Showing posts with label Reviews. Show all posts
Showing posts with label Reviews. Show all posts

9.7.14

Theatre review: Beryl @ West Yorkshire Playhouse

Published by The Arts Desk


Wife. Mother. Yorkshirewoman. Cyclist. Legend. Beryl Burton was perhaps the greatest sportswoman this country has ever produced, and we ought to be ashamed of the fact that many of us will have to Google her to find out what her achievements were.

Born in Leeds in 1937, she dominated women’s cycling in the 1950s, '60s and '70s – becoming five times world pursuit champion, 12 times national champion, and best British all-rounder for 25 consecutive years. She won nearly 100 domestic titles, and her 12-hour distance record – of a staggering 277.25 miles – has never been broken. While setting it, she caught up with Mike McNamara, who was hoping to smash the men’s record, and offered him a consolatory liquorice allsort as she whooshed past. (Apparently he was grateful.)

To manage such sporting success these days requires a lifestyle governed by trainers, nutritionists, sponsors, and maybe even PR people – but there was none of that for our Beryl. No, she funded herself by working on a rhubarb farm, wolfed down baby bottles full of homemade rice pudding during races, and led a very modest existence with her husband Charlie and their daughter Denise in Morley, West Yorkshire.

There was no financial backing for British cyclists in her day, when many of the country’s top competitors were struggling unknowns. However, Beryl was a star on the continent, where the public had greater enthusiasm for the sport – particularly in France, Belgium and the Netherlands.

The fact that the odds were stacked against Beryl from an early age made her international success all the more remarkable. In her childhood, she suffered a bout of rheumatic fever that left her with a weak heart, and doctors strongly discouraged strenuous activity. But she took no notice, determined to prove them – and her cynical schoolteachers – wrong.

“I’m going to make my mark!” says Beryl, in Maxine Peake’s debut stage play, adapted from her short piece that was broadcast on Radio 4 in 2012, and commissioned to tie in with the (incidentally all-male) Tour de France. “Doing what?” asks Charlie.

“I dunno, I'll find something!” says Beryl.

It’s a wonder Hollywood bothers writing feel-good sporting dross like Dodgeball  when it could just Americanise the hell out of this. Thankfully, Rebecca Gatward’s production tells the story of this incredible woman’s life with impressive accuracy and respect.

With a cast of only four actors, each adopting multiple roles, the play conveys the camaraderie and selflessness of the cycling community that helped lead Beryl (played by Penny Layden, pictured above) to her many triumphs – in the face of such prejudice, hardship and indifference. There’s also a good measure of dry Yorkshire wit throughout, and the brilliant Dominic Gately – who plays about seven different parts – is responsible for most of it.

Peake’s script follows Beryl until her last breath, when she died suddenly from heart failure while out delivering invitations to her 60th birthday party in Morley – of course, on a saddle. As her bike’s rotating rear wheel rattles to a stop, even those of us who have never previously worn lycra are moved to tears.

And then, as her mountains of medals, cups and trophies glimmer majestically under the stage lights and the audience stands and applauds one of our true sporting heroines, we are left wondering to ourselves: what are you going to do with your  life, exactly?



———

Click here for more Theatre

Click here to follow clarkspeak on Twitter

21.5.14

Theatre review: Blithe Spirit @
York Theatre Royal

Published by The Arts Desk


Some people say that, in the age of theatrical consultants, narrative deconstruction, and the so-called "multimedia performance", conventional theatre no longer cuts the mustard. But there are still those large swathes of any audience who love a smooth journey between a beginning, a middle, and an end. Who shuffle politely past others towards their seats, look expectantly towards the stage curtain, and know exactly what's coming. And then go home smiling rather than thinking afterwards.

Noël Coward's Blithe Spirit  is unapologetically a play for that public. It was mainstream before the word existed, becoming among the most successful shows that the West End and Broadway had ever seen when it was first produced in the 1940s. Even today, it is rarely far from view, as a concurrent West End production starring Angela Lansbury makes clear. In many ways the definition of the classic British farce, it features men sharing dry martinis and protracted anecdotes with women in ballgowns as they converge upon a comfortable Kent home populated by swells.

The story begins when novelist Charles Condomine (Andrew Hall) invites clairvoyant Madame Arcati (Nichola McAuliffe) to conduct a séance in his home, in a bid to gather material for his next book. Charles's idea backfires when the ghost of his first wife, Elvira (Amy Rockson), turns up and repeatedly attempts to disrupt his marriage to second wife Ruth (Caroline Harker), who cannot see or hear her. For the next two-and-a-half hours, key ingredients of the traditional British mad house - folly, clumsiness, accusations, stiff upper lips, and of course abundantly crossed wires - take shape alongside the plot's twists and turns.

One quirky element of the York Theatre Royal production, directed by Damian Cruden, is the use of a voiceover (by Blair Plant, who also plays Dr Bradman) to introduce each scene with Coward's stage directions. Yet for all the invention behind this witty touch, which the Master would surely himself have admired, the show somehow fails to produce the audience laughter it probably should. Granted, most things that may once have provoked uncontrollable fits of the giggles among the wartime public only get sporadic chuckles today. Still, more could have been made of the script's persistent humour.

