a watch as well as a listen!

Party Wounds, Rolo Tomassi

I've never known a woman to have such a manly vocal. This metal/funk/pop song flits between loads of different styles, and it's from a band who are always so much fun to listen to.

She Wants, Metronomy

Coming back from The English Riviera (a name I find amusing and have always scoffed at, though I did find it a pretty place), I read decent reviews of Metronomy's latest album (streaming here), which also takes the same name as the aforementioned part of Devon. The band come from Totnes, which I'm guessing is consistently nicer than Stockport. But as I sit on my bed looking at the blue sky, after lifting wood outside and watching the Grand National, this album fits my equally tranquil mood, as well as the strangely wonderful weather we've been having.

She Wants begins quite moodily, establishing a nighttime mood through the sparse, loud bass. It's not the most sunny song on the album, but I find it really beautiful. The scene they paint of a boy and girl simply lying on a bed is really nice, and recalls the intimate details of a close relationship. Something about it rings so true. Instead of focusing on the most obvious British Summertime connotations, Metronomy instead discuss the sticky night, in which he can't sleep, as the female is lying peacefully, twitching in her sleep. It may feel like a series of rather obvious observations, but I'd guess it would remind everyone of a sleepless night they had with a partner.

There's similar little observations on the album, which I'm quite enjoying, its funky electro-pop being matched by a certain euphoria for a place and people.

Baby's Arms, Kurt Vile

An American singer-songwriter who I discovered when his most recent album came out last month with this song as the opener. A really nice, quiet album which borders on the grungey side of things, reminiscent of Lanegan's earliest albums.

Becoming a Jackal, Villagers

Miss You, The Rolling Stones

Went to a museum yesterday, this song was playing. It's definitely one of my favourite Rolling Stones tracks. I'm going away for a few days, I'll try and post, but I'm not sure if I'll have internet connection/time to do it...

Chelsea Hotel #2, Leonard Cohen

This little vignette is one of my favourite Cohen songs. It's so self-deprecating and funny, yet also really heartbreaking. 'You told me again you preferred handsome men/but for me you would make an exception' is just a perfect line. I've always found it takes a genius artist to get that balance just right so that you're both laughing and crying inside, and Cohen frequently achieves this. It's about a guy, in love with a woman (apparently Janis Joplin), and what they get up to at the Chelsea Hotel. His love is now unrequited as he sings in denial that "I remember you well." Even more perfect is the final line. After baring his heart bare and using all this poetry to describe their encounter, he claims that 'I don't think of you that often.' It's absolutely perfect - has he had other such encounters which are equally heartbreaking? is he simply convincing himself that he doesn't love this woman? or was this song just off the cusp? Either way, it's perfect!  

Nearly Lost You, Screaming Trees

I'd be lying if I didn't say that all I've been listening to for the past week has been The Replacements and Pearl Jam. Which led me to the best movie soundtrack ever in Singles, an early 90's film which was directed by former music critic Cameron Crowe, set in Seattle. Naturally, it's simply a grunge mixtape, minus Nirvana, because Cobain didn't like the film (I thought it was quite a charming, rather adult adult rom-com which managed to ring very true, but there we go). All this misses the point, which is, that my favourite song from the Singles soundtrack, and probably my favourite song from the Grunge movement is this 4 minute, pop-rock gem. From the band who are always looked over in favour of the 'big four' Grunge bands: Screaming Trees.

Mark Lanegan is my favourite vocalist. Period. Male, female, dead, alive, jazz, rock, soul. He is my favourite. His grungey, crackly voice, is always really stirring, and he just always sings with so much soul and passion, whilst never sounding too earnest. I don't really know why I love this song so much, it's hard to put a finger on its transcendental quality. Its lyrics aren't anything out of the ordinary, and not one instrument is particularly outstanding. But it's just so spirited, and really gels together so perfectly. I know most people love it too when I introduce them to it, so I hope you do too. If so, then their album Sweet Oblivion is more of the same.

Backlit, Isis

An absolute beauty. From the opening which is sublime, anthemic, somehow deeply moving all at once. It goes to show the deep power of rock music. I will print the lyrics here, though this is one of the clearer sung Isis songs.

Always object
Never subject

Can you see us? Are we there?
Are we there.
Can you see me? We are watching
We are watching.
You are fading.
In the daylight. Fading.

