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February 2008

Friday, 29 February 2008

MP3 of the Week: MONKEY!

Thanks to the joys of a) downloading more MP3s from assorted blogs than I get to hear on a daily basis and b) having an iPod Shuffle that I autofill every morning, there's times I'll be walking to or from work and suddenly a song plays that I've never heard before, a song so good I can't wait to get home and find out who the deuce it was and how it had escaped my notice for so long. Such a happy burst of randomness happened yesterday evening as I trudged back from work and the Shuffle popped on a lovely sparse track, all female vocals and guitar, sweet but not kooky, wistful lyrics about Sheffield (one of the Lass's old stomping grounds) and an all-round sense of gorgeousness. Once I got home (having played it three times back-to-back on the way) I found out it was by a Sheffield band, Monkey Swallows The Universe, and most likely I'd downloaded it from Indie MP3 back in January 2006 - and then it had sat in iTunes for over two years before I actually got to listen to it! This is the kind of thing that makes me worry about all the potentially wonderful music that could still be sitting on the computer waiting to be heard - but who can worry when a song like this is playing? No-one! So go ahead, read about the band, download the song below and do try to listen to it before 2010. You'll be glad you did.

Sheffield Shanty (MP3, 3.3MB)

Lars Von Trier's Godzilla

CLOVERFIELD

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Anyone who shimmied by Falling Sky back in July last year would've read me yelping with typically over-enthusiastic excitement about a trailer for an as-then-unnamed film that had stuff going boom, the Statue of Liberty's noggin bowling down a Manhattan street and not much more. A few months later I was equally tickled by the full-length trailer. What I saw reminded me of the first hour of Spielberg's War of the Worlds, that sense of mass panic and chaos, little people and giant forces. Initial hopes that the monstrousness might be connected to HP Lovecraft's mighty Cthluhu turned out to be utterly unfounded, but even so I was really looking forward to seeing this.

I'm a sucker for all things chaotic, destructive and apocalyptic, as long as they're fictional (by contrast, I like reality to be calm, quiet and full of gentle pleasantness), and I'm pleased to say that Cloverfield delivered all that in spades. Granted, there's about fifteen minutes of increasingly ho-hum hipster-partyness at the beginning that does a satisfactory job of a) introducing the characters and b) ratcheting up the tension as you wonder just when things are going to kick off. And then they do - hurray! - with that whopping explosion seen in the trailer. Once the camera hits the ground running, so does the film and it barely lets up for the remaining hour.

The seemingly-amateurish camerawork belies what must have been an awful amount of post-production work - Cloverfield could almost be Dogme 95, if you didn't know better, seemingly relying on available light and locations. Obviously it does nothing of the sort, but the fact that it does a convincing job of looking like the found footage it purports to be, given the images and sounds it contains, is a technical marvel. There's an almost overwhelming sense of panic and delirious confusion at certain points in this film, reminiscent of the bleakest moments in last year's 28 Weeks Later. The monster, only briefly seen for most of the film, is a fascinating piece of design and movement (watch for the almost bat-like-motion it makes when seen from the helicopter) and it brings along some vile little predator beasties that make for a particularly taut scene underground. Some may be frustrated by the lack of any explanation for where the creature has come from, but I got a thrill from being as in the dark as the characters in the film, making it that bit easier to empathise with their confusion and terror. There's plenty of clues on the backstory out there in internetland, and it's the kind of thing that DVD extras are made for, but it's refreshing to not have everything served up to you in clunky exposition for once.

Ultimately, Cloverfield does exactly what it sets out to do with efficiency and startling ruthlessness. It's not great cinema as such, the experience of watching it taking priority over story or character - in a sense, it's more like a relentless thrill ride and cinematic experiment rolled into one. This isn't a criticism in any way though - the result is a genuinely effective monster movie that depicts a clichéd story from a fresh perspective, throwing the audience out of the usual comfort zone and deep into the action. What's more, it stays true to the confused dread that pervades it, with as perfectly nihilistic an ending as I could've hoped for (and I found the last few words surprisingly moving, but maybe I'm just an old softie these days). With the aforementioned War of the Worlds I was thrilled and stunned by the blistering first half, only to have it damn near ruined by the sort of ridiculous, cheesy super-happy ending that can mar so many Hollywood films. Cloverfield delivers on the promise of War of the Worlds and never lets up, never relents, never disappoints - and considering all those hopes I had for it, that's some achievement. More of this sort of thing!