That said, much of Coward's wisdom continues to pack a punch - "how many people are shocked by honesty and how few by deceit?" being one particular gem that I'll be keeping between my ears for a while. And the cast are terrific, notably Rockson, who manages to be convincingly tormenting, flattering and insecure as the high-maintenance apparition that is Elvira. McAuliffe's Arcati as expected steals the show with her bombastic demeanour and bizarre rituals.

The time-honored British farce may never be the future of British theatre, and there's perhaps not much more juice to squeeze out of this 70-year-old play. But like a true classic, Blithe Spirit  will rarely disappoint its audience. There are plenty of warm smiles as we are led out the theatre's exit and I find myself making a mental note of a play that is of its time - that phrase "of its time" very much underscored in my head.



———

Click here for more Theatre

Click here to follow clarkspeak on Twitter

24.4.14

Theatre review: Under Milk Wood @
York Theatre Royal

Published by The Arts Desk


A spiralling stage, horned with two raised prongs. A circular display, mounted on the back wall, which presents the buildings and coastline of a seaside town from a bird’s eye view. Subtle blues, yellows and reds that light up the stage to reflect the time of day. Spirited actors buzzing around like heated molecules in an educational science video as they each take on several roles.

If Under Milk Wood was exclusively “a play for voices”, as its author Dylan Thomas suggested, then such visual aspects of the classic Welsh tale would never have come into being. But here they are at York Theatre Royal, where Terry Hands’ stage production continues its major tour of the UK and the US. With stars including Game of Thrones regular Owen Teale and Torchwood’s Kai Owen, Theatr Clwyd Cymru's energetic revival of the play directed by Terry Hands marks the 60th year since it made its debut on BBC radio, and the centenary of Thomas’s birth.

Under Milk Wood was reportedly the Welsh poet’s attempt to create his own version of James Joyce’s Ulysses – taking in 24 hours in the lives of the residents of fictional Llareggub (read backwards for a smirk). Among the town’s more flamboyant characters are Blind Captain Cat, who dreams of dead former shipmates, Mog Edwards and his sweetheart Miss Price, whose romance only exists in the letters they write, barman Sinbad Sailor, who runs the bonkers Sailors Arms pub, bigamist baker Dai Bread, forever floor-scrubbing Polly Garter, Nogood Boyo, whose shenanigans cause mayhem in the wash house, and Lily Smalls, who longs for a more exciting life.

While the play is rich with anecdotal incidents, it lacks actual drama, and yet, as an inherently lyrical work, the action lies within the language itself. From when Teale’s First Voice says: “Listen! It is night. Come closer. Hear their dreams…” we are hooked from sunrise to sunset. Every line is delivered note-perfect, every word charged, every syllable treasured, every sound cherished to the last phoneme. Caryl Morgan’s spine-tinglingly evocative recital of an old woman’s dream about the Garden of Eden, and Richard Elfyn’s continuously impressive vocal range, make them highlights of a superb cast that carries no weak links.

Sometimes risqué, all times charming and cheerful, this relatively short piece moves quickly as Llareggub’s larger-than-life gaggle go about their existences – and we audience members wear warm smiles throughout as we become endeared to a simple way of life we can’t quite recall. It all ends just as it started, with each character encased in heavy sleep.

So then it’s our time to go, and leave through the theatre’s exit, emerge onto the lit street, and somehow try to relate what we’ve seen to our own lives. It’s not that difficult, I realise, as a friend bumps into me on my route home and suggests a drink in our local. It’s not quite the Sailors Arms, but it’ll do.



———

Click here for more Theatre

Click here to follow clarkspeak on Twitter

21.2.14

Theatre review: Brassed Off @ York Theatre Royal

Published by theartsdesk

VIDEO: Brassed Off trailer




Only a particularly hard heart would fail to be moved by the sheer scale of community fragmentation around the time of the Miners' Strike – for many, the single most devastating period in the north of England's social history. But maybe, just maybe, this Brassed Off  play is not quite as stirring as it should be.

Adapted by Paul Allen from the classic 1996 film, the story about a colliery and its brass band has been revived at York Theatre Royal to mark the strike's 30th anniversary year. Pulling the strings is Damian Cruden, an award-winning director of such vision and skill that his involvement in something even slightly by-the-numbers is kind of surprising.

The production retains all of the film's best lines and makes much of its rugged humour – and that's just as well, because Mark Herman's original screenplay largely spoke for itself. A theatrical spectacle, though, this unfortunately is not. Too often does the emotion feel lukewarm, the scenes one-dimensional, and the plot rushed. This is particularly evident when conductor Danny (John McArdle) steps up to deliver an acceptance speech when his brass band of brothers triumphs at the national championships, soon after losing their jobs at the mine.

"I thought music mattered. But does it? Bollocks! Not compared to how people matter," is such a powerful and definitive line, and everyone in this audience knows it. After all, we sit a mere 40-odd miles away from the former mining village of Grimethorpe, South Yorkshire, on which the fictional Grimley and its colliery band are based. We’re huge Brassed Off fans. However, McArdle's stoic delivery spoils it, compromising an otherwise solid performance by the former Brookside actor, and highlighting exactly how much of a difficult act to follow the late, great Pete Postlethwaite remains.




