Album Flashback #1: Shiina Ringo - Muzai Moratorium

On the 27th May 2013 the anniversary single to celebrate 15 years since Shiina Ringo released her debut single is out. In the run up we'll be looking at each of her studio albums. We'll start at the beginning, with her debut album Muzai Moratorium...

Debut albums can never be taken as a bench mark of an artist’s career - and so it is that Shiina Ringo's debut sounds somewhat tame in comparison to her later releases. But note the words 'in comparison' - this is still no ordinary, manufactured J-Pop singer we're talking about. There are flashes of brilliance on the album in among the vast array of influences. But if you heard her later work before this album you'd be forgiven for being a little underwhelmed.

There's a more standard song structure in play and much more in the line of traditional instrumentation to be found. The songs too are completely different in style to later material and although the playful sounds and lyrics are still there they're not yet fully developed on record. The clever debut single, represented here by a rockier version, of Koufukuron (trans. A View of Happiness) is still a fun listen and other highlights include Kabukichou no Jyou (trans. Queen of Kabukichou), the fixation with the darker aspects of Tokyo life firmly in place by the second track. (Kabukichou, for those not in the know, is famous for its prostitutes and sex clubs - and is oft said to be somewhere a tourist is not advised to take pictures for fear of having your camera smashed by a member of the Yakuza.) 

Elsewhere there are highlights aplenty despite the disjointed nature of the album. Tsumiki Asobi (trans. Playing with Bricks) is much more akin to later songs, with a unique production fusing koto and beats with a maniacal ease.  There are also though some songs that still don’t gel with this reviewer, Koko de Kiss Shite (trans. Kiss Me Here) still sounds too normal and Onaji Yoru (trans. The Same Night) lacks something to make the chanson inspired vocals jump out at you. 

More so than any Shiina Ringo album it works better listened too track by track than as a whole but that doesn't mean to say it's not a rewarding listen - it's merely the weakest album of an excellent catalog.

Highlights: Kabukichou no Jyou; Tsumiki Asobi

Cover Art: Can you spot Shiina Ringo? A clever reverse CD jacket makes for a curiosity inducing listen. 

Meaning: (無罪)Muzai = Innocence and Moratorium = the end of something. That makes the album title the very succinct 'The End of Innocence' 

Reviewed by Sebastian Gahan.

Music Review//Texas - The Conversation

A new Texas album has been a long time coming and now, on a new label and sounding refreshed after the long break, they’re back with album The Conversation. The title track signals a return to the simpler production of earlier albums whilst retaining the modern edge of their later releases. And it’s also quite an ear catcher as well – a good start. But does it all hold up? 

But like any Texas album there’s some filler to be had and the majority is unfortunately towards the beginning. But once you get past that there are some excellent sounds here. Detroit City brings some welcome life to the proceedings and with it’s up tempo soul beat and synth melodies it’s a definite highlight. In fact, the more energetic moments on The Conversation are the ones that engender the most nods of approval. Whilst in the past there’s been a tendency to smother some excellent music under excessive production its suppressed here and the results are spectacular.

Talk About Love is one example – it’s guitar lines are out and proud as on their debut album way back in 1989 and it’s a revelation, just as the opening chords of the title track catch the ear for the same reason. If the natural beauty revolution can apply to music, then it’s certainly relevant here. Even the down tempo, Americana tinged songs have a charm about them that brings the record close but not equal to their career high point of White On Blonde.

The European, almost Parisian sophistication of previous records isn’t quite here but that’s no bad thing. There’s a mix of the out and out Americana of the bands underrated third album Ricks Road and the modern, clean edge of their more recent releases and it works very well. The band hasn’t sounded this fresh in a long time and their return is welcomed by this reviewer.

Reviewed by Sebastian Gahan.

TV Focus//The Fall - Episode 2

Caution! May contain spoilers!

“It was a mistake. I thought I was good at reading people. I was wrong…”

Starring: Gillian Anderson, Jamie Dornan.

The opening montage of the killer preparing and posing the corpse of his second on-screen victim by bathing, painting her nails and posing her on the bed he strangled her somewhat brutally on last episode mixed with Stella welcoming a visitor to her Hilton suite and enjoying some impromptu sex with a good view sets a distinctly emotionally cold for this episode as the action proper begins.

