3
prometheus review film alien ridley scott noomi rapace michael fassbender charlize theron POSTED BY: ALEX 5/5

Jun 01
No matter what the consensus on Prometheus turns out to be, almost everything about the film will be studied and analysed for quite some time to come. From its superlative marketing campaign to its production design to the narrative, Prometheus will join its forebears as a milestone or even monolith of the science fiction genre. It is a film of many layers, both on and off screen, and the debates have already begun, just over 12 hours after its premiere. But for all this bluster and hype, is it actually worth watching? The short answer is yes. The extended answer is holy shit yes yes a thousand times yes. Early reviews have been fairly harsh on Sir Ridley Scott’s return to sci-fi and the Alien franchise, throwing out reasons that essentially amount to not being Alien. It’s interesting to note that that same 1979 genre classic was also on the wrong end of some pretty poor reviews, but to draw too many parallels would do Prometheus a injustice. If you want the original Alien, go put the DVD on, as this film is essentially its own beast. Finding the correct balance between science-fiction epic and horror thrills, the film is that all-too-rare thing; an event movie that is both entertaining to watch on several levels and thought-provoking. Big questions are asked, and big themes are woven into the story, adding a few satisfying layers of intrigue to the previous films in the franchise. When you get Lost’s Damon Lindelof to write your script, you’re going to end up with more question than answers by the time you reach the end credits and shamelessly blatant sequel hook. Perhaps this is a story that requires another chapter; you won’t find any complaints from me if that turns out to be the case. The opening sequence is jaw-dropping. It needs to be seen in IMAX, as anything else would be a disservice. With a few subtle nods to 2001: A Space Odyssey (the first of quite a few), stunning cinematography treats us to shots of a very young Earth, free from the interference of civilisation. Whilst Marc Streitenfeld’s lush score does a fantastic job, you feel as if such shots should be backed by Sigur Ros; no one does ethereal beauty to accompany cold, empty spaces like the Icelandic quartet. This introduction will likely divide the audience into two camps of those who’re going in “cold” having avoided promotional materials, and those who’ve given in to the PR machine; the appearance of a terrifying pale figure who turns out to be the creator of life on our planet will be familiar to those who’ve seen the trailers etc, whereas those who have not will be left wondering what the blue hell it all means. Scott takes very little time in getting us back to vaguely familiar territory, namely outer space, on a Weyland ship. Here, we’re treated some time alone with the ship’s android, David, left alone on the Prometheus for two years whilst the rest of the crew remain in cryo-stasis. The sequence gives Michael Fassbender time to shine, as he so often does, so much so that if he remained the only character for the entire film (a la Duncan Jones’ Moon), you’d probably still watch. That he never really fades from the foreground once the other sixteen crewmembers awaken is testament to either Fassbender’s talent or the lack of fleshed out characters on the ship, depending on your outlook. The occupants of the Prometheus are central to the debate raging over its merits, with some believing they’re mostly sketches, or fodder for the horrors of LV-223. Personally I feel like, to have an effective horror film, there have to be some characters you feel less for. If you’re shocked by every single character death, then by the time the end credits roll around you’re going to be emotionally exhausted; the only reason why it works in the original Alien is because there are so few characters, that to not become involved in their fate would leave you quite bored for two hours. As we approach LV-223 (not the planet visited in the original Alien), we get a brief idea of the rest of the motley crew touching down; Dr Elizabeth Shaw (Noomi Rapace), a scientist with some belief in creationism; her partner Dr Charlie Holloway (Logan Marshall-Green), who is slightly more “swashbuckling” and focused on the search than the answers; Meredith Vickers (Charlize Theron), the meeting point between ice queen and corrupt corporate executive; Captain Janek (Idris Elba), the gruff captain who manages to stay relatively light-hearted; Fifield & Milburn (Sean Harris and Rafe Spall respectively), the odd couple double team who really really do not want to be there. Considering this is science-fiction/horror and an Alien film, you might be able to guess who won’t make it to the final reel. It’s hard to describe Prometheus in too much detail without spoiling a lot of the fun; needless to say, the mission goes quite wrong. Again, the performances are becoming a focal point of the debate surrounding the film. A lot of pundits are taking aim at Rapace for basically not being Ripley, which seems daft considering they’re two different characters in two similar but different situations. Maybe it’s that everyone else pales in comparison to Fassbender’s David. Elba and Theron give fine, memorable performances, whilst Spall & Harris provide the comic relief (of gallows humour variety), even if the latter seems to play things far too intense. The script has also come in for criticism, which is probably justified as it’s the weakest element of the film. Exposition is crammed into dialogue needlessly, and at times, it becomes clichéd. The biggest example of this being a scene in which David turns off his suit’s camera feed whilst out on the surface, causing Vickers, watching alone on the ship’s bay, to exclaim “Son of a bitch cut me off”, despite a) the audience already knowing this and b) there being no one else around in the room. But it’s a flaw which can be forgiven (in terms of awful sci-fi/horror dialogue, it could be so, so much worse), as it doesn’t take away from the sheer spectacle of it all. Scott has the sense to not rely on CGI much at all, preferring instead to have the film’s alternating pristine spaceship paraphernalia and Gigerian biomechanics created as purely practical effects where possible. For too long have filmmakers relied on distracting and often poor graphics, resulting in what looks like an average XBox game. Sir Ridley also seems to have mastered 3D at his first attempt. The extra dimension doesn’t get in the way and merely enhances key sequences when required. Whether or not you believe this glowing review or the rather more negative ones, it should be clear that a film that incites such dispute and opposing views is one that needs to be seen. To repeat myself, no matter what the consensus ends up being, Prometheus will remain a milestone in science-fiction cinema. And to answer the question of is it or isn’t it a definite Alien prequel, let’s call a mug a cup; there’s more than enough matching DNA, references and echoes to confirm Prometheus’ addition to the canon. Now, what are you doing still reading this? Go watch the bloody thing!

