FADED GLAMOUR

Listen: Dan Black feat Kelis - Hearts [New Single]

2013-05-23T23:56:00.000+01:00

Words: Saam Das

Back in 2008, I wrote about a new solo artist called Dan Black, and his incredible track 'HYPNTZ'. A few months later, he appeared in the BBC Sound Of 2009 longlist. The reaction to his debut album of the same year, 'UN', was somewhat mixed but he's bounced back since - collaborating with Kaskade, Kid Cudi, and now Kelis. Listen to 'Hearts', featuring Kelis, below.

Dan's reputation as a producer is increasing markedly as each year passes, indeed it is becoming his forté, as last year's vodka brand-sponsored 'Raw' (which somehow passed me by) and his latest track both demonstrate. The driving synth-pop dominates against the soft vocals offered by Dan and Kelis. I must admit I'd welcome a stronger vocal, with Kid Cudi's emboldened rapping style working terrifically on previous collab, 'Creepers'.

'Hearts' is accompanied by a painstaking stop-motion video, filmed on a Parisian rooftop over the course of 24 hours. The track is set to appear on Dan Black's forthcoming second album, which remains untitled for the time being. Having enjoyed his debut effort, I'm particularly looking forward to the new one - just don't mention the term "wonky pop".

Find more info at dan-black.com.

DVD Review: The Complete Existing Films Of Sadao Yamanaka (2013)

2013-05-23T09:12:00.000+01:00

'The Complete Existing Films Of Sadao Yamanaka' (UK Release: 20 May '13) // Words: Maxamillian John

This week sees the release of the latest in the Masters of Cinema line of DVDs, 'The Complete Existing Films of Sadao Yamanaka'. Full disclosure here: I consider Sadao Yamanaka to be one of the most technically accomplished directors in history, and 'Humanity And Paper Balloons' one of the greatest films ever made. Don't worry though, I'm writing this review with an ice-pack on my head so I can retain my lucidity.

Sadao Yamanaka's career is one of the great tragedies of cinema. While early masters of film in the post-Silent era, like John Ford and Yasujirō Ozu, are well represented in most histories, Yamanaka is hardly mentioned. A prodigy of the medium, he shot 26 films in six years during the 1930s and was regarded as a cinematic force of nature. So you would think that the shadow of Yamanaka would loom large over us even now, right?

Unfortunately, the Second World War stole that heritage from us. Almost immediately upon being drafted into the Imperial Japanese Army, he contracted dysentery, dying at the age of 28. The post-War upheaval wiped out nearly his entire corpus of 26 films, and now only three survive.

Those three films, 'Humanity And Paper Balloons', 'The Million Ryo Pot', and 'Kōchiyama Sōshun', are being released this week from new digital scans. This is the first time that the latter two films have been released outside of Japan, so unless you were crazy enough to import Yamanaka DVDs into the UK, paying exorbitant import duties I might add, these films will have taken eight decades to reach you. And it will all have been worth it.

'Humanity And Paper Balloons' was Yamanaka's last film, released the very same day he was drafted in 1937. An alternatingly hilarious and heartbreaking depiction of the struggles of Edo period peasants to reclaim agency and rescue their dignity from a brutal feudal system - it's a masterclass of composition and the control of narrative tension.

The peasants’ acts of petty rebellion necessarily grow in audacity as the oppression of their circumstances smothers their joy in living, but even as the three-act structure is punctuated by the calls of street vendors selling wares, then seamlessly integrated into the action, the film is anything but predictable. As a simultaneously uplifting and tragic vindication of the human spirit, this masterpiece is absolutely peerless.

While 'Humanity And Paper Balloons' is a work of incandescent genius, 'The Million Ryo Pot' and 'Kōchiyama Sōshun' are merely brilliant. 'Kōchiyama Sōshun' was co-written by Shintarō Mimura, the writer of 'Humanity And Paper Balloons', and is a riff on the Kōchiyama Sōshun character archetype from 19th century kabuki plays. A samurai's knife is stolen, and the ensuing fallout is driven by two street criminals in a gently farcical subversion of the film's kabuki parentage.

Meanwhile, 'The Million Ryo Pot' is the first cinematic incarnation of the one-armed ronin Tange Sazen, who is unwittingly embroiled in a petty aristocrat's attempts to retrieve a pot that would seal his fortune. Tange Sazen is played with singular relish by Denjirou Oukouchi, mixing the comically cantankerous with an understated ferocity. It's again gently farcical and sometimes slow-moving as a plot, but as a narrative the commanding flourishes of editing elevate it.

I won't barrel headfirst into a shot-by-shot breakdown here, but I will say that the lack of visual flair in 'Kōchiyama Sōshun''s camera and cutting, owing to its theatrical roots, is more than made up for in 'The Million Ryo Pot'. And this is all without even mentioning its invention of the Gilligan Cut, a comedy device which the rest of the world took thirty years to catch up to.

At the risk of coming across as completely mad, I'll admit that I consider the films of Sadao Yamanaka to be a legitimate reason to carry on living. His plot turns are literally breathtaking - if you've never gasped at a film before then you've missed out on a truly inarticulable experience. His genius for framing and dynamic asymmetry explicates both the tones of his scenes and the relationship between characters. His narrative editing will blow your fucking mind.

Please, please don't be put off by the fact that the films are old, or in black-and-white, or that you'll have to read subtitles. 'Humanity And Paper Balloons' is worth price of the DVD set alone, a work of art that will haunt you forever if you choose to open up to it. I think this ice-pack has evaporated.

★★★★★
(10/10)

DVD EXTRAS:

- New digital transfers of all three films
- New English subtitle translations
- Rare fragments of other lost Yamanaka films
- A lengthy booklet, including Yamanaka's will, excerpts from his diaries, essays by Tony Rayns, Shinji Aoyama, Kimitoshi Sat ô, and more

'The Complete Existing Films Of Sadao Yamanaka' is available to purchase at amazon.co.uk etc.

Telly Text #8: Waterloo Road + Guy Code

2013-05-22T10:50:00.000+01:00

Words: Jordan Andrew

'Waterloo Road'

After taking a “school holiday”, 'Waterloo Road' is back to finish off the term and as usual it is never plain sailing. This BBC hit show has had more changes than the Sugababes over the years, with teachers coming and going as well as moving the school all the way to Scotland, which in my opinion still never makes sense.

'Waterloo Road' is a British television drama that is based in a comprehensive school that is full of rebellious and quite rude school children. As well as the teachers that come with a lot of baggage, which unveils as the series, goes on. It is like going to a school where all your fellow classmates want to beat you up and the teacher is drinking behind the desk.