Thursday, 28 February 2008

The Final Cut

I've been planning a post with about five film reviews in for the last few weeks, but since it takes me about as long to write one of these bally things as it does to watch the films themselves, they can just go up one at a time and stretch out a bit. First up, Edward Scissorhands gone wrong.

SWEENEY TODD: THE DEMON BARBER OF FLEET STREET

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I've been a Tim Burton freak ever since he rocked my 12-year-old world with Batman back in 1989 (let's just gloss over how bogglingly long ago that is) and aside from a couple of patchy films (the surprisingly bland Sleepy Hollow, the rather pointless Planet of the Apes) the majority of his work has been fantastic, in every sense of the word. Plus he made Edward Scissorhands, indisputably the Greatest Film Ever Made (according to a survey of one, me). The hints of horror in his films have always been enjoyable but I've always wanted to see what would happen if he let that darkness loose upon a whole film - oh, I would wistfully dream, for an 18-rated Burton film. And now we've got one. Hooray! But is it any cop?

DUH. Of course it is. Even by Burton's usual standards, it's a stunning film to look at, depicting a London deep in shadows, squalor and grime, barely lit by feeble gaslights. Much of the film is almost monochromatic, the protagonists pale and drawn, any colours faded and stained - except for the bright, vivid spurts of deep red blood and the scarlet gore of ripped windpipes that appear with increasing frequency. The story - come now, you know the story - allows Burton and his cast to plumb the depths of nastiness, only letting the briefest flashes of light or humour to shine before plunging elbow-deep back into the gory gloom. The throat-cuts, when they come, are explicit, nasty and tangible, not much better than the one at the beginning of Cronenberg's Eastern Promises, and when the bodies fall to the cellar, there's something teeth-grindingly horrible about the heads slamming into the ground. The film pulls no punches with the increasing horror of the story, and thank goodness for that.

It's a dream cast too. Burton and Johnny Depp go together like a gothic Roobarb and Custard, while Helena Bonham-Carter seems to have been made for films like this, her skin like porcelain surrounded by shadow, fragile and jagged. This is no film for subtlety, and all the performances are justifiably cranked up to ten, with Timothy Spall making a wonderfully vile slimeball, all violence and leer, and Alan Rickman notches up another bastard role with typical perfection. Kudos too for Baron Sacha Cohen, giving the film the closest it gets to out-and-out comedy before coming to a suitably sticky end.

Then there's the singing. And there's lots of it. Because Sweeney Todd is a musical, something which apparently had escaped a few startled cinemagoers (but if you're not going to take the time to check what a film's about before you go to the cinema, you've only got yourself to blame) but is common knowledge to anyone who's heard of Stephen Sondheim . On the surface it's an extremely peculiar mix, musical numbers and ripped throats, but for me it worked just right. There are none of the full-on multi-cast Busby-Berkeleyesque routines that you'd normally get in a musical, the songs instead focusing on just one or two characters. Indeed, at times they're like an internal monologue put to music, revealing the tortured minds in both word and portentous melody. I can't imagine anyone who loathes musicals enjoying this film, because it is a musical, albeit one with buckets of blood and viscera. If you ask me, the ideal audience for Sweeney Todd would be fans of both My Fair Lady and Evil Dead 2 (as I opined at the time). Thankfully, as those are both superb films, it was right up my cobbled, rat-infested, sewage-strewn street. And you never look at Greggs the same way after, which can only be a good thing.