No matter what the consensus on Prometheus turns out to be, almost everything about the film will be studied and analysed for quite some time to come. From its superlative marketing campaign to its production design to the narrative, Prometheus will join its forebears as a milestone or even monolith of the science fiction genre. It is a film of many layers, both on and off screen, and the debates have already begun, just over 12 hours after its premiere. But for all this bluster and hype, is it actually worth watching?

The short answer is yes. The extended answer is holy shit yes yes a thousand times yes. Early reviews have been fairly harsh on Sir Ridley Scott’s return to sci-fi and the Alien franchise, throwing out reasons that essentially amount to not being Alien. It’s interesting to note that that same 1979 genre classic was also on the wrong end of some pretty poor reviews, but to draw too many parallels would do Prometheus a injustice. If you want the original Alien, go put the DVD on, as this film is essentially its own beast. Finding the correct balance between science-fiction epic and horror thrills, the film is that all-too-rare thing; an event movie that is both entertaining to watch on several levels and thought-provoking.

Big questions are asked, and big themes are woven into the story, adding a few satisfying layers of intrigue to the previous films in the franchise. When you get Lost’s Damon Lindelof to write your script, you’re going to end up with more question than answers by the time you reach the end credits and shamelessly blatant sequel hook. Perhaps this is a story that requires another chapter; you won’t find any complaints from me if that turns out to be the case.

The opening sequence is jaw-dropping. It needs to be seen in IMAX, as anything else would be a disservice. With a few subtle nods to 2001: A Space Odyssey (the first of quite a few), stunning cinematography treats us to shots of a very young Earth, free from the interference of civilisation. Whilst Marc Streitenfeld’s lush score does a fantastic job, you feel as if such shots should be backed by Sigur Ros; no one does ethereal beauty to accompany cold, empty spaces like the Icelandic quartet. This introduction will likely divide the audience into two camps of those who’re going in “cold” having avoided promotional materials, and those who’ve given in to the PR machine; the appearance of a terrifying pale figure who turns out to be the creator of life on our planet will be familiar to those who’ve seen the trailers etc, whereas those who have not will be left wondering what the blue hell it all means.