That said, there are some redeeming qualities in the rest of the cast. More remarkable are Clara Darcy's Gloria, James Robinson's Andy, Rebecca Clay's Sandra and Andrew Roberts-Palmer's Harry, while the dark horse of the show is Luke Adamson, whose role as Phil’s young son Shane – a fun-loving boy slowly grasping what is happening to his family’s livelihood in Grimley – is a key difference between play and film. Adamson featured prominently in last year's First World War outdoor epic Blood + Chocolate, and has the part of 'the honest lad' down to a tee.

Also noteworthy is Dawn Allsopp's evocative set design, and the large ensemble of local musicians, whose renditions of Rodrigo's Concierto de Aranjuez and other numbers are very strong – however undermined by the pop music bridging each scene.

Brassed Off  will always bring the house down. There’s no doubt about that. Given its true-story against-all-odds struggle for the notion of community, it completely deserves to. And yet, despite having all the sadness, anger, despair, desperation, love, laughter and joy to play with, somehow this production lacks emotional punch.



———

Click here for more Theatre

Click here to follow clarkspeak on Twitter

15.1.14

Album review: Cursing the Sea by September Girls

Published by Press Association

OUT NOW

VIDEO: September Girls - Green Eyed (official video)



Imagine if the Bangles had been around the block once or twice, and you'd still be a million miles away from really getting what September Girls are all about.

Bark Psychosis, Sonic Youth, My Bloody Valentine, Slowdive, the Cure, Blonde Redhead and Yeah Yeah Yeahs are other bands that come to mind on a first listen of this all-female Dublin five-piece's debut, but it takes a fair few plays before their reverb-laden guitars, echoing harmonies and twitchy rhythms begin to wash over you.

And wash over you they do, completely and mesmerically.

This brand of garage pop is not linear enough to make the mainstream, but thankfully it's at least made it further than trying to be heard over the coffee slurps and nonchalant murmurs of drainpiped hipsters in a crowded Dalston cellar.

Succeed, this record will, in charming the ears touched by its beautiful, kaleidoscopic mess.

8/10

———

Click here for more Reviews

Click here to follow clarkspeak on Twitter

22.12.13

Theatre review: Aladdin and the Twankeys @ York Theatre Royal

Published by theartsdesk

VIDEO: Aladdin and the Twankeys trailer



The best bit was the Wagon Wheels. Frisbeed, they were, towards the audience's outstretched arms and expectant faces, with the precision of a man who's been doing it for the past 35 years. With the assurance of a cult hero whose presence continues to dominate the York pantomime tradition.

They love Berwick Kaler here (seriously, how many local celebrities have much-admired ice sculptures of themselves in their city centre?) and the affection is mutual. "This isn't a pantomime, it's a family reunion!" declared the writer, co-director and indisputable star of Aladdin and the Twankeys, which is, remarkably, his fifth version of the classic tale, following 2005's The Lad Aladdin and previous productions in 1997, 1989 and 1981. As Britain's longest-serving pantomime dame had earlier quipped to a crowd member who claimed to have attended his shows for the past decade: "Oh, a newcomer, are you?"

Joining Kaler for this memorable festive knees-up were regular favourites Martin Barrass — who has spent much of 2013 appearing in the West End production of One Man, Two Guvnors — in the dual role of Wisehopper and Mankee, Suzy Cooper as Princess Peke-a-Boo, Sian Howard as the Empress of China, AJ Powell as the Genie of the Bling, Jonathan Race as the villainous Abanazer, and Canadian actor Alexander Braatz in the title role of Aladdin.


The two golden rules of pantomime — daftness and naffness — were impeccably observed, along with the cheeky puns and in-jokes that had our hands red-raw from all the clapping. There were, however, a few unexpected breaks with tradition. For starters, there was actually a plot, in which Abanazar seeks out China's oldest man to guide him to Aladdin, the Chosen One, whom he believes will lead him to untold riches - before discovering that Aladdin has an identical twin brother (who looks nothing like him), while the Genie of the Bling keeps knocking himself out and waking up thinking he's someone else. OK, a plot-ish.

Visually stunning costumes and surreal, anarchic sets were far, far too good, and several video montages of the cast's comical musical escapades around York made this certainly the first multimedia pantomime I'd ever seen. Plus, a camp-as-you-like cameo by Christopher Biggins — currently gracing Hull New Theatre's stage in Jack and the Beanstalk — simply cannot go without mention.

I suspect that if members of the audience were granted one wish, they wouldn't have changed a single aspect of this show. (In any case, I think I may have used mine to make myself invisible when Kaler began scouring the audience for a "volunteer".)

After one final sing-song, Kaler bidded his spirited followers farewell. "See you all next year!" he said, and they will — for this veteran entertainer's camaraderie with the cast, audience, venue and city adds an extra dimension to this seasonal treat of all seasonal treats. Across the country right now, homesick minor celebrities sit in dressing rooms, crossing dates off their performance calendars. Not here, not ever.

★★★★

Aladdin and the Twankeys continues until 1 February 2014

———

Click here for more Theatre

Click here to follow clarkspeak on Twitter

Click here to follow clarkspeak on Facebook

4.12.13

Album review: The April Maze by
the April Maze

Published by Press Association

OUT NOW

VIDEO: Don't Let the Bastards Bring You Down -
the April Maze



Folk music is most enjoyable when you don’t have to close your eyes to imagine the knitwear, open fires and frosted windowpanes of winter that its rhythms evoke.

