2015 In Review: Films at Will Not Fade

I go to the movies probably more than I can afford to, but I seldom review them because nobody wants to read a review written about a movie after it has already been out for a week. I’ll try to sum up my opinion of some of the movies that I’ve watched this year.

Top 5

Deat hgasm was by far the best film of the
year. A perfect blend of action, horror and comedy with soundtrack that referenced metal from local and international bands. I also saw Turbo Kid (also produced by Ant Timpson) during the film festival and it was similar in many ways. Hilarious, gratuitous, and with a kickass 80’s sounding soundtrack. It makes me proud that despite the increasing influence of Hollywood over our local industry, New Zealand can still churn out some brilliant films.

Mad Max: Fury Road is the obvious runner up for film of the year. Full on action the whole way through, without most of the annoying clichés and tropes that you’d associate with a gasoline fueled blockbuster like this.

And it may be because I only saw it a few days ago, butStar Wars: The Force Awakens gets my vote for third place. I can’t deny being a Star Wars nerd, and I’m glad the new entry does justice to the series. Just as the prequel trilogy mirrored the originals, the new episode mirrors earlier films in a way that feels familiar, whilst still introducing new characters and possibilities. JJ Abrams was a smart choice for director, having revived the Star Trek franchise in recent years.

My other faves were The Martian and Everest. I was worried that The Martian would be a drawn out snoozefest like Interstellar (both films stared Matt Damon and were set in space), but The Martian held up as an entertaining and clever sci-fi. I was also pleased to see that Everest lived up to my expectations. I had met Jan Arnold, the wife of lead character Rob Hall, in highschool. Their tragic story was brought to life tastefully, while still retaining essential elements of good cinema.

Children’s films

As a teacher, keeping up with the latest children’s filmsis part of my job. Surprisingly though, I can only think of two that came out this year. Inside Out was a great exploration into human emotion, but was perhaps too mature for its child audience (not that this prevented the children who saw it enjoying themselves). Minions was annoying, and it is a shame that Despicable Me has stooped to such levels. Children loved it though, so it doesn’t matter what I think of it.

Horror

I don’t watch as many horrors as I used to, but I still enjoy them. Deathgasm was the best I saw this year, as I stated above. It Follows was a horror that garnered universal critical acclaim. I have mixed feelings about it. I do feel that it was over-rated, but the weird premise did have me thinking about it for days afterwards. I won’t ruin the plot, you’ll just have to find out for yourself if it lived up to the hype.

Cooties was a deliciously fun low-grade horror boasting big name actors (Elijah Wood, Alison Pill, Rainn Wilson). Contaminated chicken nuggets turn children at a primary school into prepubescent zombies, with the teachers resorting to whatever extreme measures they deem necessary for survival.

Music

I was pretty excited when I first heard about Straight Outta Compton, the NWA biopic. I enjoyed watching it, but it was so long that it started to lose impact as it progressed. There has been lots of litigation and controversy surrounding the film, with certain parties claiming that their role has been downplayed (MC Ren), or depicted in defamatory light (Suge Knight – Death Row Records co-founder, and Jerry Heller – former NWA manager). It will be interesting to see how follow up films pan out – a biopic focusing on the following wave of rappers like Snoop Dogg and Tupac is currently in the works.

One heartwarming documentary I saw was called Landfill Harmonic, about a village in Paraguay where children form an orchestra in which they play instruments made from rubbish found in the landfill that many of them live on. It’s one of those underdog tales that show how people can rise from poverty to achieve something great.

The big films.

Star Wars is looking to break all kinds of box office records at the moment, but
it seems that the same could have been said by every major blockbuster that came out this year. Many films were guaranteed to sell just because they were part of a successful series. It helps that Star Wars is actually worth seeing, but let’s be honest, we were all going to go see it regardless. Take the following examples:

Spectre, the latest James Bond film (with the same plot as Mission Impossible: Rouge Nation), was ok, but not great. But you have to see it, simply because it’s Jame Bond. Same goes with any Marvel film. People watch them, regardless of how good they are. I thought that the second Avengers film was better than the first, but it was still forgettable. Jurassic World was an uninspired modern rehash of the original. Some up-to-date CGI wasn’t enough to disguise unlikable actors presenting the same plot as the earlier films, but despite this, dinosaurs still had pulling power to make Jurassic World millions of dollars.

Furious 7 , Terminator: Genysis and Hunger Games: Mockingjay pt 2 were some of the few major blockbusters from established series that I’d consider recommending (other than Star Wars and Mad Max, that I’ve already mentioned).