One of the few people that can handle the madness of the students and teachers is headmaster Michael Byrne (Alec Newman). Michael has had to go through a difficult time recently moving to Scotland, back to the neighbourhood where he has made enemies and reuniting with his father who use to abuse him as a child.

Michael also starts to form a close relationship with Christine Mulgrew (Laurie Brett) but she is hiding a dark secret that she is an alcoholic which only her son Connor Mulgrew (Shane O’Meara) knows. Christine is starting to reform but I am sure that bottle of vodka she has tucked underneath her desk is waiting to come out later on this series.

Thankfully with all these new additions there are still some of the originals and one of my favourites being Grantly Budgen (Philip Martin Brown). He is the grumpy old teacher that would embarrass you in front of the whole class if you mess up or tries to mock him. Sadly in this series we start to see the breakdown of Grantly as he is diagnosed with kidney failure.

'Waterloo Road' has always been big on drama but I'm very doubtful that it will last much longer. With some big characters potentially leaving soon and the high volume of new characters, 'Waterloo Road' could turn into 'Skins' minus the sexual content and language. However for now it will continue to be one of the BBC’s most popular shows and I'll continue watching it until they decide to pull the plug.

Catch 'Waterloo Road' every Thursday at 8pm on BBC One or catch up on BBC iPlayer.

'Guy Code'

VIVA is a channel that I might click on if I wanted to watch the latest music videos, but to my amazement I was flicking through the television one night and came across 'Guy Code'. For years, men have followed a silent “code of behaviour” that only guys know about, even though we don't talk about it. This code has finally been exposed to the world, discussing a range of subjects that men should know the “do’s and don’ts” for and how to act in various situations. With a variety of American comedians and “celebrities”.

'Guy Code' talk about such subjects like: 'Dieting', 'How to get your girlfriend into sports', 'Social Media' and 'When it is okay for a guy to cry' just to name a few. Some of the topics discussed on the show are actually quite eye opening; it made me question whether I was following this silent code properly.

Thankfully these rules on 'Guy Code' are not so set in stone; with the assortment of panelist on the show there are people with different Guy Codes. One of the funniest ones on the show is Jon Gabrus, is your regular guy that likes to eat, scratch himself and generally does not give a damn!

This show is not just full of lads, there are also female “celebrities” on hand to give their views on 'Guy Code' and whether these rules would impress you when trying to chat up the ladies. Most of the women (or as I call them “Super Bitches”) on the show are incredibly attractive and probably wouldn't even blink an eye at the “Average Joe”, as well being quite brutal at times.

This show clearly shows that the term 'Guy Code' has different terms depending on the man. The better-looking guy will clearly preach on things you should not be doing whereas the not so good-looking guy will be more relaxed about things. However it is not all for and against, they do agree on certain things such as “Men not having tattoos on their face”, which in my book is a no! 'Guy Code' is a funny show not just for men but also for women.

Catch 'Guy Code' Monday to Thursday at 11pm at VIVA.

Listen: Matt Corby - Resolution [New Single]

2013-05-22T00:29:00.000+01:00

Words: Saam Das

It's been a while since we last heard the striking vocals of Aussie solo artist Matt Corby but it's been worth the wait. New single 'Resolution' premiered on Triple J radio in his homeland a few hours ago, and is now available for your listening pleasure worldwide below.

Corby's 2012 'Into The Flame' EP suggested big things lay ahead, and 'Resolution' continues to press the case. Again, elements of Wild Beasts and Jeff Buckley rise to the fore - excelling in the beauty of its quieter moments. Alas, 'Resolution' is currently only available to purchase through iTunes Australia. In better news, Matt will be touring the UK next month - rest assured, his vocals prove just as powerful in the live arena.

Find more info at mattcorby.com.au.

Download: Internet Forever - White Light Collision Course

2013-05-21T13:31:00.000+01:00

Words: Saam Das

I was rather pleasantly surprised when indie-pop trio Internet Forever's debut album emerged last year, which I described as a "deliriously giddy ride". I can imagine the band bring a similar vibe to their live show, which is handy, as they've just announced a new tour. To celebrate, they're also giving away 'White Light Collision Course' from the album.

'White Light Collision Course' is one of the more experimental cuts from the album but still has a strong pop melody on the vocal. And quite a nice Animal Collective-esque flourish on the outro. The new download comes with a suitably intriguing video, which you can watch below. Catch the band on tour next week across the UK, along with Her Parents and Stairs To Korea.

White Light Collision Course by Internet Forever

Find more info and download 'White Light Collision Course' at internetforever.co.uk.

Album Review: Mark Lanegan & Duke Garwood - Black Pudding

2013-05-21T09:40:00.000+01:00

Mark Lanegan & Duke Garwood - 'Black Pudding' (UK Release: 13 May '13) // Words: Simon Opie

Mark Lanegan may well be the hardest working man in show business since the new millennium dawned, which isn’t bad considering that when he appeared with Queens Of The Stone Age back at the turn of the century, it was rumoured that he couldn’t manage to sing more than a handful of songs per night. Even so, that incarnation of QOTSA was quite comfortably the best, making some notorious badass music until Josh Homme perversely disbanded them.

Since moving on, Lanegan has worked with distinction with a wide range of artists most notably with Soulsavers and in his partnership with Isobel Campbell. He also teamed up periodically with fellow grunge survivor ex-Afghan Whigs Greg Dulli, recently in the excellent Gutter Twins, where he worked with multi-instrumentalist Duke Garwood. And that brings us to this record 'Black Pudding', which is the high water mark to date of Lanegan’s prolific post-QOTSA output.

Lanegan has developed a distinctive, laid-back, gloomy style and that doesn’t vary too much here. His lyrics, too, remain of an exceptionally high standard, always probing and pushing, telling tales from the dark side of the tracks. But the icing on the cake is the musical contribution of Duke Garwood.

The album opens and closes with two instrumental guitar pieces, which really set the tone for some varied and impressive music, showing both virtuosity and scope. The songs are beautifully written and the arrangements are even better, with a superbly layered production that’s dense yet startlingly clear.

Early songs such as 'Pentacostal' and 'Mescalito' are standouts, but they’re all consistently good. You may recall that one of my recommended Record Store Day gems was this duo’s 'Cold Molly', which proved elusive in vinyl form, but thankfully that too can be found here, although it stands somewhat apart stylistically.

Unusually these days, this is an album that starts well and just gets better and better. The trio of 'Death Rides a White Horse' (terrific opening - "cut your midnight black hair, and roll you in the dirt"), 'Thank You' and the aforementioned 'Cold Molly' lies in wait near the end, shaking you out of any feeling that you’d got the album figured out.