Always upon you, light never ceases
Lost from yourself, light never ceases
Thousands of eyes, gaze never ceases
Light is upon you, life in you ceases


Taken from the album Panopticon, it has so many meanings, and a universal resonance. The song is engaging with ideas of actual Panopticon prisons, a Big Brother state, the existence of God, maybe a personal loss. It's pure poetry, set to some of the most beautiful music ever. The guitars sweep over you like waves, the drums ebb and flow at irregular intervals, the transitions, and different movements evolve so naturally. One of my favourite songs, taken from one of my favourite albums of all time.

Rolling in the Deep, Adele

Adele troubles me. Her popularity is almost certainly due to her voice which isn't exactly up my street - it hints at the soulful, but lacks a certain power, sometimes she overdoes it and belts it out X Factor style, and at other times it's just a little grating. But after so much hype, I decided to give her 21 material a quick listen today, and this is definitely the standout track. It's like an old disco track, incorporating elements of 60's soul (that piano, the gospel choir, the handclaps), accompanying heartbreak with an incongruent upbeat melody, suggesting there's always better things to come. It's quietly catchy, somewhat powerful and it's extremely refreshing to see a popstar writing their own songs.

The problem is though, I think that's the core issue with this song and the album. Throughout the album, and this song, it kind of deals with teenage issues, the end of relationships, heartbreak yadda yadda yadda. I know I didn't complain when Marling covered the same material on Alas I Cannot Swim, but truth be told, she was only 18 then, and added a lyrical grace to the material. Adele's album is named 21 though, surely she has moved on from this and has something slightly more interesting to say. But sadly, lyrically, her songs are a tad 1-dimensional, relying on her voice to power through the song's weaknesses. The arrangement in this is lovely though, and it seems there's plenty of power in her material to keep everyone listening to for now.

Mr. November, The National

This is one of The National's most urgent songs, and one of many reasons that their Alligator album is aces. Enjoy.

Black, Pearl Jam

It's amazing that a song about a guy losing love can avoid too much cliche, sound fresh, and remain uniquely moving. This is what Pearl Jam have done with Black. It's certainly not the most catchy song from Ten, but it's one of the most powerful, one of my favourite slower Pearl Jam songs. The ending is so raw and passionate, as Vedder's vocals become absolutely heartbreaking as he sings 'I know someday you'll have a beautiful life/I know you'll be a sun, in somebody else's sky.' The motif of blackened photographs, the way all his memories of this girl will be tinged with the death of their relationship is specifically haunting. Vedder has one of the best rock voices around, and it's songs like this where he can just let go where it's most impressive.

Chemical World, Blur

The title of this album sums this song up, really, Modern Life is Rubbish. The lyrics are series of lines about how, this new chemical world is, frankly, shite. But some of the lines are just so spot-on, so witty. Albarn sings contemptuously: These townies, they never speak to you, but then quickly looks at it from the other perspective Just stick together, so they never get lonely. His understanding of why things happen which he hates sums up the song. It's all that post-Thatcher stuff which obviously left a big impression on Britain, but it still has modern resonances. My favourite line from the song goes 'eating chocolate to induce sleep/and in a chemical world it's very very very cheap' - more the rhythm of it than anything else.

And this playful attitude is contained wholly in the melody, so light that it's almost macabre. I love the guitar riff which just floats over it all wonderfully, Coxon at his best. The song kind of feels like a more mature Parklife. I love it!

Swingin Party, The Replacements

The best songs from The Replacements can be divided into two different streams: the slow confessional sort (Unsatisfied, Answering Machine, Here Comes a Regular) or the relentlessly enjoyable rock'n'roll tunes (Favourite Thing, Kiss Me On the Bus, I Will Dare). The preoccupations of both kinds of songs are interlinked, the upbeat tunes focus upon their party lifestyle, where they abandon all logic and reason, living in the present, whereas the slower songs focus upon the consequences of this lifestyle which creates in their work a certain dichotomy, a tension between wanting to live for the present and for the future, surely a concern for all young twenty-somethings.

Swingin' Party is a shining example of the former category, which uses Westerberg's deeply moving, grungey voice to create a really emotive song. I feel it's kind of about how he realizes he's addicted to the rock'n'roll party lifestyle:

Bring your own lampshade, somewhere there's a party
Here it's never endin', can't remember when it started
Pass around the lampshade, there'll be plenty enough room in jail

On top of this, it puts you into a position of being at a party, he seems attracted to a girl but can't do anythng because he's too 'afraid,' reflecting at how he's also afraid that this lifestyle will catch up to him. A 'swingin party' should never be met with such melancholy, except for when you've had enough. At the end of the song, there's a sharp lighting and inhale and I don't know why but it's one of my favourite little parts of any song. A highlight for me from their album Tim.