Tuesday, 26 February 2008

Birthday Eatings

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1. Happy birthday Jon!, 2. Inside the stollen, 3. Angus Steak with Garlic & Herb Butter and Wedges, 4. White Wine Poached Pear with Shortbread (1 & 2 taken by the ever lovely Burd)

Ah, it's been a nice few days, with plenty of nice nosh to go with it. The first two pictures above are of the highly decadent chocolate stollen made by the better half for my birthday cake (we've crossed the point of a candle for every year, which would now look like a localised blaze). Chocolate and marzipan? Get in! As for last night, we went to our beloved Iglu for a typically delicious dinner, allowing me to sink my teeth into a blissfully succulent Angus steak with garlic & herb butter rolling over the surface. You know when a meal is so good you can't help but close your eyes as you're eating, all the better to focus on the taste and texture sensations within your mouth? It was that good.

What else have we been up to on this four-day weekend? Despite being hurled around by howling winds and lashed by bitter cold rain whenever we dared step outside, we managed to see friends and family in Glasgow which was ruddy marvelous. It was particularly good to see the Mighty Em, who looked most natty in knitted goodies made by the Burd, and rifle through Rob's vinyl collection for LPs he was willing to part with for money - there ended up being too many to carry, such is my vinyl fever at the moment. I've had a bit of a browse in Armstrongs with an eye towards a potential wedding suit (plenty more on that in a future post, no doubt). Good dining was also been had at Mono, the ever-reliable Grassroots, new Swedish bakery Peter's Yard, the omnipresent Caley Sample Room and fine Chinese nosh at Taste Good. And, er, Greggs.

Yesterday and today have been nicely relaxed days (aside from a godawful trudge through the aforementioned wind and rain, but that rather comes with the territory), with today centred around going to the cinema for the majestic There Will Be Blood, my second viewing of it and the Lass's first. It's an almighty masterpiece, even better the second time round, and hopefully I can knock my thoughts together into an intelligible review in the next few days (but then I always say that). I've also been enjoying some of my birthday pressies, such as the geekily enjoyable Lego Star Wars: The Complete Saga for the Wii and the excellent compilation of BBC Sessions by Tindersticks, putting a few more pieces of artwork up on the Dawanda site (prompting a comment of "Einfach nur toll!" which is beyond Babelfish's understanding) and generally enjoying taking it easy, spending quality time with the missus-to-be and wondering why life can't always be like this. As a youngster eagerly devouring Tomorrow's World and future-tech books I was convinced that robots were going to be doing all our jobs by now, yet something seems to have gone horribly wrong there. Back to the daily grind tomorrow, damn its eyes, but there's still an hour or so to enjoy this evening, as Love's You Set The Scene croons nicely from the speakers via Nagl FM, the Lass does her knitting witchcraft summoning clothing out of nothing but wool and needles and a wee dram of the engagement whisky (Bowmore's Darkest, review to follow) awaits in the kitchen. Pip pip!

Monday, 25 February 2008

When Particles Collide

Anyone else getting really psyched up for May this year, when somebody presses the ON switch on this beautiful behemoth? Below is the core of one of the six LDHC experiments, the ATLAS detector, highlighted in today's APOD. The more you read, the more awesome it becomes - click on the picture below for a bogglingly big version in astounding detail.

ATLAS is one of two general-purpose detectors at the LHC. It will investigate a wide range of physics, including the search for the Higgs boson, extra dimensions, and particles that could make up dark matter. - CERN ATLAS page.

Atlas_cern
Photo: Maximilien Brice, CERN

The last pieces of the puzzle
Like the last pieces of a giant jigsaw puzzle, the final components of the titanic Large Hadron Collider (LHC) experiments at CERN are slotting into place. At ATLAS, CMS, ALICE and LHCb the remaining large pieces of equipment are being carefully lowered into the caverns in preparation for the start up later this year of the most powerful particle accelerator ever, the LHC.
At CERN, 100 metres underground in the countryside outside Geneva, the LHC and its four big experiments are stuffed full of some of the most complex scientific apparatus in the world. On the surface the assembly hangers are beginning to look eerily empty, but below a vision of mind-boggling complexity is now almost fully formed.
[...] The next few weeks will be an emotional time at CERN. The product of some 15 years of work is coming to fruition and tensions are riding high as the equipment is tested. Soon, the first protons will be smashed together and the secrets of our universe will begin to unravel.