So with temperatures dropping below freezing as we head into the festive season, the arrival of the April Maze on our shores is above all timely.

The Melbourne duo’s debut European release – a self-titled mish-mash of tracks from their first two albums that were reserved for ears Down Under – is a moreish introduction to their acoustic delights.

From every banjo’s pluck and cello’s hum, to each skilfully balanced harmony and stirring lyrical turn, there’s an impressive range to this strong body of work. You sense there’s more to come from this most promising of husband-and-wife teams.

8/10

———

Click here for more Reviews

Click here to follow clarkspeak on Twitter

Click here to follow clarkspeak on Facebook

22.11.13

Album review: Nation II Nation by
A Tribe Called Red

Published by Press Association

OUT NOW

VIDEO: A Tribe Called Red - NDN Stakes
feat. Sitting Bear



There can’t be many other boats in sight as this trio of Canadian DJs navigate the unnervingly still waters between Aboriginal music and commercial dance.

While nobody can question the tremendous soul and energy behind the Native American drums, chants and wails that are the beating heart of each track on A Tribe Called Red’s second album Nation II Nation, their fusion with contemporary clubland’s beats and bleeps somehow fails to engage beyond a metaphorical level.

It’s not terrible; it simply lacks the cohesion and purpose to be considered truly innovative – as disrespectful as it seems to judge on a musical basis something that so proudly expresses a cultural identity.

4/10

———

Click here for more Reviews

Click here to follow clarkspeak on Twitter

Click here to follow clarkspeak on Facebook

8.10.13

Theatre review: Blood and Chocolate @ York Theatre Royal (well, sort of)

Published by theartsdesk

VIDEO: Blood and Chocolate trailer



Never before has “All the world’s a stage, and all the men and women merely players” been a more fitting opening gambit. This sprawling wartime spectacle knew few bounds as it marched across York’s cobbled streets for an evening that produced watery eyes, open mouths and, admittedly, tired legs.

Treading the ever-narrowing waters between theatre and cinema was a travelling audience that followed the action through the city centre while listening on headphones. From the starting point in Exhibition Square, where young lad George (played by Luke Adamson) and his sweetheart Maisie (Edith Kirkwood) were introduced in a flickering projection on the neo-classical De Grey Rooms building, to the stirring finish at Clifford’s Tower – every minute beggared belief.

This innovative collaboration between York Theatre Royal, Pilot Theatre and Slung Low builds on the concept of Mapping the City – a smaller-scale theatrical experiment that took place around Hull as part of the Cultural Olympiad – and of course last year’s remarkable outdoor Mystery Plays in the York Museum Gardens.

Blood and Chocolate’s cast of 180, boosted by the 600-odd volunteers, was what it took to make Anna Gooch’s mobile set as epic as Olivier Award-winner Mike Kenny’s script, which examines the First World War’s transformative effects on some of York’s residents.


“There’s nowt to worry about,” says George, as, preparing to join the front line in 1914, he tries to reassure his mother (Lisa Howard) about his safety. With the conflict looking like it will continue past Christmas, the Lord Mayor of York decides to send a tin of Rowntree’s chocolate to every serving soldier from the city. “It smells jus’ like ‘ome,” George giddily tells another Tommy, opening his tasty treat while bombs explode on distant battlefields.

Maisie, meanwhile, has found work in the chocolate factory, and waits for George to return home. And waits. But when he does, shell-shock prevents him from functioning in society. “I imagined myself taking care of his bairns on a weekend,” says George’s mother between teary gasps. “We’ll have to think of something else to do with the rest of our lives.”

Couples and families huddled closer in those final moments – and not entirely because it was 9.30pm on an October night. The past-present juxtaposition on the city-wide stage made this tale of human love, loss, strength and weakness in times of war particularly heart-wrenching.

It was touching just seeing these wartime friends, lovers and dreamers lining the same streets as their bemused real-life counterparts who, standing by at cashpoints and outside pubs, might easily have been part of the lost generation themselves. (Although, on the night, they might have been forgiven for confusing some of the actors for Freshers in fancy dress.)

The marketing buzzwords “theatrical experience” are a thousand miles from summing up the sheer impact of Blood and Chocolate, which, quite simply, needs to be seen to be believed.

5/5

Blood and Chocolate continues until 20 October.
All performances are now sold out.

———

Click here for more Theatre

Click here to follow clarkspeak on Twitter

Click here to follow clarkspeak on Facebook

2.10.13

Album review: Repent Replenish Repeat by Dan le Sac Vs Scroobius Pip

Published by Press Association

OUT 7 OCTOBER

VIDEO: Dan le Sac Vs Scroobius Pip and Flux Pavilion - Gold Teeth (official music video)



Scroobius Pip is a poet capable of silencing arena crowds with his spellbinding rhymes – so why does he choose such unflattering musical wallpaper?

The poignant stories, tragic characters and blunt pieces of advice behind his brilliant spoken-word passages are damaged, if not completely massacred, by the half-baked electronic beats and bleeps of Essex buddy Dan le Sac on the duo’s third album Repent Replenish Repeat.