The introductions of last week are pushed aside with the focus now on the police procedurals. But unlike many dramas that have this in the standardized mode of office interviews and solicitors intervening its confined to a small part of the action. The various strands of plot are bought together as the reporter whom Stella (Gillian Anderson) rather memorably told to “fuck off” last episode after he door stepped her in the hotel she’s so often seen looking pensive in, runs a story anyway about the "meeting" and the killer (Jamie Dornan) reveals his death fetishes in all their somewhat lurid sickness. Despite all this though, the emotional connections you find yourself making with these genuinely flawed personalities make the creepy scenes all the more fascinating... 

The opening scenes where he poses the body is particularly notable, juxtaposed as it is with the one night stand Stella has with the soon to be shot down detective she invites to her room the first episode, for its deliberated cold heart and lighting. The sparse incidental music throughout adds considerably to the tension and claustrophobia, making the very occasional shocking moments that much more dramatic.  

The action moves along considerably too with the possibility of the teenage babysitter  Katie whom has annoyed the killer by stealing the lock of hair from his previous victim looking precariously on the edge of being victim number three as the episode ends. And with his daughter having seen him pinning down Katie through the traditional crack in the door it looks like the secret killer will be having some difficulties separating the seemingly ideal family life he hides in the comfort of from the sexually tortured man of the darkness we’ve seen in tonight’s episode…

Best line: “Should I take your number?” Stella’s one night stand as he leaves the hotel room. Will she come to regret giving him that number? We think so!

The new Killing?: Darkness? Check! Murder? Check? Icy female lead? Check! Definitely getting warmer…

Reviewed by Sebastian Gahan. 

On The Scene//E-I-G-E-N-L-I-C-H-T E.P Launch at Leaf, Liverpool.

There’s something about witnessing live performances in Leaf café on Bold Street; always a perfect atmosphere, with a ceiling enhanced by twinkling disco balls, tables illuminated from swaying candles setting the mood and drinking specialty tea; almost like a picnic indoors accompanied by some of the most unique music around today...

Thom Morecroft & the Full Moon Band opening for E-I-G-E-N-L-I-C-H-T somehow takes you back to a child watching Tarzan, you may deny it but Thom Morecroft could be Phil Collins and Michael Stipe's love child, his voice somewhat represents an 80s frontman, but Thom has a more raw modern sound, ever so slightly raucous but enchanting to the ear. 

Thom’s original material, with songs such as ‘Daisy’ and crowd pleaser ‘Holly’ is well known throughout the Liverpool music scene and undeniably a clear favourite. It seemed Thom Morecroft & The Full Moon Band, hyped up by Paul Du Noyer (NME, Q, MOJO) were perfectly harmonised and the perfect band to kick-start the evening.

When hearing front man Marc Rigelsford was a “Master of the loop pedal” expectations were skeptical  It’s hard to appreciate the talent behind a man and a loop pedal in studio versions of songs, but Magic Arm was a clear example of how an experimental live performance can be deviated into something unpredictable and beautiful; whether it’s playing his guitar with a violin bow or a clarinet solo, and yes I’m sure at one point the drummer was blowing into a tube attached to a keyboard. This band proves how to be multi-instrumentalists; Ed Sheeran’s loop pedal’s got nothing on them. 

Yes, it’s true a puppet show half way through a gig. Can Mr. Wolf Collective be classed as just a puppet show though? This wasn't just the typical stall with a few hands and toys. The amount of detail and elegance that went into the performance made it a heart-warming experience, a love story taken to a whole new level, expressing the true arts & culture within Liverpool.

Simon Maddison, of Silent Cities, well he certainly knows how to work his fingers on a guitar. Soft melodies produced from every angle of that stage; the highlight of Silent Cities EP launch was Simon’s falsetto vocals and his backing bands enhancing sounds weaving in and out of focus. A flawless support slot for We the Dead, who finished the night off with their dark superior refrains, over powered with rolling drums and vocal harmonies.

Reviewed and shot by Demi McLeod on that good ol' film.

On The Scene//Jon Byrne - Live at Studio 2, Liverpool.

On an evening that for once didn’t thrust you into internal submission to its breeze there was much gig activity in the ol’ town of Liverpool. On this particular evening I found myself in the always uber cool Studio 2 for a sparsely attended (undeservedly so I say) but none the less peaceable gig from the master of acoustic rants, Mr Jon Byrne.