Three months to go! Cannae wait!

thirtysomething

200802251719.jpgThirty one! Good grief, where are the days, weeks, months and years going? Yep, it's that wonderful day of the year when billions across the globe (okay, about seven people) celebrate my appearance on this bitter earth all those years ago. While it's customary to bemoan one's increasing age, I'm actually rather enjoying it, easing nicely into comfortable slippers (I recommend the memory foam ones, very nice), listening to Radio 4 (well, within reason - their plays continue to make me spit venomous blood at the radio whenever I have the misfortune to hear one) and constantly bemoaning the state of the planet, nation, younger people and the increasingly dull shite that passes for music these days. Of course it was completely different when I was a lad, what with, er, New Kids on the Block, Debbie Gibson, Rick Astley, Vanilla Ice, the Reynolds Girls... oh well. Bellowing at the television becomes evermore necessary, as though I somehow believe it's a two-way connection and that Tiscali will actually hear me when I bellow "OH, FUCK OFF! FUCK OFF! OH YES, ADULTERY'S SO FUCKING FUNNY ISN'T IT! HA FUCKING HA! I WOULDN'T TOUCH YOUR PIECE-OF-SHIT PRODUCTS IF THEY WERE THE LAST BROADBAND ON EARTH, YOU SOULLESS COKED-UP TWATS! BAH!" by which point their vile advert has already finished and some other godawful piece of commercial toss is being spewed out onto the telly screen.

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What? Oh yes, my birthday. It's been very nice thus far, what with it a) being a day off work and b) spend in the company of Little Miss Fiancée. Thanks to the Amazon wishlist, I've received a mighty bundle of goodies from my folks, our bookcase now home to every English-language Studio Ghibli Art Of book available, which please me greatly - the Nausicaa Watercolours book is especially impressive, containing nothing but watercolour artwork and makes an ideal companion piece to Miyazaki's own original manga. What's left me giddiest of all though is that, with birthday moneys from my Lass, Mum and Grandad, I've been able to scamper over to Avalanche Records and finally buy myself this long-lusted-after Sigur Ros limited edition box-set. Produced by Artist in Residence, it's gorgeously designed, with every Sigur Ros album thus far included in 12" LP format, spreading over seven records in total. Right now I've got Hoppolalia from Takk playing loud and it sounds incredible. Buying this just a few days after shelling an even more chunky amount of virtual cash for the Isis set probably sounds ludicrous, irresponsible and downright stupid for someone who's not rolling in readies, but in my defence both are limited editions (5000 of the Sigur Ros set, 600 of Isis), I've been doing overtime with the intention of building up cash to buy them, and really it's my last bit of over-indulgent spending for, well, a very long time. And you're only 31 once.

Friday, 22 February 2008

The Shiny Shiny Vinyl Box Set To End All Shiny Shiny Vinyl Box Sets (Apart From That Sigur Ros One)

Thank goodness the US dollar is so feeble these days. I just ordered the following Isis box set and am now feeling rather giddy, partly in wide-eyed anticipation of receiving and owning such a stunning piece of work (it doesn't hurt that the albums themselves are fucking TOP), partly at the giant wodge of cash it represents. Still, sod it - this really is a once-in-a-lifetime purchase and I'd been planning on buying the full Isis back catalogue on vinyl anyways. Hell, two Sundays spent doing overtime will more than cover this. God knows I'm a sucker for good packaging, and this looks so lush I hardly feel worthy of owning it, but I will anyway! Ha!

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Isis - Shades Of The Swarm 12x12" Box Set (Robotic Empire)

$249.99
This is it folks: ten years worth of recording, touring and the general existence of ISIS, the heavy music powerhouse that has gone from the basements of Boston to the clubs (and stadiums) of the world. Robotic Empire has teamed up with Europe's Conspiracy Records to create the definitive collection of ISIS vinyl in this simply stunning twelve LP box set.
The entire released ISIS studio recordings to date are enclosed in this massive box set. Eight albums over twelve records are contained on 180 gram black vinyl, each housed within individual sleeves utilizing artwork taken and re-worked from the original sources, all displayed through a clear spot gloss on heavyweight sleeves. These accompany an oversized 12" x 36" poster insert, all housed within an extremely sturdy cloth-bound, foil-stamped black box.