There were other films that I saw that aren’t worth mentioning, and likely many that I missed that are. What were your top movies of 2015? What ones did I miss that I really need to see? Or which ones do you think I need to reevaluate?

Joseph James

Live Review: AC/DC at Westpac Stadium, Wellington

AC/DC Rock or Bust World Tour

w/ Villainy and Shihad

Westpac Stadium, Wellington

Saturday 12 December

Shihad

Shihad have played the same set the past three times I’ve seen them play (Riwaka, and twice at Homegrown), drawing extensively from their latest album, FVEY. It was refreshing to see them play a more varied set this time, playing the more well known hits from throughout their catalogue. Although it was only half an hour long, there was no filler, and the crowd welcomed their boys home accordingly.

I remember on one drunken night during my teenage years I bumped into Shihad’s Jon Toogood in Courtney Place and began fangirling because he fronted one of my favourite bands. I remember asking what it was like opening for bands like Faith No More and AC/DC, with Toogood gushing about how it was such a surreal experience.

From how he was carrying on tonight, nothing has changed. He and drummer Tom Larkin had been suspended back in school for writing “AC/DC Rules!”graffiti in the school bathroom. And over two decades later, he still stands by that statement.

And the statement appeared to ring true from the moment the Aussie rock veterans came onstage. There was a cool animation on the screens showing astronauts landing on the moon, before an explosion sends a meteor through space. The crashing of the meteor and some pyrotechnics cued the start of the set, with the rockers kicking things off by playing title track “Rock or Bust”.

Technical Issues

Unfortunately things did go bust. The sound was pretty bad, and they actually stopped altogether to work out the difficulties after the second song. It wasn’t explained exactly what was happening, but we were left to wait in the cold wind and rain for over half an hour. Presumably some rain had affected the electrics? Frontman Brian Johnson explained that they didn’t want to proceed without things being perfect, but the wait was excessive. People even started booing.

https://www.youtube.com/watch?v=1XJkjVMk_oE

Back in Black, back on track

Finally, after a very long and wet wait, the band came back onstage to play their set. It’s hard to tell if the set was shortened due to the delays, but they covered nearly all the big hits that I expected them to play.

The show was as grand as you’d hope. The large devil-horned stage had neon scaffolding, screens on either side, and a wall of Marshall amps set up behind the band. Although they were used sparingly, the pyrotechnics added a great explosive touch, complemented by the many lights on and around the stage. Even the crowd supplied lights, because in the swaying sea of drunken bogans were thousands of flashing red devil horn headbands. The stage props also added to the fun. First a large bell was lowered for “Hells Bells”. Next we had a large inflatable Rosie, suggestively dressed and shaking to her song. But the best was the many cannons rolled out for the encore of “For Those About To Rock”, firing when Johnson ordered for a salute.

AC/DC is the band that has released the same album twenty something times, so you know what to expect. We had Angus hopping around in a schoolboy uniform, and Johnson screeching into the mic. The drums were basic but effective, and as much focus was placed on the showmanship as on the musicianship. Cannons were fired and solos were played. Fireworks and pyrotechnics added to the fun, and at the end of the day, despite the technical delays, we got the extravaganza that we’d come for.

Joseph James

ALBUM REVIEW: RED HANDS BLACK FEET – WE MUST FALL FOREVER IF WE SURVIVE

Post-rock quartet Red Hands Black Feet from Boise, ID

Is it about the journey or the destination? If I had to count on my fingers how many times I have had this age old debate I would need another set of hands. Whether between bandmates while stranded with an overheated van in the middle of Washington or with friends at a casual get together, this argument always tends to find it’s way back into the discussion. I’ve personally decided that it’s relative. And yes, my conclusion is technically a destination that required a journey through thought which once again begs the question, which was more important?

Thankfully, Boise’s Red Hands Black Feet has written and released a new album that is all about the journey. We Must Fall Forever If We Survive is the band’s second release and while the album is entirely instrumental, the underlying concept based around a space traveler’s struggle to stay adrift or return home adds a dimension that requires exploration. Like well constructed chapter titles, each song title provides a starting point for listeners to delve into their own imagination and explore Red Hands Black Feet’s musical journey.

“I Leave You And The Earth Behind” kicks of the record and moves from quiet, well thought out ambience into heavily fuzzed out, rolling ambience that masterfully prepares you for the rest of the album. After coming to understand the concept behind this album, one can’t help but begin to explore their own imagination as soft and subtle guitar work drifts passed you. The song continues to build very patiently before launching into an all out overdriven blitz that resolves the song beautifully.