Scott takes very little time in getting us back to vaguely familiar territory, namely outer space, on a Weyland ship. Here, we’re treated some time alone with the ship’s android, David, left alone on the Prometheus for two years whilst the rest of the crew remain in cryo-stasis. The sequence gives Michael Fassbender time to shine, as he so often does, so much so that if he remained the only character for the entire film (a la Duncan Jones’ Moon), you’d probably still watch. That he never really fades from the foreground once the other sixteen crewmembers awaken is testament to either Fassbender’s talent or the lack of fleshed out characters on the ship, depending on your outlook. The occupants of the Prometheus are central to the debate raging over its merits, with some believing they’re mostly sketches, or fodder for the horrors of LV-223. Personally I feel like, to have an effective horror film, there have to be some characters you feel less for. If you’re shocked by every single character death, then by the time the end credits roll around you’re going to be emotionally exhausted; the only reason why it works in the original Alien is because there are so few characters, that to not become involved in their fate would leave you quite bored for two hours.

As we approach LV-223 (not the planet visited in the original Alien), we get a brief idea of the rest of the motley crew touching down; Dr Elizabeth Shaw (Noomi Rapace), a scientist with some belief in creationism; her partner Dr Charlie Holloway (Logan Marshall-Green), who is slightly more “swashbuckling” and focused on the search than the answers; Meredith Vickers (Charlize Theron), the meeting point between ice queen and corrupt corporate executive; Captain Janek (Idris Elba), the gruff captain who manages to stay relatively light-hearted; Fifield & Milburn (Sean Harris and Rafe Spall respectively), the odd couple double team who really really do not want to be there. Considering this is science-fiction/horror and an Alien film, you might be able to guess who won’t make it to the final reel. It’s hard to describe Prometheus in too much detail without spoiling a lot of the fun; needless to say, the mission goes quite wrong.

Again, the performances are becoming a focal point of the debate surrounding the film. A lot of pundits are taking aim at Rapace for basically not being Ripley, which seems daft considering they’re two different characters in two similar but different situations. Maybe it’s that everyone else pales in comparison to Fassbender’s David. Elba and Theron give fine, memorable performances, whilst Spall & Harris provide the comic relief (of gallows humour variety), even if the latter seems to play things far too intense. The script has also come in for criticism, which is probably justified as it’s the weakest element of the film. Exposition is crammed into dialogue needlessly, and at times, it becomes clichéd. The biggest example of this being a scene in which David turns off his suit’s camera feed whilst out on the surface, causing Vickers, watching alone on the ship’s bay, to exclaim “Son of a bitch cut me off”, despite a) the audience already knowing this and b) there being no one else around in the room.

But it’s a flaw which can be forgiven (in terms of awful sci-fi/horror dialogue, it could be so, so much worse), as it doesn’t take away from the sheer spectacle of it all. Scott has the sense to not rely on CGI much at all, preferring instead to have the film’s alternating pristine spaceship paraphernalia and Gigerian biomechanics created as purely practical effects where possible. For too long have filmmakers relied on distracting and often poor graphics, resulting in what looks like an average XBox game. Sir Ridley also seems to have mastered 3D at his first attempt. The extra dimension doesn’t get in the way and merely enhances key sequences when required.

Whether or not you believe this glowing review or the rather more negative ones, it should be clear that a film that incites such dispute and opposing views is one that needs to be seen. To repeat myself, no matter what the consensus ends up being, Prometheus will remain a milestone in science-fiction cinema. And to answer the question of is it or isn’t it a definite Alien prequel, let’s call a mug a cup; there’s more than enough matching DNA, references and echoes to confirm Prometheus’ addition to the canon.

Now, what are you doing still reading this? Go watch the bloody thing!


19
batman today on the internet internet miscellanea film tv watch video The Dark Knight Rises

Jun 01


THE BATMAN STREET PREACHER

No, not Nicky Wire in a cowl ‘n’ cape, but rather someone dressed as the Dark Knight, spreading the Bat-word to the good people of Birmingham. It sort of restores your faith in humanity (the geekier element at least) whilst simultaneously making you worry that Arkham Asylum might be missing one patient. The big question is, who’s now going to become a fully-fledged Batmanist?


3
bloc party four music album news trailer watch video

May 31

WATCH/// BLOC PARTY FOURTH ALBUM TRAILER!

The Bloc are back! We’re excited! Exclamation marks! After an all-too-long hiatus, Bloc Party are returning with their fourth album, titled Four, late this summer (August 20th to precise). The trailer for the record showcases its creation as well as snippets of a handful of tracks. Our verdict? For the most part, it sounds quite a lot like Silent Alarm… take that as you wish.