I’m not sure whether the description ‘understated tour de force’ is an oxymoron or not, but it fits 'Black Pudding' exactly. It’s right near the top of my album of the year list already, and it’s a real pleasure to see Mark Lanegan find a partner in Duke Garwood who can absolutely draw the best out of him.

★★★★½
(9/10)

'Black Pudding' is available to purchase at amazon.co.uk, etc. Find more info at heavenlyrecordings.com.

DVD Review: Trouble With The Curve (2012)

2013-05-20T13:05:00.000+01:00

'Trouble With The Curve' (UK Release: 20 May '13) // Words: Maxamillian John

Clint Eastwood has played so many grumpy old men pissed off at young people that it's basically become a genre. Much like Liam Neeson as the angriest lost property officer in the world, or Nicholas Cage as Hell's mercenary defying the forces of evil, it seems like Eastwood has found the one role that corresponds to his self-image in recent years and has decided to play it til he's dead.

Which won't be long if he keeps stressing himself out with irritatingly precocious youths like Amy Adams and Justin Timberlake in 'Trouble With The Curve'. Eastwood's curmudgeonly baseball scout, Gus, has no time for your damn shenanigans, until poor health necessitates his estranged daughter joining his scouting trip.

In between failing to bond with each other, they separately bond with Timberlake's smarmy, ingratiating Johnny, a rival scout. Through a mess of intertwining plots, all fairly simple but all getting in each others’ way, everyone discovers something about themselves and the value of whatever.

Like most sports movies, this has nothing to do with sports - baseball is merely a backdrop on which the drama is played out. This still might be enough to deter most British viewers though. The UK doesn't really get baseball, the most common question dismissively hurled at baseball fans here being "Isn't it just rounders?" (Yes, but they throw the ball at 100mph. That kinda changes things.) If you are going to be put off by anything, I'd hope it's more to do with Eastwood's self-imposed typecasting, or Timberlake's oleaginous attempts at charm. Of course, the upside of that criticism is that all the actors nail their parts.

Behind the camera, everything is similarly nailed with a total lack of invention. Director Robert Lorenz has spent the last decade 1AD-ing for Eastwood, and it shows - he brings a lucid competency to the film and absolutely nothing more. The writing is flat but gets the job done, congratulations Randy Brown. ‘Music?’ What music?

So undisguised and passionless is every narrative device and emotional cue that 'Trouble With The Curve' comes across as a paint-by-numbers script languidly filled in with crayons. If you’re someone who needs to see every Clint Eastwood film, then I admire the dedication to a cinema giant, but it won’t be rewarded here. Expect no blessings beyond the mildness of the day.

★★
(4/10)

DVD EXTRAS:

- UltraViolet copy
- Amy Adams and Justin Timberlake featurette

'Trouble With The Curve' is out on DVD and Blu-ray, and is available to purchase at amazon.co.uk.

Listen: Embers - Part Of The Echoes [New Single]

2013-05-20T09:17:00.000+01:00

Words: Saam Das // Photo: manox.net

The Great Escape festival in Brighton is one of the rare places where I might consider "networking" to be acceptable - it's not even really networking, more drinking and enjoying some top bands with fellow music lovers. One such band were Embers, who we had the pleasure of witnessing live, and can share their huge-sounding forthcoming new single 'Part Of The Echoes' below.

Embers were playing at a showcase called Blog Up, where we also enjoyed sets from IYES, Rhodes and Duologue, albeit with some slight sound issues. The muggy sound didn't dampen a fearsome performance of cinematic rock from Embers, something of a continuation from related previous project Lost Knives.

Considering we were at an event called Blog Up, we obviously chatted to a few of our fellowship - who seemingly universally enjoyed Embers. And Marika Hackman, for that matter, who we highlighted recently in our Bushstock preview. As for Embers, you can get an idea of the strength of their live performance from the video of 'Hollow Cage' above but it is only a glimpse - certainly worth catching live if the recorded tracks appeal.

'Part Of The Echoes' is the follow-up to the similarly powerful double A-side 'Tunnel Vision'/'Sins Unknown', which came out late last year. The new single has more of an anthemic tinge and will be coming out on Killing Moon (who also helped put on the Blog Up event, and are generally ace) on July 8th.

Tunnel Vision by Embers

Find more info at embersembers.com. Pre-order the single from Killing Moon.

Preview: Bushstock Festival 2013

2013-05-17T17:54:00.003+01:00

Bushstock Festival (1 June '13, London) // Words: Saam Das

Bushstock is fast becoming one of the most popular London music festivals, returning for its third edition in June. Taking over four venues in the Shepherd's Bush area, the festival has previously seen the likes of BASTILLE and Daughter play in intimate settings before gaining huge audiences. Indeed, Daughter returned last year to headline, providing a mesmerising performance at St Stephens Church.

The festival is run by the good people at Communion Records, often giving the line-up a suitably folk-heavy feel. This year, there's arguably more variety, with many of the bigger names on the festival (including headliners Theme Park) fitting more into the "guitar band" mould. Not that the folk side is particularly neglected, with Scott Matthews and fellow headliner Willy Mason perhaps the most well-known acts on the bill.

Of the folkier outfits, we're particularly interested in Marika Hackman and her captivating sound. Other solo artists such as Sivu and FYFE (the new guise of David's Lyre) are two of the more buzzier acts on offer, and we're intrigued to see whether they live upto the hype. Similarly, we've heard exciting murmurings about As Elephants Are and Pixel Fix, while we hope to finally catch Duologue.

We've already had the pleasure of seeing Dutch Uncles and Thumpers live but really at festivals like Bushstock, the thrill often comes in seeing bands that you're less familiar with - often to small audiences that they may never grace again. Better still, there's a wonderfully jovial atmosphere at Bushstock so we heartily recommend making a pleasant jaunt over to West London on 1 June.

Rome by Pixel Fix

Find more info and purchase tickets at bushstock.co.uk.

Album Review: Vampire Weekend - Modern Vampires Of The City

2013-05-16T23:52:00.000+01:00

Vampire Weekend - 'Modern Vampires Of The City' (UK Release: 13 May '13) // Words: Saam Das

Revered in some quarters, reviled in others, Vampire Weekend have generated plenty of interest since their emergence from the packed Brooklyn scene circa 2007. But with two critically acclaimed albums under their belts, 'Modern Vampires Of The City' is accompanied by a certain amount of pressure. The band has responded in a curiously engaging fashion, offering a mellower sound, with a surprisingly overt religious theme.

'Modern Vampires Of The City' largely lacks the immediacy and euphoria previously seen on hits like 'A-Punk' and 'Cousins' - indeed, the album begins rather sedately, with 'Obvious Bicycle', which sounds like a modern re-imagining of The Beatles. The track signals the classical piano-heavy aspect of the album, with 'Step' even seeming to appropriate the ubiquitous 'Pachelbel's Canon'.