Terminal and Porter are the tracks performing the rescue act here, and it’s no coincidence that they’re the closest it gets to acapella.

New single Gold Teeth sums up the truly rotten brand of hip-hop that blights 70 per cent of the record – which serves as an ugly introduction to Pip’s beautiful prose, but nothing more.

6/10


———

Click here for more Reviews

Click here to follow clarkspeak on Twitter

Click here to follow clarkspeak on Facebook

11.9.13

Album review: MGMT by MGMT

Published by Press Association

OUT 17 SEPTEMBER

VIDEO: MGMT - Your Life Is a Lie (official music video)



On this evidence, psychedelic rock group MGMT have shunned anthemic synth-pop once and for all.

Drenching echoes and foggy vocals dominate their self-titled third offering, which – by turns euphoric, reflective, downbeat, and with unexpected pace changes in each song – follows the haphazard trail left by its predecessor Congratulations.

If this record was cut up and arranged in order of rhythm, at some point there would be a marked shift in tone, where the music stops sounding like the inside of a child’s head after three lemonades at his 5th birthday party, to being the musical equivalent of being drunk at a funeral.

The thing about musicians’ bands is that they demand your full attention. And yet the necessary time spent with this album, in its deliciously surreal world, is absolutely rewarded.

8/10


———

Click here for more Reviews

Click here to follow clarkspeak on Twitter

Click here to follow clarkspeak on Facebook

4.9.13

Album review: Tales of Us by Goldfrapp

Published by Press Association

OUT 9 SEPTEMBER

VIDEO: Goldfrapp - Drew (official music video)



Britain's favourite electronic music duo are back on track following a panicked retreat into their 80s synth-pop comfort zone on 2010’s disappointing Head First.

Sixth album Tales of Us is their most intimate release to date – a collection of intense ballads brought to life by acoustic riffs and cinematic strings, building on the folky charms of 2008’s Seventh Tree.

What the record lacks in anthemic power it possesses in astounding lyrical breadth, with each song an evocative character sketch – Ulla, Simone and new single Drew among the highlights.

And the softly whispered vocals for which the eponymous singer is latterly known almost make you forget her gyrating over theremins on stage a few years ago. Almost.

9/10


———

Click here for more Reviews

Click here to follow clarkspeak on Twitter

Click here to follow clarkspeak on Facebook

28.8.13

Album review: TEN by Toolroom Records

Published by Press Association

OUT NOW

VIDEO: Toolroom Ten: Launching Toolroom Records



Rags-to-riches house label Toolroom Records are celebrating their 10th birthday – and they’re not the only ones at the party.

A triple CD ‘greatest hits’ collection features some of co-founder Mark Knight’s best work, including his groundbreaking remixes of Florence and the Machine’s You’ve Got the Love and Laurent Garnier’s The Man with the Red Face, as well as an array of jaw-clenching beats and bleeps by the likes of Faithless, Todd Terry and Digitalism.

To some it’ll be just another summer dance music compilation, but make no mistake – Ten demonstrates that Toolroom’s hands are among the safest in the realm of commercial house.

7/10


———

Click here for more Reviews

Click here to follow clarkspeak on Twitter

Click here to follow clarkspeak on Facebook

31.7.13

Album review: Alan Partridge: Alpha Papa - The Official Movie Soundtrack

Published by Press Association

OUT 5 AUGUST

VIDEO: Alan Partridge: Alpha Papa - Official Trailer



The soundtrack to British comedy of the year Alpha Papa may well have been torrented from the North Norfolk Digital archives, so closely it resembles the questionable musical preferences of its hero Alan Partridge.

In other words, it’s packed with tracks you don’t want to be heard singing while you’ve got your headphones on.

Alongside big hits by Chicago, Bryan Ferry and the Human League are the iconic theme tunes from Ski Sunday and Black Beauty, as well as a host of obscure one-hit wonders and soft-rock novelties.

Composer Philip Glass, producer Calvin Harris and house DJ Jakob Liedholm provide exceptions to the rule, but make no mistake – this record is a shameless celebration of terrible dad-rock.

A tongue-in-cheek release, it was never quite going to hit the back of the net. It's more Longstanton Spice Museum than Jurassic Park.

6/10


———

Click here for more Reviews

Click here to follow clarkspeak on Twitter

Click here to follow clarkspeak on Facebook

3.7.13

Album review: Love Your Dum and Mad by Nadine Shah

Published by Press Association

OUT 22 JULY

VIDEO: Nadine Shah — Dreary Town



It’s difficult to know where Nadine Shah fits in.

As a strong-voiced female solo artist, she’ll probably be compared with Natasha Khan (for more reasons than one, as they are both of part-Pakistani heritage) but actually, many of her tracks evoke memories of Jeff Buckley – particularly recent single To Be a Young Man.

The singer's stirring vocals on Dreary Town undoubtedly illuminate her as an original talent, and under the guidance of producer and co-writer Ben Hillier – who has worked with Blur, the Horrors and Depeche Mode – Love Your Dum and Mad is a beautifully crafted artistic statement.