“If I Let The Void In…” rolls in quickly with up tempo toms and aggressive guitars that eventually drop off into a bass driven, clean guitar groove. Steady, systematic drumming carries this song until the tempo begins to wane and break into a more experimental section. “If I Let The Void In…” has a very contemplative, questioning vibe that fits it’s title very well.

Red Hands Black Feet quickly answer their own question with the third song on their album, “…It Will Set Me Free“. Beginning with repetitive clean guitars supported by swells and cymbal rolls, the answer is revealed as a very solemn realization. Maintaining patience and precision, Red Hands Black Feet show their song writing strength as they ebb and flow through emotionally driven pushes and pulls.

“It Is Lonely In The Universe” is the longest track on the album and is therefore offered the time and space to explore. Once again staying true to their song titles, Red Hands Black Feet beautifully craft a soundtrack to aid your imagination in pondering the vastness of space. Dynamics are explored to their fullest from gentle clean sections to soaring heavy resolutions before the song finally ends with the heart-like beat of the kick drum.

Red Hands Black Feet conclude their sophomore album with “Here We Make Our Stand“. Entering with driven guitars and heavy, half-time drumming, the song screams defiance and strength. Like most of the tracks on this album, the finale moves in and out of tonal spaces to add great dynamics to the overall recording. The expertise and obvious care that was put into writing this album should be evident to even the casual listener.

Red Hands Black Feet have been working through their musical journey for a handful of years now and have truly put together a fantastic album in We Must Fall Forever If We Survive. I have a deep appreciation for bands who choose to tell a story with their craft, both through their music and the way in which they stitch their songs together to form a congruent and thoughtful album. Sometimes music is a great way to turn off, but there are other times where turning your imagination on and exploring the musical journey can be utterly fulfilling.

C.J. Blessum

Live Review: Ash Grunwald at Meow, Wellington

Ash Grunwald

Meow, Wellington

Saturday 28 December 2015

Blues rocker Ash Grunwald started the night off with a trifecta of songs about surfing. All three were ridiculously funny, especially “Dolphin Song” – based on a true story of a pod of dolphins rescuing him from a shark. The song ended with Grunwald making absurd squeaky dolphin noises into the microphone over the top of his guitar solo which lightened up the mood of the venue.

The first song had been relatively calm, reflecting the dinner table environment that Meow had put on. But a few songs in Grunwald couldn’t help but let loose with some roaring blues numbers. Out came the resonator guitar and the slide, and there was little holding back from then on.

It was a joy to watch him wailing and stomping and letting rip on the guitar. The tunes were infectious and before long most of the people in the bar were on their feet and moving. Grunwald’s didn’t take himself too seriously, cracking jokes and making silly impersonations in the middle of songs. He was clearly having fun on stage, and projected his humour onto his audience.

I expected a small setup from a man playing a solo show, but in reality it looked like he was piloting the Starship Enterprise. Grunwald was perched atop a red stool, with an impressively large array of effects pedal to his left, two microphones in front of him, and something called a foot drum at his feet. This foot drum was ingenious. It somehow housed cymbals, a snare, egg shakers, a tambourine and a bass drum – all playable through the use of pedals. It offered more dynamics than a standard stompbox and really enhanced the overall sound. The two different microphones also helped to mix up the sound, with one having plenty of reverb and effects going through it.

Grunwald played a range of songs from his repertoire, old and new. There was no prepared setlist, he just picked songs which suited the mood. He took requests from the audience, and also played a variety of covers drawing from blues legends such as Jimi Hendrix, Son House and Howling Wolf, as well as Van Morrison and Gnarls Barkley.

Two highlights included acapella covers of “Grinnin In Your Face” and “John the Revelator”. Grunwald ditched his guitar and bellowed the songs with his powerful voice, clapping to keep the beat. For the latter song he ventured into the audience and encouraged everyone to clap and wail along.

It was a fun time. Grunwald was at home on the stage, fueled by espresso martinis and improvising as he went. He announced his last song after having played for an hour and a half, only to have to extend his set at the request of his audience – not that he seemed to mind. Some audience members thought highly enough to each tip him $20 for his performance, despite his protests that they should at least take a CD in exchange for their money. And is there a better indicator of great show than people insistent on paying more than the price of admission to attend?

Joseph James

You can also read my interview with Ash Grunwald from a few weeks ago here.