11
Childish Gambino community Donald Glover music track listen beck beck hansen silk pillow

May 30
[Flash 9 is required to listen to audio.]

LISTEN/// CHILDISH GAMBINO & BECK - SILK PILLOW

Anyone else surprised by this pairing? Beck’s been fairly quiet recently, and hasn’t drifted into the realms of hip-hop for a long time, so popping up on a Gambino track is very unexpected. Going for a stream-of-concious flow, Beck betters Glover here; maybe because of the novelty of Beck rapping once more, or maybe because Childish isn’t really pushing himself on “Silk Pillow”, there’s no new ground broken or fresh themes explored. Still, complaining about new Gambino is like complaining about having too much money. The production is slick as ever, sounding equal parts Camp album track “Hold Me Down” and Kanye’s “Runaway”. Just gotta wait for a release date on that long-gestating mixtape…

291 plays

19
los campesinos! tiptoe through the true bits music download free track listen

May 30
[Flash 9 is required to listen to audio.]

NEW/// LOS CAMPESINOS! - TIPTOE THROUGH THE TRUE BITS

Here’s a slightly unexpected surprise. A new Los Campesinos! track, not related to their stuttering Heat Rash project, and no sign of a new album so far, “Tiptoe Through The True Bits” sees the ever-evolving seven piece continue down the road they started on with Hello Sadness; funereal pace, mournful guitar picking, lyrics that pack a hefty emotional punch; the brass augmentation that featured regularly on 2010’s Romance Is Boring makes a welcome comeback here too. It’s one more heartbreak anthem to add to the constantly growing LC! arsenal, but is it too much to ask for something a little more up-tempo next?

“Tiptoe Through The True Bits” is available to download for free.

85 plays

127
Watch the Throne jay-z kanye west music video watch Frank Ocean no church in the wild reblogged

May 30

WATCH/// JAY-Z & KANYE WEST - NO CHURCH IN THE WILD (FT. FRANK OCEAN)

(Reblogged from dailymovement)


3
bobby womack damon albarn xl richard russell lana del rey album review the bravest man in the universe

May 29
Not much has been made about the events leading up to The Bravest Man In The Universe, Bobby Womack’s 26th solo album and first in 12 years, mainly because not much is known about it. Womack was recruited by Damon Albarn to appear on Gorillaz’ Plastic Beach (and ended up providing vocals on free “tourbus” album The Fall), which presumably led to a spike in interest over the soul icon; we can assume XL label boss Richard Russell saw potential in placing Womack against a modernised musical backdrop, as he did with the late Gil Scott Heron and I’m New Here, with himself and Albarn producing the proceedings; and eventually we’ve arrived at The Bravest Man In The Universe. It’s an intriguing and unexpected record; one that’s at its best when it matches the bizzare and eye-catching artwork. When Albarn & Russell’s production is minimal or spacious, it results in little nuggets of genius; for instance “Please Forgive My Heart” is one of the best songs of the year because every instrument, including Womack’s voice is given its own space to breathe. No single element of the track negates or overshadows another, with everything clear, crisp and smooth as you’d want it to be. It’s the kind of soulful confession that should last for decades and become a classic example of a love song. “Time can pass so slowly/When you’re faced with burndown/The time is not commuted/It lingers without a sound” just sounds so meaningful and honest coming from Womack, whereas it might sound a bit hollow or glib coming from a contemporary chart topper. Similarly, on the title track Womack injects pathos into some fairly so-so lyrics; “The bravest man in the universe/Is the one who has forgiven first” could’ve come from the mind of Noel Gallagher. The team of Womack, Albarn & Russell is already fairly starry, but chanteuse du jour Lana Del Rey pops up on “Dayglo Reflection”. It’s hard to judge whether her appearance is a quick cash-in/attempt at youth appeal or a genuine artistic addition, but her cameo works incredibly well. She doesn’t sound half as bored or pouty as on her own debut album, actually showing signs of soulfulness and emotion. There may be hope for her yet. As the record pushes on, the production becomes more layered, individual elements become part of a canvas instead of sticking out. “Whatever Happened To The Times?” is a narcotic dream of a song, whereas “Stupid” uses Albarn’s hip-hop influences to push towards on of the album’s standouts. The track’s “introlude” features spoken word from Gil Scott Heron (a nice connection for you fans of being meta), and the beat is superb; more restrained than the majority of contemporary hip-hop, it could have sneaked onto Watch The Throne, as one of that album’s more introspective moments. “Deep River” is an all-too-brief dip into country & blues, with no embellishments, bells or whistles; just Bobby, his voice and a guitar. It’s a refreshingly organic interlude on a record that is just a few notches behind The King Of Limbs in terms of over-reliance on electronics. When final track “Jubilee (Don’t Let Nobody Turn You Around)” rolls around. Where such bombast worked with organic and supposedly “real” instruments in the arena of soul and funk, when it gets transposed into a modern environment influenced by house, dubstep and grime, it falls down. You can imagine Jubilee being a top-drawer album closer if it reverted to an old school sound; brass, handclaps, big beat, tambourines, funky bass, Niles Rodgers-esque guitar… it’d be a classic. Alas, the best it could be qualified as now is a grower. With Scott Heron’s I’m New Here and now this, it looks like XL’s “cult icon resurrection program” is a pretty good idea. Taking someone like Womack, who is so synonymous with a certain sound, removing from their comfort zone and putting them in fresh, contemporary surroundings is a risky move (can you imagine Henry Rollins making a dubstep album? Or Nas going chiptune?) but with two successes in a row, Richard Russell’s record label seem to have hit on a winning formula. So who’s going to be third in this trilogy?