It may be that Shah is too experimental to make a mark on the mainstream at this early stage of her career, but this record should still be regarded as one of 2013’s most promising debuts.

8/10


———

Click here for more Reviews

Click here to follow clarkspeak on Twitter

Click here to follow clarkspeak on Facebook

19.6.13

Album review: Kveikur by Sigur Rós

Published by Press Association

OUT NOW

VIDEO: Sigur Rós — Brennisteinn



These Icelandic giants have already made much of the “aggressive” step they’ve taken on Kveikur, their seventh studio album and second in the space of a year.

Indeed, from the first track – and first single, Brennesteinn – ‘til the last, this is a whole lot more punchy, pounding, and ultimately percussional, than anything that came before.

But “aggressive” is a strong word. After all, we’re talking about Sigur Ros, whose music remains the most beautiful currently being made. They haven’t become Rammstein overnight. The echoing falsetto vocals, euphoric waves of synth, dainty jingles, tender strings and softly hummed harmonies still stop you dead in your tracks.

The upping of the pace on Kveikur nevertheless makes it slightly less accessible than the band’s previous offerings, but it’s still every bit as bedazzling as you’d hope – given time.

9/10


———

Click here for more Reviews

Click here to follow clarkspeak on Twitter

Click here to follow clarkspeak on Facebook

5.6.13

Album review: Dimly Lit by
Neils Children

Published by Press Association

OUT NOW

VIDEO: Neils Children — Dimly Lit music video



The late, great Ray Manzarek, whose hypnotic organ riffs made Jim Morrison seem less of an idiot in the Doors, would have probably loved this record by Neils Children.

Why? Because keys dictate the flow of the alternative rock quartet’s new album, which veers well away from their guitar-led melodies of old – towards a more electronic future.

Yet despite the prominence it offers to ebony and ivory, Dimly Lit is of many colours. There are shades of MGMT and Blonde Redhead, as enchanting drum loops, jazzy bassline flourishes and John Linger’s floating vocals fuel the psychedelic momentum.

The songs vary in pace, with the quicker ones – including the title track – appended by gorgeous ambient samples.

Mature but goosebump-inducingly beautiful, this little gem might just turn out to be the band’s masterpiece.

9/10


———

Click here for more Reviews

Click here to follow clarkspeak on Twitter

Click here to follow clarkspeak on Facebook

8.5.13

25 Great Lines from Infinite Jest

Published by Sabotage Times

David Foster Wallace's 1996 novel Infinite Jest is the most challenging book I've ever read. Its plot is complex – touching on subjects such as sports culture, substance rehabilitation centres, depression, child abuse, family relationships, film theory, Quebec separatism and popular entertainment, and shifting between the experiences of a few dozen characters across different periods of time. It is printed in very fine text, which runs right into the far corners of its 1,079 pages, and has footnotes – which have footnotes.

Yet it glows with the most beautiful sentences and paragraphs.

Infinite Jest (the clue's in the title) took me the best part of a year to get through – one-third the length of time it apparently took its author to write. Here are its highlights, which you can enjoy in just a few minutes.





1

If, by the virtue of charity of the circumstance of desperation, you ever chance to spend a little time around a Substance-recovery halfway facility like Enfield MA’s state-funded Ennet House, you will acquire many exotic new facts. You will find out…

That chronic alcoholics’ hearts are – for reasons no M.D. has been able to explain – swollen to nearly twice the size of civilians’ human hearts, and they never again return to normal size. That there’s a certain type of person who carries a picture of their therapist in their wallet. That black and Hispanic people can be as big or bigger racists than white people, and then can get even more hostile and unpleasant when this realization seems to surprise you. That some people really do look like rodents. That certain persons simply will not like you no matter what you do. That over 50% of persons with a Substance addiction suffer from some other recognized form of psychiatric disorder, too. That purposeful sleep-deprivation can also be an abusable escape. That you do not have to like a person in order to learn from him/her/it. That loneliness is not a function of solitude. That it is possible to get so angry you really do see everything red. That evil people never believe they are evil, but rather that everyone else is evil. That it is statistically easier for low-IQ people to kick an addiction than it is for high-IQ people. That sometimes human beings have to just sit in one place and, like, hurt. That there is such a thing as raw, unalloyed, agendaless kindness. That cats will in fact get violent diarrhoea if you feed them milk, contrary to the popular image of cats and milk. That it is simply more pleasant to be happy than to be pissed off. That pretty much everybody masturbates. That different people have radically different ideas of basic personal hygiene. That, perversely, it is often more fun to want something than to have it. That having sex with someone you do not care for feels lonelier than not having sex in the first place, afterward. That God might regard the issue of whether you believe there’s a God or not as fairly low on his/her/its list of things if s/he/it’s interested in re you.

- pp. 200–205




2

An alcohol hangover was definitely no frolic in the psychic glade, all thirsty and sick and your eyes bulging and receding with your pulse, but after a night of involved hallucinogens Hal said the dawn seemed to confer on his psyche a kind of pale sweet aura, a luminescence.


- p. 218




3

Though Schacht buys quarterly urine like the rest of them, it seems to Pemulis that Schacht ingests the occasional chemical that way grownups who sometimes forget to finish their cocktails drink liquor: to make a tense but fundamentally OK interior life interestingly different but no more.