Rub 'til It Bleeds, PJ Harvey

So, you've probably realized by now how much i love PJ. Each album she shifts into entirely different territory. Rid of Me is her most ferocious album, all the instruments explode so boldly, it's heavy and subversive, the productions so raw and plays with dynamics so successfully, and it's accompanied by some really angry (and quite scary) post-feminist lyrics.

Listening to the opening of this song is absolutely beautiful: soft and quiet as the listener just waits for the song to explode. She coughs, she's sick... I'd say fucking mad. As when the song takes off, it's just chilling. The drums are turned up to the max, as is her vocal to create this really aggressive attitude as she calls the man weak. "And I'll make it better/I'll rub it 'til it bleeds..." Make of it what you will, for me it's like something off the most exploitative horror film, something I couldn't sit through on the internet. An absolutely gruesome image of Polly giving a ferocious handjob, until she makes the man bleed - subverting all the gender roles out there. Which is reflected in the heaviness of this song - for people who never listen to female singers because they're too gentle, this is for you. I'd love to go more into the sexual undertones of the song, but won't for fear of sounding like a dick... Anyway, I hope I've introduced more people to the many sides of PJ Harvey throughout my blog so far, I think there's something for everyone in her discography.

Ice Cream, Battles

New laptop means I can't start this blog up again. And what better day than when I heard a new Battles song. I love this one, extremely different to their Mirrored stuff, which I loved when it came out, but an album I just haven't often returned to. This is just as fresh as the material on Mirrored, and will hopefully hold the impact it's had on the first few listens. It's incredibly fun and zany, it sounds like a cross between Animal Collective and Vampire Weekend to my ears, and feels just as summery as those bands, so it's perfect for today which is a sunny one! I love the bass at the end lots. Anyway, check it out, and keep checking out this blog, I should be doing it daily again now!

The Lost Art of Keeping a Secret, Queens of the Stone Age

Sorry posting's been really low on the ground... I still have no laptop which makes it difficult, I will post on Facebook when I'm back, until then, I'll be posting intermittently. Hopefully this will suffice...

Trembling Hands, Explosions in the Sky

I spent ten hours in the library today. Listening to the latest Explosions song, holding my expensive 28 pages of printed paper, whilst waiting for the bus is making it all seem better.

We Want War, These New Puritans

Wonderful, great vid too.

Cedar Room, Doves

Still no laptop and I have loads of work... but as I was doing it I was listening to this...

Lately, Isobel Campbell & Mark Lanegan

Will be without laptop for a couple of weeks, but will try to keep on top of this...

Used To Be, Beach House

My laptop's currently dead, and I have shit loads of work... so if I manage to post over the next few days they'll be quickies! Like this one....

Brick by Brick, Arctic Monkeys & Albatross, Wild Beasts

Today I've heard two new songs from two of the best British bands around. One song is completely disappointing, the other is amazing. I'll start with the former:

So the Arctic Monkeys have apparently changed direction, but have gone the way you wouldn't expect... Producing a song which is just very, very bland. The sound's alright, it's definitely nicely produced, and after being in a band for 5-10 years you're bound to gel as musicians. It starts with some pretty average rock music: guitar, bass, drums, all doing their thing in a catchy manner. And then you get to 1.50 in, and they kind of revert back to the style of Humbug, and it just doesn't work, there seems to be this tension as to whether they want to continue sounding like Josh Homme or stick to their lad-rock origins, and it creates a jarring experience for the listener. On top of this are the dreadful lyrics which are just so very cringe... I hope this is a b-side to their next album, and they produce a more coherent sound for their album, as they're definitely capable of producing better than this.

The next song sounds the complete opposite. It's from a band who have continued to refine their sound, moving in a definite direction, building upon ideas from previous albums and perfecting it. Albatross wouldn't be out of place on the masterful Two Dancers. Musically it's very impressive, it's very sparse: the piano haunting, the percussion absolutely necessary. But what I love about Wild Beasts is the dynamic between the vocalists and the guitars - there's just so much space - they create this sound to just get lost in. I know a lot of people are put off by the vocals, and I can totally understand why, but if you like them there's no chance you'll hate the band.

Heaven's On Fire, The Radio Dept.