The religious theme is choreographed in the title of 'Unbelievers', but is perhaps most prominently seen in the Torah-inspired 'Ya-Hey'. Not that Vampire Weekend are content to restrict the discussion to any one religion, with a reference to the Angkor Wat temple in 'Step', which has links to both Buddhism and Hinduism. While the lyrical intentions remain up for interpretation, tackling such a subject is undoubtedly a brave move.

The band thankfully do not entirely escape their past, with tracks like the chaotic 'Diane Young' - an unusually bouncy number, relative to much of the early section of the album. 'Modern Vampires Of The City' sparks into life considerably in its final third, offering an energy more often associated with Vampire Weekend. The hyperactive 'Finger Back' providing a considerable contrast to the casual, laidback beginning of the album, for example.

'Modern Vampires Of The City' does stray into pastiche at times, with 'Worship You' coming across a bit too much like an off-cut from a Weird Al record, and 'Hudson' proving conspicuous in its excess melodrama. The vocal pitch also finds itself unnecessarily distorted from time to time, detracting from the wonderfully soothing vocals - 'Young Lion' being a prime example, and a suitably beautiful closing track.

The afro-pop may be long gone but the glorious melodies remain. This record truly highlights a new Vampire Weekend - fearless and ambitious. It arguably doesn't always succeed as a coherent mission statement but it's likely that 'Modern Vampires Of The City' will go on to become the defining record that Vampire Weekend create. Mazel tov, chaps, mazel tov.

★★★★
(8/10)

Find more info at vampireweekend.com. 'Modern Vampires Of The City' is available to purchase at amazon.co.uk.

Download: YADi - Unbreakable [Feat. Baaba Maal and The Very Best]

2013-05-15T23:56:00.000+01:00

Words: Saam Das

Our belated tips for 2013 saw London solo artist YADi make her way into our top ten ones to watch for the rest of the year. To be honest, I'm a tad surprised she's not already more of name. But these things take time and with tracks like recent single 'The Blow' and this free download of 'Unbreakable', I'm still confident YADi has a bright future. She also plays The Great Escape this Saturday, and we heartily recommend checking out her live act.

This collab might seem to a bit out of the leftfield but Johan Hugo, producer on 'The Blow', also happens to be half of The Very Best. Who are pals with Baaba Maal. It's like that six degrees of Kevin Bacon thing. Sort of. Definitely minus the dubious television adverts. 'Unbreakable' certainly brings much more of a "world music" vibe than her more straight forward pop efforts but proves to be a pleasantly engaging surprise with its juxtaposition. Download for free via the widget below.

Find more info at yadiyadiyadi.com.

Listen: Big Deal - Dream Machines [Album Preview]

2013-05-14T21:03:00.000+01:00

Words: Saam Das

Big Deal's forthcoming second album is called 'June Gloom', perhaps taunting all of the UK while we try to navigate the rather dreary May weather. Oddly enough, their new single 'Dream Machines' seems to (at least metaphorically) opening up the clouds and shining upon our withered souls. Have a listen below, along with the more psych-influenced recent single, 'In Your Car'.

The duo have attracted countless Pixies comparisons, and perhaps not unfairly. They share a similar quiet-loud dynamic, and boy-girl vocals. And they do it well. Their methods are emboldened further by the striking production - by the band themselves, and recorded with debut album producer Dean Reid (with some extra drumwork from Rory Attwell) - which brings a sharp vibrancy to 'Dream Machines'.

Pre-order 'June Gloom' at amazon.co.uk ahead of its 4 June release date. Find more info at facebook.com/weareabigdeal.

Telly Text #7: Men At Work & Ben Fogle: New Lives In The Wild

2013-05-14T19:23:00.000+01:00

Words: Jordan Andrew

'Men At Work'

I usually don't pay attention when I see television shows advertised in a newspaper, but when I saw the small advert for 'Men At Work' it kind of made me want to watch it. Maybe because my workplace is full of women or maybe because I'm a television addict - whatever the reason, I have given 'Men At Work' a chance.

This show follows four friends who work together at a magazine and help each other through their mad personal adventures. After the main character Milo (Danny Masterson) is dumped by his girlfriend and goes into a depressing state, so it up to the rest of the gang to help Milo move on from the break up and start dating again.

Like with every group, each person as their own role and these guys are no different. There is Tyler (Michael Cassidy) the witty one, Neal (Adam Busch) the sensitive one and Gibbs (James Lesure) the womanizer/player of the group. These guys discuss some of the big issues we go through each day like, sleeping with your best friends maid or why do women go to the bathroom in groups...as I say everyday issues!

'Men At Work' is not one of those comedies that you laugh out loud at every single joke as to be honest, quite a few of the jokes are quite weak, it is generally the madness of the situations they get themselves into that is the funny part of each episode.

If anything 'Men At Work' does show the importance of friendship, which is something everyone should have, a group of friends to count on. This show is probably not going to win a Golden Globe anytime soon and they don't seem to care either, it is all about having fun. I would label 'Men At Work' as a light-hearted US sitcom - it isn't something that if you miss a few episodes you will be completely lost so give it a go.

Catch 'Men At Work' every Tuesday at 10pm on FOX.

'Ben Fogle: New Lives In The Wild'

When I want to escape away from London, I simply book a flight and go on holiday, so I can relax and have a good time. Ben Fogle clearly would rather go to places in the middle of nowhere and hunt for his own food. 'Ben Fogle: New Lives In The Wild' is like 'A Place In The Sun' if it was an extreme camping show.

Each week Ben visits a family that have turned their back on the city life and have set up their new lives in a remote part of the world. From Alaska to New Zealand - Ben travels all around the world to see how these people survive day-to-day life in the middle of nowhere.

When I started watching this, I assumed these families were people that were on rations and slept in tents. Clearly not the case as most of the families on this show have created their own little house and even have the internet.....so not all that extreme then! The "only" things that they have to work for is food and a fire so they can have hot water.

One of the things I did notice is that they are very hostile towards Ben in the beginning, as if the film crew forced themselves into their homes without permission. In my opinion, they could have been a bit more inviting to him, instead he is forced to catch his own food and sleep outside of a tent. Now if that was me, I would have booked myself in a hotel and called it a night which is perhaps what Ben Fogle actually did but for now we will just believe he really did sleep rough.

Apparently the aim of this show is to see if Ben Fogle could survive out in these harsh conditions and maybe even more out to a remote location. I truly believe this show is to put people off ever going camping again, the thought of seeing a bear or being blown away by one hundred mph winds is all the evidence I need to put me off camping and I used to be a Scout - although I never camped when I was in Scouts. On the other hand, watching this show does give you a few survival tips, if I was ever stuck on a deserted island I would know how to search for rock lobsters and chop wood properly from a tree!