- p. 267




4

Schacht was just looping the d in mail fraud when Jim Troeltsch’s pseudo-radio program, backed by its eustacian-crumpling operatic soundtrack, came over 112 West House’s E.T.A.-intercom speaker up over the classroom clock.


- p. 308




5

Pemulis’s face is the face of a man who will someday need blood pressure medication.


- p. 333




6

F.F. had taken Gately out for eye-rattling amounts of coffee, after the incident with the table and the head. He’d listened with the slight boredom of detached Identification to Gately’s complaint that there was no way something he didn’t understand enough to even start to believe in was seriously going to be interested in helping save his ass, even if He/She/It did in some sense exist.


- p. 468







7

… Lucien finally dies, rather a while after he’s quit shuddering like a clubbed muskie and seemed to them to die, as he finally sheds his body’s suit, Lucien finds his gut and throat again and newly whole, clean and unimpeded, and is free, catapulted home over fans and the Convexity’s glass palisades at desperate speeds, soaring north, sounding a bell-clear and nearly maternal alarmed call-to-arms in all the world’s well-known tongues.


- p. 488




8

So then like strategically, at the Brookline Young People’s Mtg. over on Beacon near the Newton line on a Wednesday, at the raffle-break, at 2109h., Lenz moistens his half-gasper and puts it carefully back in the pack and yawns and stretches and does a quick pulse-check and gets up and saunters casually into the Handicapped head with the lockable door and the big sort of crib built around the shitter itself for crippled lowering onto the toilet and does like maybe two, maybe three generous lines of Bing off the top of the toilet-tank and wipes the tank-top off both before and after with wet paper towels, ironically rolling up the same crisp buck he’d brought for the meeting’s collection and utilizing it and cleaning it thoroughly with his finger and rubbing his gums with the finger and then putting his head way back in the mirror to check the kidney-shaped nostrils of his fine aqua-line nose for clinging evidence in the trim hair up there and tasting the bitter drip in the back of his frozen throat and taking the clean rolled buck and back-rolling it and smoothing it out and hammering it with his fist on the lip of the sink and folding it neatly into half of half its original Treasury Dept. size so that all evidence anybody ever even had a passing thought of rolling the buck into a hard tight tube is, like anileated.


- pp. 555–556




9

Mr. Green howls with bitterly professional practical-gag mirth and clunks over and slaps little Bruce on the back so hard that Brucie expels a lime Gummi Bear he’d been eating – this too a visual memory, contextless and creepy – which arcs across the living room and lands in the fireplace’s fire with a little green siss of flame.


- p. 580





10

… Green had gotten so uncomfortably fascinated and repelled and paralyzed by the Polynesian tunes that he’d set up a cabana-chair right by the kegs and had sat there overworking the pump on the kegs and downing one plastic cup after another of beer-foam until he got so blind drunk his sphincter had failed and he’d not only pissed but also actually shit his pants, for only the second time ever, and the first public time ever, and was mortified with complexly layered shame, and had to ease very gingerly into the nearest-by head and remove his pants and wipe himself off like a fucking baby, having the shut one eye to make sure which him he saw was him …


- p. 584




11

Stice, oblivious, bites into his sandwich like it’s the wrist of an assailant. The only sound at the table for the first few minutes is of forkwork and mastication and the slight gasping sounds of people trying to breathe while they eat. You rarely speak for the first few minutes here, eating. Supper is deadly-serious. Some of the kids even start on their trays while still in line at the milk dispenser. Now Coyle bites in. Wayne had made his entrée into a sandwich and lowers and bites. Keith Freer’s eyes are half closed as his jaw muscles bulge and slacken. Some of the players’ inclined heads are hard to see over the height of their food.


- p. 627




12

The milk dispenser stands alone against the west wall, a big huge 24-liter three-bagger, the milk inserted in ovaloid mammarial bags into its refrigerated cabinet of brushed steel, with three receptacles for tumblers and three levers for controlled dispensing.


- p. 631




13

One kind is low-grade and sometimes gets called anhedonia or simple melancholy. It’s a kind of spiritual torpor in which one loses the ability to feel pleasure or attachment to things formerly important. The avid bowler drops out of his league and stays home at night staring dully at kick-boxing cartridges. The gourmand is off his feed. The sensualist finds his beloved Unit all of a sudden to be so much feelingless gristle, just hanging there. The devoted wife and mother finds the thought of her family about as moving, all of a sudden, as a theorem of Euclid. It’s a kind of emotional novocaine, this form of depression, and while it’s not overtly painful its deadness is disconcerting and … well, depressing. Kate Gompert’s always thought of this anhedonic state as a kind of radical abstracting of everything, a hollowing out of stuff that used to have affective content. Terms the undepressed toss around and take for granted as full and fleshy – happiness, joie de vivre, preference, love – are stripped of their skeletons and reduced to abstract ideas. They have, as it were, denotation but not connotation. The anhedonic can still speak about happiness and meaning et al., but she has become incapable of feeling anything in them, of understanding anything about them, or of believing them to exist as anything more than concepts. Everything becomes an outline of the thing. Objects become schemata. The world becomes a map of the world.