On a sunny day like today, there's nothing that matches the mood better than Heaven's On Fire. It's my favourite Radio Dept. song, though it's hard to pin down why. It's simply playful, sexy, cheeky and fun. A pure joy to listen to.

People Aint No Good, Nick Cave & The Bad Seeds

When you're feeling a bit existential and angsty, there's no better album to listen to than The Boatman's Call. It's Nick Cave at his most dreary and depressing. It's amazing.

You can probably guess from the title the tone of the song, but it's amazing that this kind of self-indulgent depression can feel so universal at times. It's so poetic, Cave uses the metaphor of blossoms: how they bloom and then fall to express his lost love (possibly his relationship with PJ Harvey). I love it when he addresses his love in a series of lines, my favourite of which reads 'To our love, a valentine of blood.' It shows the inevitable breakdown of relationships, how it's always passionate but destined to end with a burst of really violent emotion.

The end of this relationship has left Cave bitter. I love the macabre opening as he sings the title in his deeply soulful baritone in such a frank manner. But it kind of shows the kind of destroyed soul as you realise you're alone with nothing, and no one to help you. Nature is even depressing and embodies how he feels about fleeting relationships and the anger it leaves him with:

Seasons came, seasons went
The winter stripped the blossoms bare
A different tree now lines the streets
Shaking its fists in the air


It's just beautiful, with some wonderful music to match. The glassy percussion allowing Cave to just vent over it, and the strings performed by Ellis is such a perfect melancholy match for the song. It's not all negative, he reflects how people try and comfort you, and even bury you when you die, but ultimately he's alone forever.

She Sells Sanctuary, The Cult

Love this tune! It's so anthemic, and the guitars are just lovely.

The Oscars.

It's that day of the year when I stay up all night for the most glamorous night of the year. Well, essentially, it's Hollywood masturbating over itself with little gold statuettes, rewarding not the best films of the years, but the films that have built up 'momentum' by having a really good advertising campaign in the film capital of the world. As long as you take them with a grain of salt, they're great fun though, and there's no arguing that film history is made every year on this occasion. So, to celebrate, here's my set of predictions, and who I'd like to see win.


Best Picture
- 127 Hours; Black Swan; The Fighter; Inception; The Kids Are all Right; The King's Speech; The Social Network; Toy Story 3; True Grit; Winter's Bone.

What Should Win?
There's no doubt whatsoever in my mind that only one film is better than decent. There's only one film which everyone seems to love, there's one film which is funny, tragic, bittersweet, heart-wrenchingly beautiful, and a cinematic treat. Every element of Toy Story 3 is a winner, except for the fact that it's animated, which is why it won't win. Most of the rest are decent, the only three I'm not fond of are The Social Network, 127 Hours and Inception.

What Will Win? The King's Speech
What Should Be There? Shutter Island



Best Director
- Darren Aronofsky for Black Swan; Coen Brothers for True Grit; David Fincher for The Social Network; Tom Hooper for The King's Speech; David O. Russel for The Fighter

Who Should Win?
Not really bothered about this one really, all were competent but none shone through their filmmaking choices. They were all a little hit and miss. But I'll go for the Brit: Tom Hooper, whose carefully composed shots still leave me thinking, and he was able to create a really funny, deeply moving film about an unlikely friendship without ever being too sentimental.

Who Will Win? David Fincher
Who Should be There? Sofia Coppola for Somewhere


Best Actor
- Javier Bardem for Biutiful; Jeff Bridges for True Grit; Jesse Eisenberg for The Social Network; Colin Firth for The King's Speech; James Franco for 127 Hours.

Who Should Win?
No doubt I'd be saying Bardem if I'd seen the film - but that's what will probably stop him winning tonight: he's in a little foreign film which nobody's seen (I missed the 3 day run it had at my cinema...) But as it happens, again, there's nothing I'm strongly passionate for. I'd probably go for Franco, who even in an awful film with one of the most poorly written characters of the year, created a compelling performance.

Who Will Win? Colin Firth
Who Should Be There? Ryan Gosling for Blue Valentine


Best Actress
- Anette Bening for The Kids Are All Right; Nicole Kidman for Rabbit Hole; Jennifer Lawrence for Winter's Bone; Natalie Portman for Black Swan; Michelle Williams for Blue Valentine

Who Should Win?
All of them! They were all uniquely powerful. An absolute beautiful set of nominees, and it's kind of a shame Portman will walk it, as they all deserve some recognition. At a push I'd say Kidman's my favourite for her most human performance in years: she left me in tears.