Not much has been made about the events leading up to The Bravest Man In The Universe, Bobby Womack’s 26th solo album and first in 12 years, mainly because not much is known about it. Womack was recruited by Damon Albarn to appear on Gorillaz’ Plastic Beach (and ended up providing vocals on free “tourbus” album The Fall), which presumably led to a spike in interest over the soul icon; we can assume XL label boss Richard Russell saw potential in placing Womack against a modernised musical backdrop, as he did with the late Gil Scott Heron and I’m New Here, with himself and Albarn producing the proceedings; and eventually we’ve arrived at The Bravest Man In The Universe.

It’s an intriguing and unexpected record; one that’s at its best when it matches the bizzare and eye-catching artwork. When Albarn & Russell’s production is minimal or spacious, it results in little nuggets of genius; for instance “Please Forgive My Heart” is one of the best songs of the year because every instrument, including Womack’s voice is given its own space to breathe. No single element of the track negates or overshadows another, with everything clear, crisp and smooth as you’d want it to be. It’s the kind of soulful confession that should last for decades and become a classic example of a love song. “Time can pass so slowly/When you’re faced with burndown/The time is not commuted/It lingers without a sound” just sounds so meaningful and honest coming from Womack, whereas it might sound a bit hollow or glib coming from a contemporary chart topper. Similarly, on the title track Womack injects pathos into some fairly so-so lyrics; “The bravest man in the universe/Is the one who has forgiven first” could’ve come from the mind of Noel Gallagher.

The team of Womack, Albarn & Russell is already fairly starry, but chanteuse du jour Lana Del Rey pops up on “Dayglo Reflection”. It’s hard to judge whether her appearance is a quick cash-in/attempt at youth appeal or a genuine artistic addition, but her cameo works incredibly well. She doesn’t sound half as bored or pouty as on her own debut album, actually showing signs of soulfulness and emotion. There may be hope for her yet.

As the record pushes on, the production becomes more layered, individual elements become part of a canvas instead of sticking out. “Whatever Happened To The Times?” is a narcotic dream of a song, whereas “Stupid” uses Albarn’s hip-hop influences to push towards on of the album’s standouts. The track’s “introlude” features spoken word from Gil Scott Heron (a nice connection for you fans of being meta), and the beat is superb; more restrained than the majority of contemporary hip-hop, it could have sneaked onto Watch The Throne, as one of that album’s more introspective moments.