The twilight acoustics of the venue don’t always work for every band I’ve seen in this setting but on this occasion, with the help of the mostly acoustic songs and a man with a great talent for mic stand re-positioning  it was an excellent sonic experience for all. The support slots from Son of Mojo and Adam and Prometheus were excellent, setting the tone for the evening easily before the man himself came to the stage, dapper in his pointy shoes which really caught my eyes.

The dazzling array of instruments scattered across the stage were all used at some point in the set  - various guitars and a mandolin all making the perfect backing for his pointed and often hilarious rants on life. Perhaps the red flowers and the raven adorning the microphone were a metaphor for the images his music produced or perhaps they were just as they seemed adornment but they certainly put ideas into my head. The music he performed, mostly from the recently released album Built By Angels had a real bite – mostly right off your ear as you watched him stomp the stage to death with an energy akin to a madman who collects roses and ravens… Ah!

Soon it all became clear that this was no ordinary gig stop. There was pitch black humour, swearing a plenty and music that was beautiful in the darkest and occasionally dirtiest of manners. More than once the aforementioned man with a talent for mic-stand manipulation appeared to enable Byrne to sing in an erect position, and more than often the mic slipped down again as the oft viciously stomped on floor drum took a battering to great effect.

Indeed the whole set from Byrne could be summed up using a quote he himself said at one point during the gig: “It’s like a maniac having a breakdown isn’t it?” followed by an impassioned scream. And it’s hard to disagree that a performance so full of energy and flair didn’t deserve a least a few more people in the room. I still want those shoes however…

Reviewed by Sebastian Gahan. 

Eyes On The Box//Doctor Who Series 7, Episode 14: The Name of the Doctor

Warning: Contains massive big spoilers! I mean it. Don’t read a single word more unless you’ve seen this episode.

Cast: Matt Smith, Jenna-Louise Coleman, Richard E Grant, Alex Kingston, Neve McIntosh, Catrin Stewart, Dan Starkey, John Hurt

Written by Steven Moffat, Directed by Saul Metzstein

The story: The Doctor has a secret he will take to his grave. And it is discovered.

Series 7, part 2 of Doctor Who has had its ups and downs. From the sublime The Crimson Horror to the beautifully shot, but slightly underwhelming Rings of Akhaten, it hasn’t always felt like the heart-stopping build up to this year’s 50^th Anniversary celebrations it possibly should have been. But with The Name of the Doctor current show-runner Steven Moffat brings us an episode that’s not only brilliant, it’s a total game-changer.

A week before the episode aired, the BBC in America sent out a bunch of pre-ordered Series 7 DVDs that included this episode. The internet was abuzz with some people gleefully revealing the ending and the rest trying desperately to avoid it. I was in the latter camp. And I’m so glad I was. But more of that ending later.

The Name of the Doctor and the tagline about his biggest secret was one to draw you in, but ultimately, in a show called Doctor Who, that question was never going to be answered. The question that was answered was rather more literal as we learned that “it is discovered” is the Doctor’s actual grave.  A disintegrating TARDIS, where all the ‘bigger on the inside’ stuff has leaked out to make it a giant monolith on the planet of Trenzalore, is the Doctor’s final resting place. And a fitting and striking one it is too.

With his friends, Madame Vastra, Jenny and Strax, having been kidnapped by the Great Intelligence masquerading in Richard E Grant’s body, aided by the creepy new aliens, The Whisper Men, The Doctor sets out with Clara to do the thing he should never do; cross his own time stream and discover the place he is buried.

Against this background, the tone of the story is rather fittingly funereal. Richard E Grant proves his acting chops in a dark and dangerous fashion showing us the alternative view of the Doctor as the Destroyer of Worlds. The Great Intelligence needs the name of the Doctor to open the tomb-TARDIS so that he can enter the Doctor’s time stream and destroy him in all points in time at once.

As the Doctor is about to say his name out loud in order to save his friends, he’s saved the trouble by a holographic River Song (the totally wonderful Alex Kingston) who does it for him off-screen. This River is the version that the tenth Doctor (David Tennant) had saved as a data ghost in a computer in the biggest library in the Universe, having died to save the Doctor.

Kingston here delivers a much more low-key Professor Song than the usually feisty, wise-cracking, gun-toting space archaeologist we’re used to seeing, and her delivery of the heartbreaking line, “Goodbye sweetie,” as she leaves the Doctor left a distinct lump in this reviewer’s throat. River Song is surely one of Doctor Who’s greatest characters and we must…MUST, I say…see her again.