Catch 'Ben Fogle: New Lives In The Wild' every Monday at 9pm on Channel 5 or catch up on DEMANDFIVE.

Surfacing: Fridge Poetry [New Artist]

2013-05-13T16:34:00.000+01:00

Words: Saam Das

We're big fans of Johnny Foreigner over here at FADED GLAMOUR, and always interested in hearing what the band have to offer - whether in their collective or singular form. This time round, we have some exciting new tunes from drummer Junior Laidley (and guest vocalist pals) in his more electro-based Fridge Poetry guise.

There are certainly some elements of Junior's main outfit, such as occasional mathy flourishes in the guitar work, but equally Fridge Poetry has its own identity - a pleasingly haphazard one, at that. The production on his debut EP is "busy", bringing together an array of influences perhaps including the likes of M83 and Idiot Pilot.

The 'Soweto Slo Mo' EP also features guest vocal contributions from Evan Bernard and Thomas Sherwood Nicholls. The latter's appearance on 'Crash Down' is particularly reminiscent of The Postal Service, sharing a similarly soothing vocal and wide-eyed electronica. (Its simplistic, jellyfish-based video very much enhances the track's sense of quiet wonder.)

Another particular highlight on the EP is opener, 'I'll See', featuring vocals from Bernard. A more melodramatic affair with its lulling piano melodies, still dominant against the track's heavy percussion. While the other tracks rarely show such poignancy, the 'Soweto Slo Mo' EP is a fantastic debut effort.

I'll See by Fridge Poetry

The Circles by Fridge Poetry

First Word by Fridge Poetry

Crash Down (demo) by Fridge Poetry

Find more info at facebook.com/fridgep. Purchase the 'Soweto Slo Mo' EP at Bandcamp.

Listen: Fight Like Apes - Pretty Keen On Centerfolds [New Demo]

2013-05-11T11:29:00.000+01:00

Words: Saam Das

Boisterous Irish lot Fight Like Apes are pretty much my favourite live band. And they're more than decent on record too - their debut 'Fight Like Apes And The Mystery Of The Golden Medallion' being a particularly bouncy delight. They're upto album number three now and here's a taster, accompanying a crowdfunding campaign to help finish and market it.

The band are looking to raise €20,000 and with three or so days to go (at the time of writing), they're only about €4,000 short. Which is good going. There's the typical gamut of rewards for your funding, from the bog standard finished CD album to your very own Fight Like Apes gig. Speaking of which, the band are heading out on a UK tour shortly, and as previously explained - well worth seeing.

As for 'Pretty Keen On Centerfolds', I'm pretty keen on it and the demo brings the usual Fight Like Apes verve of synth-pop and quirky lyricism. You can get another taste of some Fight Like Apes goodness from the video below, although the track apparently won't be appearing on the album - hopefully it will appear on a preceding EP, which I've heard will be released on the excellent Alcopop label.

Find more info at facebook.com/fightlikeapes.

Film Review: Star Trek Into Darkness (2013)

2013-05-10T23:12:00.000+01:00

'Star Trek Into Darkness' (UK Release: 9 May '13) // Words: Saam Das

For many, JJ Abrams 2009 'Star Trek' was a revelation - reviving an ailing franchise by appealing to both existing fans and new onlookers alike, with its thrilling drama and comedic touches. A sequel became inevitable, and 'Star Trek Into Darkness' carries forward much of Abrams' impressive style albeit relying too greatly on previous material. Spoiler-free review follows.

After the completion of a mission, the crew of the USS Enterprise return to Earth to discover that top Starfleet agent John Harrison (Benedict Cumberbatch) has sought to wage a one-man war against the organisation. A devastating attack causes Captain Kirk (Chris Pine) leads the hunt for Harrison, at great cost. Cue turbulent battle scenes and increasingly raised dramatic stakes.

As most have suspected, Harrison is not who he seems, and while I don't intend to spoil the true nature of his character, Cumberbatch delivers a chilling performance. Indeed, credit must go to writers Roberto Orci, Alex Kurtzman and Damon Lindelof here for penning a supervillain that is as powerful as any to have appeared on the big screen. Elsewhere, however, they disappoint - particularly in their recycling of plotlines taken from a previous 'Star Trek' incarnation.

While Abrams' action-heavy style is often the most acclaimed aspect of his week, I would suggest that Abrams' forté has become the emotional drive he brings to his films. 'Star Trek Into Darkness' is no different with its heartfelt emotional investment, although its final gambit will feel cheapened to any reasonably well-versed 'Star Trek' fan. Although it hardly compares to a somewhat embarrassing "phone a friend" cameo, which suggests that 'Who Wants To Be A Millionaire' is still going strong well into the 23rd century.

The returning supporting cast all have their shining moments, with Spock (Zachary Quinto) particularly stepping up - the 2009 'Star Trek' may have been Kirk's story but in many respects, this film is Spock's. But other characters also get franchise-defining screen-time, such as Scotty's (Simon Pegg) steadfast morals and Sulu's (John Cho) steely determination. Peter Weller's turn as Admiral Marcus is perhaps the weakest link, less RoboCop and more "roboflop" here as he ventures almost into pantomime at times.

Academy Award-winning composer Michael Giacchino also returns, providing another terrific score that underlines the emotional scenes while adding tension to the conflict. Unfortunately, the sense of rehashing undermines 'Star Trek Into Darkness' in its finale but nonetheless, this is an impressive spectacle that draws you in with its characters as much as its action. The new 'Star Wars' film is in good hands, with Abrams at its helm.

★★★★
(8/10)

'Star Trek Into Darkness' opened in UK cinemas on 9 May '13.

Festival Review: Sundance London 2013

2013-05-09T17:08:00.000+01:00

Sundance London Festival (25-28 April '13) // Words: Alison Potter & Saam Das

The Robert Redford-founded Sundance festival returned to The O2 in London recently for its second edition, and impressed again after last year's Sundance London debut. Alison and Saam managed to pop down to the 2013 fest to check out some of the finest (and not so finest) films on offer.

Perhaps the most notable film highlight was 'Metro Manila' (★★★★½), an intense drama set in Manila but unexpectedly helmed by Brit director Sean Ellis. Ellis does a superb job as an impoverished family faces up to the harsh reality of inner-city life. There's something of a Greek tragedy to 'Metro Manila', and the sense of foreboding is developed and delivered magnificently - no surprise it won the Sundance 2013 Audience Award in Utah.