“Deep River” is an all-too-brief dip into country & blues, with no embellishments, bells or whistles; just Bobby, his voice and a guitar. It’s a refreshingly organic interlude on a record that is just a few notches behind The King Of Limbs in terms of over-reliance on electronics. When final track “Jubilee (Don’t Let Nobody Turn You Around)” rolls around. Where such bombast worked with organic and supposedly “real” instruments in the arena of soul and funk, when it gets transposed into a modern environment influenced by house, dubstep and grime, it falls down. You can imagine Jubilee being a top-drawer album closer if it reverted to an old school sound; brass, handclaps, big beat, tambourines, funky bass, Niles Rodgers-esque guitar… it’d be a classic. Alas, the best it could be qualified as now is a grower.

With Scott Heron’s I’m New Here and now this, it looks like XL’s “cult icon resurrection program” is a pretty good idea. Taking someone like Womack, who is so synonymous with a certain sound, removing from their comfort zone and putting them in fresh, contemporary surroundings is a risky move (can you imagine Henry Rollins making a dubstep album? Or Nas going chiptune?) but with two successes in a row, Richard Russell’s record label seem to have hit on a winning formula. So who’s going to be third in this trilogy?


4
POSTED BY: MEGAN FOZZARD POSTED BY: KAYLA BLAIR music Songs that changed my life franz ferdinand skrillex trapped under ice the beatles aerosmith los campesinos! the smiths my chemical romance dexy's midnight runners opinion

May 29
Dexy’s Midnight Runners - Come On EileenSoundtrack to growing up My parents were on the whole a bit crap when it comes to the Eighties . Not from drugs; my mum was on the other side of the world and my dad revealed to me he managed to melt a vinyl of Joy Division’s “Love Will Tear Us Apart”, which I can never forgive him for. But they pulled it together for this song, which is one of my first music memories. Dad with a beer in his hand, down on one knee and dancing to this with me. He still does it now when we get drunk at family reunions. My Chemical Romance - Welcome To The Black ParadeBecoming an emo kid It’s the winter of 2006 and I’m watching Top Of The Pops, ready to eagerly soak up the normal RnB/dance chart shit. On come My Chemical Romance, clad in their faux military gear and deathly pale make up, and the marching band beat begins. This is it, I think. This moment sparks years of too much eyeliner, hanging round in the square in town looking miserable and only-Gerard-Way-can-understand-me angst. Sometimes, I bring out the Meg Massacre photos for a good laugh The Smiths - This Charming Man Began listening to decent music Where would I have been if my friend hadn’t put The Best of The Smiths on my iPod for me? I shudder to think. There is something about Marr’s jangly guitars and Morrissey’s voice that is just perfect on this song. I discovered The Smiths late, when I was about 17 and, like the previous emo kid stage, this sparked years of too many vintage jumpers, hanging around parties drinking wine in the corner looking miserable and only-Morrissey-can-understand-me-angst (a stage that is still ongoing I reckon). Los Campesinos! - You! Me! Dancing!Soundtrack all the exams and summers If I could pick the entirety of LC!’s back catalogue then I would because their lyrics are so witty and they just sing about everyday things like thinking it’s a good idea to dance in a fountain when you are drunk. I think I’ve listened to LC! more than any other band over the past summers and Gareth, Kim, Rob et al have been there with all my made up romances, pre-festival excitements, kissing the wrong person at parties, getting too drunk, break ups and just being really bored. But this song in particular reminds me of being locked in a room revising for GCSEs, AS and A Levels, listening to this song and fantasizing about all the summer fun we are going to have. Of course, summer is never really as good as you remember it when you get nostalgic and listen to songs like this. Franz Ferdinand - No You Girls I first heard this song on the MTV “scripted reality” series The Hills. Its catchy/dancey lyrics caught my attention right away and I quickly downloaded Franz Ferdinand’s three albums. I was hooked. Franz Ferdinand have been my favorite band since 2009 and this song really hit home due to the lyrics “No you boys never care How the girl feels”. This song can relate to both boys and girls; boys are confusing to girls and girls are confusing to boys. Because of this song/band, my favorite type of music is alternative rock and Brit-pop. Before hearing this type of music, I’d listen to Kiss 108 and everyone knows that’s not real music anymore. You cannot stay in a bad mood when listening to Franz Ferdinand’s songs. They’re so uplifting and elegant. Trapped Under Ice - Stay Cold I started listening to hardcore because of an ex-boyfriend. He was always angry and he said this music helped to release your anger. He and I would always fight and I was sick of it so I downloaded Trapped Under Ice’s whole Stay Cold album. The first song I listened to was the title track; the lyrics “You can’t hurt me anymore/I stay cold forevermore/So alone/But you can’t hurt me anymore” meant so much to me. It taught me that you don’t need a relationship to be happy. You don’t have to let someone in. You can be by yourself and be okay. I understood why my ex listened to that music. After that, I downloaded a bunch of hardcore songs. Hardcore kids stand for something and they come together because they have no one else because no one understands why they’re cold-hearted. The Beatles - Come Together Yes, the typical first Beatles song. I was watching Across the Universe, a musical that used Beatles tracks. It goes without saying that these covers weren’t as good as the originals but the lyrics were gained an extra something; they were simple, yet lovely. “Come Together”’s lyrics didn’t make much sense to me, along with many other Beatles’ songs, but who doesn’t love The Beatles? I am now a Fab Four fanatic. My room is covered in Beatles’ posters and I’ve gotten a few of my friends to get into them as well. I have 110 songs of them on my iPod. In my opinion, no one can ever compare to The Beatles. Even the songs that don’t make sense are wonderful. The Beatles have showed me that older music is good too. I love artists such as Led Zeppelin, The Rolling Stones, and Frank Sinatra because of The Beatles. Skrillex - Scary Monsters & Nice Sprites This is the first electronic dubstep song I’ve ever listened to. At first I wasn’t a fan because I thought a good song had to require lyrics. Dubstep and electronic songs helped me get through depression because I love to dance and these types of songs are great to dance to. The fact that dubstep songs have little to no lyrics helps you because you don’t have to think about anything, you just flow with the music. Aerosmith - Walk This Way I’ve been listening to Aerosmith since I was in a car seat. They’re my dad’s favorite band. When I became a teenager, I asked my dad if I could borrow his Aerosmith CDs; the rock legends has opened up the door to classic bands such as Deep Purple, Iron Maiden, Megadeth, and Metallica. On June 26th I’m seeing Alice Cooper/Iron Maiden because of this type of music.