More pictures here.
The European Conspiracy Records allocation went on sale last week and promptly sold out before I could get my clammy mitts on them, so I've had to buy it from American online-rock-store-par-excellence Robotic Empire instead, who only started selling it in the last few hours. If you're an Isis fan (and if you're not, why not? They're ace!) GET IN THERE - at time of writing, there's 109 left in stock out of an initial 600250 (there's only 600 of these in existence) and they seem to be selling at about 1 a minute, so could well all be gone in the next two hours. It's about the most lavish, expensive musical purchase I've ever made and possibly ever will, but how could I resist? So shiny... so rare... so precious... *swoons in anticipation, bonks head on the way down*

Saturday, 16 February 2008

The High Cost of Loving

Things have been pretty hectic the last few weeks, with the practical aspects of this whole marriage malarkey coming into consideration. The proposal? Man, that was the easy bit.

Now, I knew coming into this that weddings are, on the whole, rather pricey. How much so? According to this site, the average cost of a wedding in the UK is £11,000. Eleven grand! That's 11 iMacs! It's a boggling amount of money, all the more so considering it's basically funnelled into one day. Taken over 24 hours, that's £7.64 a minute. The thing is, when you look further down the page at what that total breaks down into, it gets increasingly ludicrous. £2,000 for a wedding reception, then a further £750 for the evening? £300 for printing? £400 for, er, videography? And these are average figures?

With us both being rather financially prudent (and, personally speaking, skint) there was no chance that the future missus and I would be going for anything so pricey, but the wedding industry - and, oh, what a greedy, insecurity-preying, dead-eyed industry it is - seems determined to wear down any intentions of frugality, clear thinking or common bloody sense. As the Lass noted, the magazines are appalling, presenting weddings that cost tens of thousands of pounds as though they're the norm, the implication being that anything less would be miserly and result in a cheap, cheesy and lesser wedding. For fucks sake, chair covers? I never even knew such things existed until the Lass pointed them out to me on website after website in abject horror.

[At this point in writing, I mentioned to the Lass who'd just popped into the study about the £11,000 figure. She said that she'd heard it was actually a fair bit higher these days and that the above figure was probably a few years out of date. A wee bit of Googling later and this article from the Scotsman comes up. In summary: TWENTY FUCKING THOUSAND?! (And that was two years ago, so by my calculations it must now be approximately a bazillion quid). I don't even want to think what that makes the minutely rate. If my flabber hadn't been gasted already, it truly has now. GUH!]

Anyway, it's one thing to have magazines bellowing SPEND OR BE LACKING - they can be cheerfully dismissed with a cursory curse and flung into the nearest recycling bin. My troubles came when we started researching for places to get married and hold the reception. Initially we'd thought about doing so on Skye, considering we're mouth-frothingly obsessed with the isle, but quickly realised that while it's a nice idea in theory, it'd be a pricey endeavour for all the family and friends we wanted to be present. If we lived there, there'd be no question, but as we'll still be here in the central belt for the next few years it makes much more sense to do it in Edinburgh, Glasgow or anywhere inbetween. So we scribbled down a long list of potential venues and started making enquiries. And the answers came back...

Let's be clear - we're not having a whopper of a wedding. Being the godless heathens that we are, doomed to an eternity of writhing in hell watching BBC3, we're not after any kind of church service. Registry office sounded fine, but we really liked the thought of having a Humanist service - one of the nifty points about living in Scotland is that, since 2005, Humanist celebrants are able to legally marry people in any location, just as religious ministers can. So - somewhere we can have the ceremony in the afternoon, some nice munchies afterwards for a few hours, and a bit of a do in the evening. Sounds reasonable, surely?