A similar (yet incredibly different) delight was quirky teen coming-of-age comedy, 'The Kings Of Summer' (★★★★). One of the best aspects of Sundance London is that almost every screening comes with a Q+A with one of the filmmakers involved - here director Jordan Vogt-Roberts explained: "This film hopefully captures what it's like at that age. Being fourteen was the best, but simultaneously it's the most painful and awkward time you will ever experience.

While unfortunately we didn't manage to catch any of the live musical events on offer - massive slap on the wrist there considering the nature of this website - we did catch a wonderful musical documentary called 'Muscle Shoals' (★★★★). The doc highlighted the people behind the influential Muscle Shoals sound that artists of the calibre of Aretha Franklin and The Rolling Stones all sought.

It wasn't all roses at Sundance London however, with Michael Winterbottom and Steve Coogan's latest collaboration not living up to their reputations and Lynn Shelton's disappointing follow-up to 'Your Sister's Sister'. 'The Look Of Love' (★★) saw Coogan as "King of Soho" Paul Raymond, offering "arbitrary displays of naked flesh" and little more. Shelton's tentative 'Touchy Feely' (★★½) did provide one of the highlights of the fest, Tomo Nakayama's rendition of 'Horses'.

Elsewhere, 'In A World' (★★★½) took us into the world of the voiceover, with its slightly unsure balance between comedy and drama - nonetheless, an interesting vehicle for writer/director/actress Lake Bell. 'Emanuel And The Truth About Fishes' (★★★½) offered a more deft transition - from gripping drama into a dramatic psychological thriller, and could be something of a defining role for 'Skins' actress Kaya Scodelario.

We really enjoyed Sundance London, with its army of helpful (and easily identifiable!) staff/volunteers - creating an appropriately welcoming atmosphere. The O2 also acted as the perfect venue, with its ability to cater for several simultaneous sold-out film screenings and musical events, without ever seeming overly crowded.

The selection for the festival was incredibly broad, highlighting the best new film talent not just from the USA. Sundance London was one of the best - and most well-run - festivals we've had the pleasure of going to.

Find more info on Sundance London at sundance-london.com.

Live Review: Vampire Weekend + Syd Arthur @ The Troxy

2013-05-08T23:33:00.000+01:00

Vampire Weekend + Syd Arthur live at The Troxy, London (2 May '13) // Words: Saam Das

The Troxy is something of an odd venue, a former East London cinema/theatre that now hosts live music, weddings and mixed martial arts. Similarly, Vampire Weekend's latest venture to the UK was slightly odd, jetting in for the solitary live public gig. Not that the band held back on the night, delighting the sell-out crowd with a string of hits, as well as previewing the occasional new song from their shortly arriving third album.

The night was seemingly full of curiosities, with Syd Arthur - a band with a reasonably heavy psychedelic disposition - asked to support Vampire Weekend, whose audience seemed to consist mostly of teenage indie kids. Perhaps not well thought through. Syd Arthur delivered their fare competently, and I was most intrigued upon the appearance of the occasional violin and post-rock interlude, such as on 'Edge On Earth'.

Unfortunately, neither myself nor Rajan FG felt consistently interested in Syd Arthur, although a newly announced support slot for Paul Weller suggests a band significantly on the rise. Despite relative misgivings, I do feel a tad disappointed when there's only one support band at a fairly expensive (£30-odd) gig but it did allow for an extended Vampire Weekend set, taking in around twenty songs - thankfully mostly from the excellent back catalogue.

Launching into a raucous offering of 'Cousins' set the tone for a gig that proved considerably sweaty - providing perhaps one of the only downsides of this concert, with the rather potent post-gig stench. The music of Vampire Weekend has proven to be dance-inducing and such was the case with the majority of the set, with only the more considered and less familiar new tracks slowing down the momentum.

Not that these new tracks are lacking in their own groove, albeit finding a strangely stately vibe, particularly in the piano section of 'Step'. Other new album tracks 'Ya-Hey' and 'Diane Young' suggest that the anthemic elements of the outfit, drowning the audience in catchy hooks. Speaking of grooves, massive shout out to bassist Chris Baio, perpetually busting a groove and clearly enjoying the evening. Something echoed by the audience.

The fun came to something of an abrupt stop, following an unsurprisingly bombastic version of 'Giving Up The Gun', allowing for an obviously choreographed encore. (A practice I'd like to discourage, where possible.) Indeed, the four song encore seemed a little on the ridiculous side but finished superbly with 'Walcott', another track from the classic debut. If you can catch Vampire Weekend at a summer festival, you are in for quite the treat.

★★★★½
(9/10)

Find more info on Syd Arthur at sydarthur.co.uk, and Vampire Weekend at vampireweekend.com.

Listen: Goodbye Chanel - Divine (Feat. Jaymz Dean) [New Track]

2013-05-07T23:48:00.001+01:00

Words: Saam Das

It's been just over a year since we last wrote about either Goodbye Chanel or Jaymz Dean but the two combine on a new track here. The duo share an affection for dream-pop which again manifests itself on 'Divine'.

The duo are far from unacquainted, having been members of Leeds band Aviaries, described by Jack FG as producing "incredibly exciting rock infused post-pop music". It's a welcome reunion, and for the seemingly absent Jaymz Dean, a welcome return also.

Scott Johnson (aka Goodbye Chanel) has been busier, releasing more top-notch blissful dream-pop such as 'Abzarokee Springs', which perhaps surprisingly tends toward WU LYF at times. Listen to that track, and 'Divine', below.

Find more info on Goodbye Chanel at facebook.com/goodbyechanel, and Jaymz Dean at Facebook.

Film Review: I'm So Excited (2013)

2013-05-07T09:37:00.000+01:00

'I'm So Excited' (UK Release: 3 May '13) // Words: Lauren Johnson-Ginn

It has been almost 25 years (and a few grey hairs) since Pedro Almodóvar made 'Women On The Verge Of A Nervous Breakdown', begging the question why the director has taken so long to return to comedy. In fact, he answered it quite candidly in a recent appearance on 'The Graham Norton Show' - dark films win awards. Being a ridiculously ultra-camp comedy of the highest order then, it’s unlikely that 'I’m So Excited!' will win Almodóvar any golden gongs – but it is jolly good fun.

The premise is quite simple: a plane departing Spain, due to land in Mexico, is marooned mid-air owing to a technical failure. With the plane flying in circles as it waits for a free landing strip, the crew – who are all spectacularly, gloriously gay – decide to preserve calm by sedating everyone in coach and er, ‘lightening the mood’ in business class by serving cocktails laced with mescaline. A metaphor for Spain’s current turbulent economic and political situation? Yes, but also a fantastic set-up for mile-high mischief and mayhem.