Who Will Win? Natalie Portman
Who Should Be There? Carey Mulligan for Never Let Me Go




Best Supporting Actor
- Christian Bale for The Fighter; John Hawkes for Winter's Bone; Jeremy Renner for The Town; Mark Ruffalo for The Kids Are All Right; Geoffrey Rush for The King's Speech

Who Should Win?
There's no denying the vivacity of Bale or the heart of Rush. But for me, Ruffalo was the standout in a really strong cast.

Who Will Win? Christian Bale
Who Should Be There? Andrew Garfield for The Social Network



Best Supporting Actress
- Amy Adams for The Fighter; Helena Bonham Carter for The King's Speech; Melissa Leo for The Fighter; Hailee Steinfeld for True Grit; Jackie Weaver for Animal Kingdom

Who Should Win?
Amy Adams showed she was more than just a one trick pony who steals your heart with her cuteness. Her performance was a huge departure for her, and she should finally be acknowledged as one of the best talents of today. It's the most open cateogry: The Fighter's ensemble was really strong, but will the support split votes? Will Carter ride The King's Speech love? Will Steinfeld win for her determined performance? Who knows!

Who Will Win? I'll go for Steinfeld
Who Should Be There? Lesley Manville for Another Year!!!!!!! Duh...



Best Original Screenplay
- Another Year; The Fighter; Inception; The Kids Are All Right; The King's Speech.
Who Should Win? Another Year
 Who Will Win?The King's Speech
Who Should be There? Somewhere


Best Adapted Screenplay
- 127 Hours, The Social Network, Toy Story 3, True Grit, Winter's Bone.
Who Should Win? Toy Story 3.
Who Will Win? The Social Network.
Who Should be There? The Ghost Writer



Best Cinematography
- Black Swan, Inception, The King's Speech, The Social Network, True Grit
Who Should Win? Inception
Who Will Win? True Grit
Who Should Be There? Shutter Island



Best Editing
- 127 Hours, Black Swan, The Fighter, The King's Speech, The Social Network
Who Should Win? The Social Network
Who Will Win? The Social Network
Who Should Be There? The American

Other Predictions:

Best Animated Film: Toy Story 3
Best Foreign Film: In A Better World
Best Documentary Film: Inside Job
Best Short Film: Wish 143
Best Animated Short: Day & Night
Best Documentary Short: Strangers No More
Best Art Direction: The King's Speech
Best Costume Design: Alice In Wonderland
Best Makeup: The Wolfman
Best Original Score: The King's Speech
Best Original Song: We Belong Together, Toy Story 3
Best Sound Mixing: Inception
Best Sound Editing: Inception
Best Visual Effects: Inception

I Can't Help Myself (Sugar Pie, Honey Bunch), The Temptations

Cos it's awesome.

The Basket, Guillemots

The reason I didn't post yesterday was because I was waiting for the song to come on Youtube...

When your favourite band disappoints, it's hard to know how to respond. Your immediate reaction is to try and find all the positives, convince yourself that it's actually the best thing they've ever released, and that it only seems a disappointment because they're doing something radically different.

This is what I tried to convince myself with Red, the second album from the multi-national, London based quartet Guillemots. Sure, it had some stand out songs, I'd still argue that Don't Look Down could stand side by side to their best songs, and that Get Over It was the perfect example of glittery pop of which they were striving to achieve. But compared to their majestic debut, and the couple of EPs that were released around it? Pffft. It was nothing. It was a band who clearly have some of the most interesting ideas at the moment, a band full of creativity and magic wanting to be just another pop band, and it often came off a bit too Sophie Ellis-Bextor for my liking.

I hoped that the Guillemots found this in their own work and will either revert back to the style of their debut, or do something else entirely for their latest album. And whilst we'll have to wait a month or two for that album, this song suggests they're somewhere in the middle. This is apparent from the opening, some 80s synth, some textured sound and Fyfe's voice inanely shouting 'ooooh-oooh-ohhh' over the music. There's then some reverby-bass accompanied by an acoustic guitar, quite the daring mix, but it sounds quite natural.

It sounds more like a B-Side from their last album called Throw Me a Sun, a song I'm quite fond of, crossed with Annie Let's Not Wait. But I hoped they'd left this style behind them. The more I listen to it, the more I'm intrigued by its sonic qualities, and I absolutely love the ending. I suppose it's made me even more interested in their third album, I just hope it doesn't all sound quite like this.