Moffat adds some seriously fan-thrilling moments to this episode, starting with one of the best pre-credits sequences in the show’s history as we see different versions of Clara, the impossible girl, saving the Doctor in his previous incarnations. We discover that it was Clara who told the Doctor to chose his TARDIS as he was about to run away from Gallifrey and we see the original TARDIS, before it got stuck in the iconic shape of a police box, hurtling through the time vortex.

There are also glimpses of the Doctor’s previous incarnations at the end of the episode as he seeks to rescue Clara from his own time stream. And this is where the show’s gob-dropping ending hits you smack between the eyes as a dark figure, another version of the Doctor, “the one who broke the promise…my secret” is revealed to be John bloody Hurt! Cue end credits.

It’s an ending that has set the interwebs a-thunder and leaves us with one of the longest six months ever as we wait for the 50^th Anniversary special in November. If there was ever any doubt that the show is in good hands for the 50^th, then The Name of the Doctor must surely have blown them all out of the water. So we now face an anniversary episode that features three Doctors: Matt Smith’s eleventh, David Tennant’s tenth, and John Hurt’s who-knows-who. It’s going to be a long, long summer.

Jaw on the floor moment: “Introducing John Hurt as The Doctor”

“Arrrgghhh” moment: “To be continued….November 23^rd”

Best weep-into-your-hankie line: The Doctor to River “You’re always here to me and I always listen. And I always see you.” Sniff.

We need answers: Murderer Clarence de Marco in 1893. Who is he and how does he know so much about the Doctor?

The “I know I sound like a broken record, but I hope the BBC are listening” bit: Vastra, Jenny and Strax must be given their own spin-off show.

Fan pleasing moments: The sight and sounds of Doctors past.

Reviewed by Andrea McGuire.

Our Doctor Who reviews will return later in 2013! In the meantime check out the Doctor Who reviews hub page.

Music Review//The Traps - The Honey Drip

As I sat eating my breakfast this morning I found myself compelled to switch on the computer to check my mail in that semi-expectant “What will I get today?” way that Magazine Editors do and when I did I was pleasantly surprised to find this from Birmingham's The Traps in my inbox.

The Traps last single impressed and The Honey Drip is no different. Taking a soul rock inspired template that serves the band well elements of buzzing electronic psychedelia are also thrown into the mix to good effect. As a single track this stands up perfectly in its own right and that’s no bad thing.

The digital age creates an arguably positive need to get bands to grab the ears by the lobes from the first note and on that basic The Honey Drip does that perfectly. The melodies are simple yet effective, with tinkles of vaguely sunshine like keyboard and a steady drum rhythm keeping you interested all the way.

When the buzzy electronics of the interlude come around you’re ready for the change of pace and even though the song is but a smidgen over the three minutes mark it never makes you imagine it could have been longer or needed that much quoted je ne sais quoi. Three minute alt-rock hybrid songs are notoriously ubiquitous but rarely are they satisfying like The Honey Drip. In fact, the greatness is confirmed by the title – melodic honey slowly dripped over sonic template that combines to make a song you can listen to over and over and never get bored.

Reviewed by Sebastian Gahan. 

The Comix Column #3: The Comics You Really Should Be Reading!

DISCLAIMER: The below opinions are not facts but simply very one sided, biased views from a cynical and seen it all aging comics fan whose really trying to look on the bright sides of things. That the opinions expressed below happen to be true as well is merely coincidental.

So, this week has been a real mix in quality. If you want to jump in as a series gets going I suggest you pick up the first issue of DREAM THIEF (not to be confused with The Dream Merchant also out this week). It’s the beginning of a brand new character so there’s no back story or previous continuity you have to worry about, all you need to know is in the book. The comic’s main protagonist –Loser John Lincoln- steals an aboriginal mask from a museum and becomes possessed by vengeful spirits as he sleeps; so begins this four part miniseries fro Dark Horse Comics. The concept is certainly an intriguing one and the first issue ticks all the boxes: it introduces something new, sets up the character so we understand who he is without any exposition and leaves you wanting to pick up the next issue. Good stuff.

I mentioned last week that I am loving the two core Avengers books from Marvel- Avengers and Uncanny Avengers- for their inventive and outrageous cosmic ideas and full on superheroics. But since the movie ‘Avengers Assemble’, Marvel is really trying to capitalise on its success and push the Avengers brand. However this has led to a flood of Avengers-centric titles of dubious quality and AVENGERS: THE ENEMY WITHIN #1 is no exception. This title is basically Kelly McCormick’s reinvented Captain Marvel title but with the Avengers shoe horned in unnecessarily, just because the characters sell well. It’s a shame because McCormick is usually a good writer and her Captain Marvel book is a worthwhile read but this comic hasn’t any real reason to exist other than to make money. Oh dear.