Dexy’s Midnight Runners - Come On Eileen
Soundtrack to growing up
My parents were on the whole a bit crap when it comes to the Eighties . Not from drugs; my mum was on the other side of the world and my dad revealed to me he managed to melt a vinyl of Joy Division’s “Love Will Tear Us Apart”, which I can never forgive him for. But they pulled it together for this song, which is one of my first music memories. Dad with a beer in his hand, down on one knee and dancing to this with me. He still does it now when we get drunk at family reunions.

My Chemical Romance - Welcome To The Black Parade
Becoming an emo kid
It’s the winter of 2006 and I’m watching Top Of The Pops, ready to eagerly soak up the normal RnB/dance chart shit. On come My Chemical Romance, clad in their faux military gear and deathly pale make up, and the marching band beat begins. This is it, I think. This moment sparks years of too much eyeliner, hanging round in the square in town looking miserable and only-Gerard-Way-can-understand-me angst. Sometimes, I bring out the Meg Massacre photos for a good laugh

The Smiths - This Charming Man 
Began listening to decent music
Where would I have been if my friend hadn’t put The Best of The Smiths on my iPod for me? I shudder to think. There is something about Marr’s jangly guitars and Morrissey’s voice that is just perfect on this song. I discovered The Smiths late, when I was about 17 and, like the previous emo kid stage, this sparked years of too many vintage jumpers, hanging around parties drinking wine in the corner looking miserable and only-Morrissey-can-understand-me-angst (a stage that is still ongoing I reckon).

Los Campesinos! - You! Me! Dancing!
Soundtrack all the exams and summers
If I could pick the entirety of LC!’s back catalogue then I would because their lyrics are so witty and they just sing about everyday things like thinking it’s a good idea to dance in a fountain when you are drunk. I think I’ve listened to LC! more than any other band over the past summers and Gareth, Kim, Rob et al have been there with all my made up romances, pre-festival excitements, kissing the wrong person at parties, getting too drunk, break ups and just being really bored. But this song in particular reminds me of being locked in a room revising for GCSEs, AS and A Levels, listening to this song and fantasizing about all the summer fun we are going to have. Of course, summer is never really as good as you remember it when you get nostalgic and listen to songs like this.