LIVE REVIEW: THE MENZINGERS AND MEWITHOUTYOU AT NEUMOS, SEATTLE

The Menzingers (Scranton, PA, USA)
mewithoutYou (Philadelphia, PA, USA)
Pianos Become The Teeth (Baltimore, MD, USA)
Restorations (Philadelphia, PA, USA)

Neumos, Seattle, WA, USA
Saturday November 14th, 2015

It had been a very long time since my last live show experience. I’ve been to plenty of local shows over the past few years but I’m not even sure I can recall the last time I attended a live show where the sound check happened before the doors opened, people were actually at the venue on time, and the first band actually took the stage precisely at the time stated on the flier. I’m sure very few paid attention to these details. But for me, being reminded how professional bands operate at professionally run venues, like Neumos, was a breath of fresh air. Obviously, I need to get out more.

Typically, the reason you attend a show and subsequently write a live review is to highlight the headliner, or in this case, the headliners. And while The Menzingers and mewithoutYou put on a great show, I didn’t necessarily find anything too remarkable about their sets. Honestly, this was my first experience with The Menzingers so, to be fair, I can’t really say much about them as I know very little about them (shame on me, I know). As I like to say, “they were fine”, meaning they did their thing and people enjoyed it and I appreciated what they did. Enough said.

mewithoutYou on Audiotree Live

mewithoutYou has always been one of my favorite bands. They are fantastic at writing catchy music that is capable of hitting the heart strings of whatever emotion you’re in the mood to meddle with. Ever since [A->B] Life came out in 2002 I’ve been quite comfortable keeping their music in my arsenal. Frontman Aaron Weiss has a unique lyrical style that absolutely works for me. While others may struggle digesting his lyrics, I am continually impressed with anyone that can work “pumpernickel bread” into their writing.

Restorations opened the night and did a great job setting the vibe for the evening. I hadn’t really heard much from these guys prior to the show but they are definitely headed in the right direction. Their stage presence was enjoyable to watch and kept a newbie, like me, entranced for their full set. Like Restorations, mewithoutYou and The Menzingers held the attention of the venue for the entirety of their sets and I would definitely see them again.

This brings me to Pianos Become The Teeth. While I had every intention of writing this review on mewithoutYou, it was Pianos Become The Teeth that absolutely stole the show for me. And it was absolutely for reasons I did not expect.

Pianos Become The Teeth live @ The Underworld, London

Like most bands I come to discover, Pianos Become The Teeth have been around for a while. They formed in 2006 and have honed their sound over the past nine years moving from an aggressive, post-hardcore band to masters of gloomy, emotionally packed, post-rock. For those of you who have yet to indulge in their newest record, Keep You, I highly recommend you do so. If you need an enticing comparison, this album is very reminiscent of Oceana’s Clean Head from 2010.

While the other three bands put on visually stimulating performances, Pianos Become The Teeth struck me in a different way. I was lucky enough to get to the venue early enough to grab one of the few spots on the balcony that gave me a great view of both the band and the crowd. Pianos Become The Teeth were steady, energetic at times, but the way they moved the crowd was absolutely stunning. The movement I witnessed was not physical by any means. In fact, the crowd was absolutely motionless, aside from a bit of head-banging here and there. Being fairly in tune with my mushy side, the emotional grip that pushed and pulled throughout the crowd was mesmerizing.

I think I spent most of my time watching one specific kid in the crowd. By appearance alone, he was completely out of place. If I would have seen him walking on the street prior to the show there was no way I would have thought he and I were headed to the same destination. But this kid knew absolutely every word to absolutely every song Pianos Become The Teeth played.

Pianos Become The Teeth from the balcony @ Neumos

For those who are familiar with frontman Kyle Durfey’s lyrics, you know they are very sad and tend to center around the loss of his father in 2010. Like many lyricists, Durfey’s lyrics are dark and contemplative. But unlike some, Durfey is surrounded by an exceptional band that is able to add deep dimension to his words. The coupling of his lyrics with the desolate tones of his band’s music is nearly heartbreaking. To me, it’s the cohesion of these two elements that make my eyes well up with tears and send chills down my arms. I’m sure we all experience these phenomenons in our own way, but experiencing Pianos Become The Teeth live was the pinnacle of emotional overflow for me.

The kid three rows back, belting Durfey’s lyrics will forever be seared into my musical memories. It was a profoundly powerful moment for me. It left me wondering how this out of place kid related to Durfey’s lyrics. What was it that moved him by this band. Being witness to the connection between the writer and the listener added a totally new experience for me. Usually you only get to see the back of everyone’s head at a show, but my balcony vantage point let me see things in a new light. It was truly an honor for me to be in the same place at the same time with five guys in a band, the kid in the third row, a few friends, and a room full of strangers.

C.J. Blessum