Things begin to get very interesting indeed as the drugs start to take effect and inhibitions are cast off, leading to connections being discovered between the passengers and intimate revelations being shared. Almodóvar favourite Lola Dueñas is marvellous as Bruna, the virginal psychic who can (worryingly) detect the scent of death in the cabin, bringing a tingling sense of tension to the proceedings, amidst all the debauchery – and conveniently moving the plot along in places.

Such an enclosed setting could easily have been visually dull, but Almodóvar adds interest by creating separate, distinct spaces (the cockpit, the crew area, the cabin), throwing in a couple of off-plane sequences and lighting up the screen with his trademark beautiful colours – saturated blues and reds make even the interior of the plane look sumptuous.

Full credit must also be given to the hilarity of the script, which is full of laughably outrageous lines and scenarios – though given that much of these jokes revolve around sex, drugs and dubious blowjobs, the humour may not be to everyone’s taste, to put it mildly. The comedy is played up brilliantly by the camp cabin crew, with Javier Cámara, Raúl Arévalo and Carlos Areces bouncing off each other with as much fizz and sparkle as their drugged-up cocktails. The musical dance number – which gives the film its name – is priceless.

Whilst 'I’m So Excited' is certainly not Almodóvar’s best work, at times feeling a little bit haphazard – and, to be blunt, ‘what did I just watch?’ crazy – it’s also extremely funny. A very Spanish, quirky comedy with lots of cojones.

★★★
(3/5)

'I'm So Excited' is in UK cinemas now, through Pathé.

Telly Text #6: The Voice + Revenge

2013-05-06T23:18:00.000+01:00

Words: Jordan Andrew

'The Voice'

Saturday night television has evolved through the years - it's no longer about shows like 'Blind Date' or 'The Generation Game', right now it's either 'The Voice' or 'Britain’s Got Talent'. With a ratings war each Saturday, you are either watching one of these shows or are perhaps out socialising like a normal human being! For me, 'The Voice' is the better show and right now is probably the best time to watch the show as the chairs are still spinning and the coaches can now steal acts.

'The Voice' consists of four coaches - Danny O’Donoghue of The Script, Jessie J, Tom Jones and Will.i.am. Each week their chairs are turned so that they can not see what the potential hopeful looks like, as they keep saying it is suppose to be all about “the voice”. If more than one person likes an act, it is up to that act to pick which coach they want to work with, after listening to the coaches beg for them to choose them. As we go through the “Battle Rounds” and then on the “Live Performances”, many acts are eliminated until we find that one artist to crown 'The Voice'.

One of my pet hates with talent reality television shows is when people who have had their fifteen minutes come back on other show to try to revamp their careers, and 'The Voice' is full of them. The worse part is that I hardly know any of these people that were former “pop stars” but thankfully this is 'The Voice' and so many of these acts do not go past the “Blind Auditions”.

Another issue I have with this show is the coaches and the way they plea to get an act to come on to their team, in particular Danny from The Script and Jessie J who seem to always be buzzing and begging for an act to pick them. It can be quite uncomfortable to watch artists who have made an name for themselves beg in such a way.

Overall, 'The Voice' is my pick over 'Britain’s Got Talent', I would rather watch people who actually have credibility judge people rather than sit through judges like Amanda Holden telling dancers they are not good enough...really! And to those of you that actually go out on a Saturday night, well done as you have a proper life.

Watch 'The Voice' every Saturday on BBC One or catch up BBC iPlayer.

'Revenge'

When I want to get revenge on someone, I simply let karma do the work for me. On the other hand, Emily Thorne (Emily VanCamp) likes to torture and kill off her enemies on 'Revenge'. Series two of this hit television show is on E4 at the moment, and Emily is kicking more ass than ever before.

As a child her life is turned upside when her father David Clarke (James Tupper) is framed for a crime he did not commit, and watches as everyone betrays her father. As the story reveals itself, Emily Thorne is clearly not who she says she is - she is Amanda Clark, David’s daughter...now you can understand why this show is called 'Revenge'! Set in the Hamptons, Emily is dazzling and rubbing shoulders with wealthy people who had the money and power to help her father but chose not to.

Emily’s main nemeses are the Graysons; the wealthiest family in the Hamptons who master minded the downfall of David Clarke and basically control the Hamptons. Conrad Grayson (Henry Czerny) is the breadwinner of the house, being a CEO of Grayson Global, the family business. However it is Victoria Grayson (Madeleine Stowe), his not so loyal wife that is head of the house, most of the scheming and backstabbing among the Graysons comes from her which she does with such elegance and style that you would never see coming. But it is Daniel Grayson (Joshua Bowman), their spoilt rich son, that catches Emily’s eye and soon things heat up between these two.

The Hamptons is not just filled with Emily’s arch enemies, there are actually people she likes, such as Jack Porter (Nick Wechsler) her old friend that she had fond memories with but can not reveal her true identity him as she is a woman on a mission. One of the few people that know her true identity is Nolan Ross (Gabriel Mann) her dad’s trusted friend and my favourite character on the show. Nolan has some of the best witty comments and is always thinking what you are thinking, but at the same time is extremely loyal to Emily. These on-screen friendship blossoms in every episode you watch.

If you are looking to watch an US drama starring a cold hearted killer then you have found your show and once it has finished, you can simply turn over so you do not have to watch that 'Made In Chelsea'...not even I can watch that! With 'Revenge' waiting to be renewed by ABC, I remain very confident that there will be a series three for us all to enjoy.

Watch 'Revenge' on Mondays at 9pm on E4 or on 4oD catch up.

Download: Phoenix & R Kelly - 1901/Ignition [The Hood Internet Mash Up]

2013-05-06T01:49:00.000+01:00

Words: Saam Das

Okay, so it's highly likely that you heard (or at least heard about) the collab that Phoenix and R Kelly did at this year's Coachella Festival. You might not have heard the more polished version that remix specialists The Hood Internet put out. Download the "Phoenix to Ignition" below for free.

It's a bit sad that the new Phoenix album has been overshadowed by the return of Daft Punk, although I'm as guilty as most in this regard - having not given the recently released 'Bankrupt!' a run through myself. There's no need to worry about anything else while you're listening to this mash up though, it's simply full-on good times.

Find more info on The Hood Internet at thehoodinternet.com.

Film Review: Emanuel And The Truth About Fishes [Sundance London Festival 2013]

2013-05-05T14:27:00.000+01:00

'Emanuel And The Truth About Fishes' (UK Release: TBC) // Words: Alison Potter

Emanuel (Kaya Scodelario) has never been able to come to terms with her mother dying during childbirth. Her long-suffering father (Alfred Molina) and his new wife are at a loss as how to cope with the depressive and acerbic teen, especially as her upcoming birthday and the anniversary of her mother's death throws her into even deeper despair.