Franz Ferdinand - No You Girls
I first heard this song on the MTV “scripted reality” series The Hills. Its catchy/dancey lyrics caught my attention right away and I quickly downloaded Franz Ferdinand’s three albums. I was hooked. Franz Ferdinand have been my favorite band since 2009 and this song really hit home due to the lyrics “No you boys never care How the girl feels”. This song can relate to both boys and girls; boys are confusing to girls and girls are confusing to boys. Because of this song/band, my favorite type of music is alternative rock and Brit-pop. Before hearing this type of music, I’d listen to Kiss 108 and everyone knows that’s not real music anymore. You cannot stay in a bad mood when listening to Franz Ferdinand’s songs. They’re so uplifting and elegant.

Trapped Under Ice - Stay Cold
I started listening to hardcore because of an ex-boyfriend. He was always angry and he said this music helped to release your anger. He and I would always fight and I was sick of it so I downloaded Trapped Under Ice’s whole Stay Cold album. The first song I listened to was the title track; the lyrics “You can’t hurt me anymore/I stay cold forevermore/So alone/But you can’t hurt me anymore” meant so much to me. It taught me that you don’t need a relationship to be happy. You don’t have to let someone in. You can be by yourself and be okay. I understood why my ex listened to that music. After that, I downloaded a bunch of hardcore songs. Hardcore kids stand for something and they come together because they have no one else because no one understands why they’re cold-hearted.

The Beatles - Come Together
Yes, the typical first Beatles song. I was watching Across the Universe, a musical that used Beatles tracks. It goes without saying that these covers weren’t as good as the originals but the lyrics were gained an extra something; they were simple, yet lovely. “Come Together”’s lyrics didn’t make much sense to me, along with many other Beatles’ songs, but who doesn’t love The Beatles? I am now a Fab Four fanatic. My room is covered in Beatles’ posters and I’ve gotten a few of my friends to get into them as well. I have 110 songs of them on my iPod. In my opinion, no one can ever compare to The Beatles. Even the songs that don’t make sense are wonderful. The Beatles have showed me that older music is good too. I love artists such as Led Zeppelin, The Rolling Stones, and Frank Sinatra because of The Beatles.

Skrillex - Scary Monsters & Nice Sprites
This is the first electronic dubstep song I’ve ever listened to. At first I wasn’t a fan because I thought a good song had to require lyrics. Dubstep and electronic songs helped me get through depression because I love to dance and these types of songs are great to dance to. The fact that dubstep songs have little to no lyrics helps you because you don’t have to think about anything, you just flow with the music.

Aerosmith - Walk This Way
I’ve been listening to Aerosmith since I was in a car seat. They’re my dad’s favorite band. When I became a teenager, I asked my dad if I could borrow his Aerosmith CDs; the rock legends has opened up the door to classic bands such as Deep Purple, Iron Maiden, Megadeth, and Metallica. On June 26th I’m seeing Alice Cooper/Iron Maiden because of this type of music.


5
bobby womack lana del rey dayglo reflection music listen video

May 29

LISTEN/// BOBBY WOMACK & LANA DEL REY COLLABORATION SURFACES

The soul legend meets the most divisive pop star of 2012. “Dayglo Reflection” appears on Womack’s upcoming ‘revival’ album The Bravest Man In The Universe (similar in concept to Gil Scott-Heron’s I’m New Here) and provides an interesting contrast in vocals between the two stars. Your opinion on the track will hinge on your feelings towards Del Rey, but you can’t deny the shuffling beat and jazz piano make an irresistible backdrop.


9
ted film poster news NEW seth macfarlane family guy

May 29
NEW/// POSTER FOR SETH MACFARLANE’S TED Just in case you were thinking the first movie from the Family Guy creator would be all high-brow and intellectual, cast your eyes upon this poster… still, for all the toilet humour that has become Seth MacFarlane’s trademark, Ted still looks like it could be quite good.

NEW/// POSTER FOR SETH MACFARLANE’S TED

Just in case you were thinking the first movie from the Family Guy creator would be all high-brow and intellectual, cast your eyes upon this poster… still, for all the toilet humour that has become Seth MacFarlane’s trademark, Ted still looks like it could be quite good.



1 2 3 4 5 6 7 8 9 10