For those who enjoy their comics digitally and want a straight to the point, no frills superhero comic look no further than ADVENTURES OF SUPERMAN #3. As mentioned above with the Avengers, the Superman franchise spawns many titles however what make this particular book stand out is it is unencumbered from continuity, crossovers or continuing story arcs,  so the stories can be enjoyed as they are. The emphasis is on fun- refreshing in today’s comics market as most comic books promote death and destruction as plot points- and its always great to see Superman’s defected opposite ‘Bizarro’ in action. Lovely.

That’s the comic book present but how about the past? Well I’m glad you asked....

When it comes to comic book classics there are lists of the same old, same old that are bandied about: Watchmen, Dark Knight Returns, Maus, Cerebus, The Killing Joke and so on. So instead I’m going to try and point you in the direction of those graphic novels that are underrated, obscure or just unjustly forgotten amongst the hubbub of critics falling over themselves to award Watchmen that of ‘greatest thing ever’ when there’s so many comics out there ready for your love.  

FLEX MENTALLO- A wild and wonderful adventure that’s a metaphorical psychedelic acid trip on paper. Grant Morrison and Frank Quitely’s story is a superhero comic that’s also a commentary on superhero comics; how they are at once pure escapism but can also talk about the big questions in life, tell us about the nature of reality and how we perceive it. Flex is one of my personal favourites and requires several readings to enjoy all its complexities as well as enjoying its all encompassing heartfelt purpose of it being a true love letter to the fantastic concept of ‘the superhero.’ Also check out ALL STAR SUPERMAN from the same team. It is a definitive celebration about all that is great about the Man of Steel and why he’s still the number one superhero.

DOCTOR 13: ARCHITECTURE AND MORALITY- Similar to Flex in theme and content as Azzarello plays with certain expectations of superheroes and comic books and comments on continuity and the nature of universe building in comics. As in Morrison’s Animal Man there is a metatextual twist to the execution and I’ll leave it at that for fear of spoiling the story. Also look for SPACEMAN by Azzarello.

STRANGE EMBRACE- Scary is hard to do no matter what the medium is but David Hine really nails it here. The themes of childhood fears, obsession and memory allow for the black and white illustrations (there is a colourised version available too) to really get under your skin but hopefully won’t give you too many sleepless nights. Also find BULLETPROOF COFFIN for Hine’s otherworldly creepiness, this time shone through the prism of old fashioned superheroes.

PLANETARY- They are archaeologists of the unknown, investigators into the secret history of Earth and beyond. Warren Ellis and John Cassady’s epic runs to four volumes (in collected editions) so its cheating a little to include it here but volume one (ALL OVER THE WORLD AND OTHER STORIES) can be read in isolation as a one off single book. The stories introduce the three heroes and have an underlining theme and storyline yet can be read as individual tales. Ellis is extremely prolific but I think this is his most original work. Also ties in nicely with Ellis’ THE AUTHORITY.

Gilbert Shelton’s FABULOUS FURRY FREAK BROTHERS: THE IDIOT’S ABROAD- If you like your comics... well... comic then this is for you. Funny ha-ha AND funny peculiar dope smoking dopes Fat Freddy, Freewheelin’ Frankilyn and Phineas Phreak have been getting into outrageous misadventures since 1968 and the graphic novel ‘The Idiots Abroad’ exemplifies this best. Also read from the same creator: FAT FREDDY’S CAT.

There looks to be a little more variety next week with Waid’s DAREDEVIL hopefully ready to wow readers and critics alike again, the cool and knowing Young Avengers continues to carve out a specific niche in the Marvel Universe and  the aforementioned AVENGERS continues its assault on the senses. The fantastic BATMAN INC decimates all in its way as it continues to its conclusion and there’s NOWHERE MEN from Image that still has me going back for more..

Also next week I’ll be rounding up the best of web and digital comics as the internet is a black hole you can easily get lost in, never to be found (argggh!), so I’ll draw up a map of the territory and signpost you in the right direction to the most creative and entertaining comics you can read on a flat screen. Until then: ciao and happy reading. 

The Comix Column is written by Martin Shepley.