A new neighbour, a beautiful young mother named Linda (Jessica Biel) – who looks remarkably like Emanuel’s dead mother – moves in next door with her new-born daughter Chloe. Seeking out a mother figure, having rejected her over-keen stepmother (Frances O’Connor), Emanuel immediately strikes up a bond with Linda. But their relationship becomes complicated by a strange secret that Linda harbours, which is about to be uncovered and change their lives permanently.

Balancing realism with surrealist vignettes, 'Emanuel And The Truth About Fishes' is visually stunning and full of noteworthy performances, especially from former 'Skins' actress Kaya Scodelario. Surprisingly it’s also Jessica Biel’s most accomplished work to date, and she anchors the film with her multi-layered and subtle performance of a fragile woman teetering on the brink.

If there is one thing that jars about the film, it’s that it in parts it was too full of teen angst, especially in the off-putting opening voiceover from Emanuel. The dialogue of her moody and self-indulgent character makes her a wholly unsympathetic protagonist – obviously we’re meant to feel her pain, but she’s so consistently annoying and rude that it’s hard to really identify with her.

This is further highlighted in her interactions with her love interest Claude (Aneurin Barnard) – their burgeoning train romance is initially the most charming part of the film, but then he too becomes just another recipient of Emanuel’s rages.

The climax of the film is slightly ludicrous, but it’s intense and gripping nonetheless. Writer/director Francesca Gregorini’s offbeat screenplay is powerful and ambitious, shining a spotlight on complex female relationships and exploring the complicated notion of motherhood. It’s also full of unexpected twists and turns, deftly making the transition from gripping drama into a dramatic psychological thriller.

Although it’s not a pioneering, genre-busting piece of cinema, 'Emanuel And The Truth About Fishes' is a solid sophomore effort from Gregorini. It’s definitely worth a watch, especially for Jessica Biel and Kaya Scodelario’s skilful performances and it should do well on the indie film festival circuit.

★★★½
(7/10)

'Emanuel And The Truth About Fishes' premiered at Sundance London festival 2013.

DVD Review: The Oranges (2012)

2013-05-03T20:13:00.000+01:00

'The Oranges' (UK Release: 29 April '13) // Words: Maxamillian John

Setting a film in the pristine front yard of American suburbia is always going to cast shadows of 'Blue Velvet' and 'The Stepford Wives', but Julian Farrino’s 'The Oranges' aims for less gruesome subversions. Out on DVD this week, it presents the tribulations of two neighbouring families mired in the quiet discontent of middle-class drudgery as the daughter of the Ostroff clan is received home from a long and self-searching spin round the globe.

Nina Ostroff’s (Leighton Meester) return explicates the well-worn dysfunction of the two households until her sudden and outrageous affair with the patriarch of the Wallings family, David (Hugh Laurie), explodes the lifestyle-template they’ve grudgingly followed. The rapport between Laurie and Meester was evident in her recurring episodes in 'House', and it helps carry an on-screen romance that would otherwise appear too broadly drawn, while Farino’s directing and cast remain unobtrusive and workmanlike.

'The Oranges' wasn’t the first film to give us a predictable domestic scandal that forces its characters from routine to self-discovery, in fact it wasn’t even the first that year: the pins are set up in an alignment similar to Niall MacCormick’s 'Albatross', but knocked down here with less overt enthusiasm.

'The Oranges' might be the only one, however, to undermine its few decent jokes and serviceable ensemble acting with a narration that’s not only entirely unnecessary but gives us the unwanted opinions of the only character that doesn’t matter and who shows no sign of an arc until the final five minutes, the Wallings’ daughter, Vanessa (Alia Shawkat).

Presented as our protagonist and played as a teenage cliché-cocktail of one part selfish angst to two parts delusion of relevance, you could lift Vanessa and her turgid voiceover straight out of the film and lose nothing of the plot or the drama. Vanessa’s interludes are presumably an attempt to illustrate the fallout of the affair on the blank slate of an innocent member of the family. But that slate is so blank, so tedious, that it’s difficult to feel anything but bored by her.

As long as you don’t let Vanessa intrude upon your notice, the film is funny and well-observed, even if the observation has been made a hundred times before. 'The Oranges'’ effort to throw off the suburban surrender of unambitious lives is an 'American Beauty' that never fully commits, but even if it’s without inspiration it’s still not without some colour.

★★½
(5/10)

'The Oranges' was released on DVD this week and is available to purchase from amazon.co.uk.

Preview: The Great Escape Festival 2013

2013-05-03T02:51:00.003+01:00

The Great Escape festival, Brighton (16-18 May '13) // Words: Saam Das

I love The Great Escape, the annual Brighton-based festival dedicated to new music. Indeed, after visiting the festival for the third time last May, I commented that it has "yet again proved to be one of the finest multi-venue, city festivals around." A quote that the festival are even using as one of their testimonials alongside the likes of NME and The Times. I hope to be there again this year, and read on to find out why.

The Great Escape has grown into its role as "Europe's leading festival for new music", becoming a legitimate counterpart to the ever-popular but increasingly corporate SXSW festival in Texas. It may rarely share the scorching sunshine of SXSW or the laissez-faire vibe of a Glastonbury but The Great Escape offers hundreds of bands from across the world in a mud-free environment.

This is a festival that encourages you to seek out new artists before they hit stadiums, an ethos shared by many a music blog, and this one is no exception. In 2011, I saw BASTILLE play an early, intimate slot and now they're busy clocking up Muse support dates and UK #1 albums. In fact, they're returning to The Great Escape this year as one of the headliners.

Adele is another success story from The Great Escape, having played at the fest in 2007. Who'll be this year's BASTILLE and Adele? I don't think anyone knows really but that's half the appeal - stumbling upon so many bands on the rise. You'd suspect that 2013 festival acts like The 1975 and CHVRCHES will go on to bigger things but it's far from guaranteed, although HAIM bolstered their reputation significantly at The Great Escape 2012.

The festival has already sold out its entire allocation of regular tickets - however, you can still buy special Dome show tickets to see Billy Bragg or Everything Everything, which also offer you the same perks as a regular three day pass. And considering the cost is a tad over £60, it's not bad at all.

If you'd like to sample another angle of the festival then you can opt for a delegate pass and find yourself immersed in the UK music industry as it descends on the convention side of The Great Escape. Here, you can attend panels discussing the future of music retail, the art of A&R, and much more. But really, The Great Escape is more about music discovery - and we'll be highlighting some of our favourite acts on the bill soon.

For more details and to purchase tickets, head to mamacolive.com/thegreatescape.