We looked at venues throughout Glasgow and Edinburgh. The latter were notably higher. The facility fee to hold the ceremony and reception at the Signet, for example, was priced at £6,000 + VAT and staff costs. This was about average. A small room at Surgeons Hall to hold the wedding ceremony itself for one hour - £600. For one hour. We looked at so many sites and the high figures that kept coming back left me feeling genuinely dazed and really quite drained. Likewise with catering. As the days went by, the sense grew and grew that either we'd be shelling out thousands of pounds just on venue hire, the costs inconceivable for any other occasion. One almost expected there to be an invisible wedding tax that must be paid on everything - as soon as that 'w' word is mentioned in a quote, whether it be for venue, food, photographer, car, flowers, whatever, there's a 40% mark-up on 'normal' pricing. It's as though people are expected to lose any sense of financial awareness when it comes to weddings, instead shelling out whatever ludicrous amount is quoted. The zoo, museums, galleries, gardens, hotels, centres, halls, caves... it felt more and more as though we'd have to get ourselves into debt just for one day, or otherwise go the registry office then hire a function room above a pub somewhere - which, after a week or two of this, didn't sound so bad to me at all (so long as it was CAMRA approved). No wonder threads like this are all over message boards, complaining that "[e]verywhere is too expensive, too pretentious or too popular."

There's this strange conflict at the heart of planning a wedding, or at least the stage of picking and confirming the venue. On the one hand, I know that it's the ultimate special occasion, one that we'll never have again, a genuinely once-in-a-lifetime event, and I feel that the Lass deserves the best day possible, in as wonderful a location as can be found. But on t'other hand, we're still living in the real world. We need to be saving money to make the move to Skye in the next decade, so to instead see it all go on one single day, so much money on just a few hours, seems almost obscene. So somehow, like a Venn diagram, we've tried to find a way to appease both feelings, allowing for a day that'll be lovely without sending us into a financial apoplexy.

Guess what? We did! Well, there had to be a happy ending to such a gloomy post. While I'd love to tell you where, we're keeping the locations shtum so as to guard against unwelcome guests and the paparazzi. I can tell you that we've hired one venue for ceremony and afternoon reception, then another for an evening shindig, the total of both being comfortably under 700 quid, and they're both slap bang on the Royal Mile which should be very handy for anyone arriving by train. The ceremony/reception venue is a cracking place, not what people would normally expect but I think we'll make it work perfectly (we've already concocted a theme for invites and such, though sadly it's not Lord of the Rings (imagine, an LOTR wedding! It'd be so cool! I'd make a fab Aragorn and we could get any kids to be kitted up as hobbits! Sigh...)). If it's a sunny day, it'll be stunning, but even if it's not it'll still be absolutely fine, no question about it. As for the evening, it's somewhere very distinctive yet (compared to everywhere else, anyway) very reasonably priced, and means we've got the place to ourselves, allowing our guests to eat, drink, natter, make merry and boogie their socks off well into the night. Trust me, the pictures are going to be awesome.

The moral of the story? Surprisingly, not "don't get married until you win the lottery" - rather, when you're venue-hunting, look, look and keep looking. It can be an overwhelming experience, especially if you're somewhere (such as Edinburgh) which has so many possibilities, all of which appear to be hella expensive, rattling around in your noggin. There are other places, ways you won't need to compromise your finances, you just need to keep going. Hell, once we've had our wedding, we'll be able to tell you of two perfect places in the centre of Edinburgh which offer just as much as neighbouring venues that charge double. If you've imagination, patience and a determination to not send yourselves hurtling into the swamplands of debt before you've even got rings on fingers, less really can be more.

(In case you're wondering, there'll be no chair covers at ours. Somehow, I think we'll manage.)

461 Days And Counting

Mark your 2009 diaries, chums.

Weddingcard

Yup, that's the date. All booked and everything. It'll be in Edinburgh on the Saturday of a bank holiday weekend in England, so anyone coming up south of the border won't have to rush back to Blighty on Sunday. Aren't we thoughtful? The inevitable website is currently a barren wasteland, save for the above card, but will eventually blossom into a veritable cornucopia of wedding-related natter from both the Burd and meself, plus details on The Big Day for everyone attending. What happens when two blogs collide in the most romantic way possible? Stay tuned to find out!

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