- pp. 692–693




14

The vaporizer chugs and seethes and makes the room’s windows weep as Jim Troeltsch inserts a pro-wrestling cartridge in the little TP’s viewer and dons his tackiest sportscoat and wet-combs his hair down smooth so it looks toupeeish and settles back on his bunk, surrounded by Seldane-bottles and two-ply facial tissue, preparing the call the action.


- p. 700







15

Some woman just outside the door near the demi-maison’s front door, she laughed in the manner of an automatic weapon. Wet sounds were audible from beneath the rear leg of the dog with private organs, of which the head hid beneath the raised leg.


- p. 748




16

… It wasn’t until Madame Psychosis got to college and gradually acquired some psychic distance and matter for emotional comparison that she even began to see how creepy her reagent-Daddy’s regression had been, and not until a certain major-sports-star son’s autograph on a punctured football inspired more e-mailed suspicion and sarcasm than gratitude from home in KY that she began even to suspect that her lack of social life throughout puberty might have had as much to do with her Daddy’s intrusive discouragement as with her actaeonizing pubescent charms.


- p. 793




17

The quiet has a kind of menace. The whole cubular building seems to Hal to hold the tensed menace of a living thing that’s chosen to hold itself still.


- p. 798




18

Tears and other fluids flow and roll. The warm round leader Harv’s own eyes are a moist glassy blue. The CD scanner’s cello is now into some sort of semi-jazzy pizzicato stuff that seems oxymoronic against the room’s mood.


- p. 804





19

As Death’s explanation of Death goes on Gately understands really important vague stuff more and more, but the more he understands the sadder he gets, and the sadder he gets the more unfocused and wobbly becomes his vision of the Death’s Joelle siting nude on the pink plastic ring, until near the end it’s as if he’s seeing her through a kind of cloud of light, a milky filter that’s the same as the wobbly blur through which a baby sees a parental face bending over its crib, and he begins to cry in a way that hurts his chest, and asks Death to set him free and be his mother, and Joelle either shakes or nods her lovely unfocused head and says: Wait.


- pp. 850–851





20

He made whoever he got high with feel lonely. He got real, like, interior.


- p. 893





21

… It’s obvious the guy pathetically thinks this kind of limp condescending shit will impress her. Gately’s got to admit he would have tried to impress her, too, though, if she hadn’t met him by holding a kidney-shaped pan under his working anus.


- p. 921





22

… A blue forked bolt of pain from his sudden striking-out sends him back against his hot pillow with an arched spine and a tube-impeded scream, his eyes rolling back into the dove-colored light of whatever isn’t quite sleep.


- pp. 933–934





23

The intercom calmly dinged. He heard conversing people in the hall passing the open door and stopping for a second to look in, but still conversing. It occurred to him if he died everybody would still exist and go home and eat and X their wife and go to sleep.


- p. 973





24

The umpires on the U.S. junior tour tend to be retired high-school principals whose only renumeration is the chance to exercise again some slight authority over the young.


- p. 1030 (n. #158)





25

Sometimes at odd little times of day the E.T.A. males’ locker room downstairs in Comm.-Ad. is empty, and you can go in there and sort of moon around and listen to the showers drip and the drains gurgle. You can feel the odd stunned quality customarily crowded places have at empty times.


- p. 1066 (n. #324)





If getting through that felt like a Herculean effort, then try reading the whole thing...



24.4.13

Album review: Times and Places by
Andy Cato

Published by Press Association

RELEASED 29 APRIL

VIDEO: Andy Cato — Times and Places mix



If you need reminding of the merits of physical releases over digital ones, listen up. The new solo offering by Andy Cato – one half of chillout pioneers Groove Armada – is bound like a hardback book, containing extensive sleevenotes and artwork.

The real reward, though, is in the listening – 60 minutes of balearic downtempo bliss, with elements of disco and house, drawn from Ibiza’s calmer shores.

If the record sounds fragmented, then that’s because it inherently is. Its 18 tracks are the fruits of two decades’ labour, beginning their journeys to Times and Places from dusty cassettes, eight-track tapes and floppy disks.

This album warrants its place in music history, and on the shelf of any true fan of the dance genre.


9/10


BEST PLAYED at the end of a party


———

Click here for more Reviews

Click here to follow clarkspeak on Twitter

Click here to follow clarkspeak on Facebook

17.4.13

Album review: Rituals by Team Ghost

Published by Press Association

RELEASED 18 MARCH

VIDEO: Team Ghost — Curtains (official video)



Co-founded by Nicolas Fromageau (formerly of shoegaze outfit M83) in 2009, French five-piece Team Ghost straddle the realms of electronic, ambient and guitar music in the manner of an inexperienced fisherman casting his net wide.

But it works. The thrashy rawness of their debut album Rituals evokes My Bloody Valentine’s glorious mess, tempered by – and sometimes embellished with – dark shades of synth and distortion a la Mogwai.

This opulent, multi-layered sound redeems the band’s lyrical shortcomings, which prevent Rituals being the complete package it would otherwise be.

France may not be a bastion of alternative rock, but a few notable practitioners of the genre exist among our Gallic neighbours – and this lot are worth a punt.


8/10


———

Click here for more Reviews

Click here to follow clarkspeak on Twitter

Click here to follow clarkspeak on Facebook