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| General Entertainment Non-Pokemon topics relating to today's entertainment pastimes. TV shows (including cartoons and anime), movies, books, graphic novels and so on. |
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#2
June 15th, 2011, 12:00 AM
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#3
June 22nd, 2011, 07:40 PM
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 Funeral - The Arcade Fire I first listened to funeral this time last year, when i was facing my first set of state examinations... so i was feeling very stressed. I was worried... i was determined to get better results than certain friends of mine. On top of that, things online weren't going so great: a forum I used to frequent was coming to a close and I felt like I had nowhere to go. I needed something to show me that I wasn't alone - that people had dealt with what I was dealing with and lived to tell the tale. So anyway, it was about a month before my examinations were taking place and I was hanging out with a friend who was worried about maths and I was worried about Irish (the exams) and she was freaking out and I suggested she do something to calm herself down and she whipped out her iPod and threw me an earphone and she told me I was about to fall in love. For a second i thought she was coming onto me but she turned on Neighbourhood #1 (Tunnels) and as soon as the piano and guitar started playing in sync, I realised I had stumbled upon something great. I went home, found out my dad had a copy of the CD and I upped it on iTunes and listened to it in its entirety... the climatic chorus followed by the weeping violin on Neighbourhood #2 (Laika), only to be followed by hard electric guitar... the classic blues guitar work on Une Annee Sans Lumiere avec les vocabulaire Francais... the album's second best song, accompanied by every instrument you could think of, only described as the beautiful mess that is Neighbourhood #3 (Power Out)... the wailing folk that was Neighbourdhood #4 (Kettles)... Crown of Love is the redemption song with guitar notes as fragile as lead singer's Win Butler's voice... the highlight of the album, Wake Up, is an anthem-like, indie rock baroque pop mixture that completely changed my perception of music and if it wasn't for this song i probably wouldn't have listened to the album again... Haiti, a rushed acoustic song about Win Butler's wife's homeland in which regine herself sings... the album's easy listening song with crippling lyrics and an intense buildup, Rebellion (Lies)... and then the final song, In The Backseat, which offers absolutely no closure whatsoever. The closure you, the listener, had been waiting for. The closure they, The Arcade Fire, had been searching for. During the writing/recording process, three family members relating to members of the band died. Seeing as we're looking at a set of brothers and a wife/husband dynamic in the group, not just three people were upset. The emotions can be seen in the songs - a want to be able to hope for better, an embracing of death and misery and the fragile beauty that is humanity. If ever you felt like everything was being pushed away from you and you didn't think there was a way out, listen to this. You will never have heard anything like it because there was never anything like it and since, there hasn't been anything like it. The record itself is greatness and while it's not a healing record, it does help to know there are people out there in the same situation as you, desperately trying to be heard and sometimes just wanting the lights to go out for them. |
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#4
June 23rd, 2011, 02:58 PM
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#5
June 23rd, 2011, 07:38 PM
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Cocteau Twins - Violaine  There are few musical acts that can produce an EP filled with more emotion than the best part of albums out there; Cocteau Twins are one of those few. Their 1996 EP Violaine acts as a suitable final farewell from the band, as it was their final release before their breakup one year later, due to the dissolved marriage of Elizabeth Fraser (Vocals) and Robin Guthrie (Guitar, electronics). After a career spanning almost two decades, the Cocteau Twins came a long way; nine albums and twelve EPs shows that they were no amateurs before Violaine, but they were certainly no experts either. Many of their releases were incoherent, only a few of their albums have been highly regarded, and their mainstream popularity had always been limited. It seems that the Cocteau’s knew of this, and kept it in mind when creating Violaine. As an EP consisting of only 5 songs, it’s concise, so there’s no room for mistakes; each song has to weave together almost seamlessly for it to ever be considered something more than “just a couple of outtakes”. Violaine makes an incredibly good shot at this; in the end it functions as more of a looking glass into what could have been if they’d stuck around for another album. But a looking glass can be interesting in its own right. The opening self-titled track, “Violaine”, is as close to a pop song as the Cocteau’s could ever get, yet still far from it. Guthrie overuses the flanging effects that the Cocteau Twins are known for, but also brings something relatively new by layering the guitars one over the other in a style reminiscent of “How Soon is Now?” creating an echo that sweeps around the powerful bass and sharp drum machine; adding their own flavour to a common post-punk style that’s since been abandoned by most other bands after the closure of the 80s. But what has always made the Cocteau’s unique is Elizabeth Fraser, once described as “the voice of God” she is simultaneously responsible for both the extensive fan base of the band, and their lack of mainstream success. Many albums would have her vocals faintly drifting in the background, but this time she is the clear focus; far louder and more prominent than before, yet still gentle and comforting. The development of Fraser’s voice plays no small part in making Violaine a notable addition to their work. However, the sheer power of the instruments on "Violaine" means she isn't given the chance to open the EP with her full capacity, and she's only able to really shine later on. Unfortunately this means “Violaine” just falls short of being a remarkable opener. “Smile”, follows suit, using the familiar pop song format of verse, chorus, verse, bridge, and chorus; much like "Violaine". But it does show hints of a more experimental side to the Cocteau’s than “Violaine” does. Guitars are used sparingly with synth being used in replacement; creating a fun, bubbly sound that’s reminiscent of a Christmas morning as a child. This is soon shattered by Simon Raymonde’s ever powerful bass. It still demonstrates the Cocteau’s talents well, but also demonstrates one of their biggest flaws. There’s too much happening all at once, and they can’t decide whether they want to be a rock band or a dream pop band. Tracks like “Smile” can easily divide listeners, and it’s not difficult to see why. Although “Smile” has flaws, when it’s not put into comparison with the other songs on the EP (which in fairness, have very high demands), it is still able to stand alone and be enjoyed all the same. It feels ever so slightly out of place; it’s a piece of the puzzle that isn’t quite sure where to fit in, but can be appealing to experience, regardless. The EP is given an entirely new angle by the third track, "Tranquil Eye". “Violaine” is the rock track, “Smile” is the bridge, and “Tranquil Eye” marks the full transition to an alluring ambience. The song was composed by the Cocteau’s for Chinese pop singer Faye Wong; it seems like a strange mix at first, but after the track starts, it’s evident why she’d want to collaborate with them. Guthrie manipulates sound as if he were a protégé of Brian Eno, capturing an ethereal, spiritual harmony, which seems to be appreciated in the east far more than in the west. The Cocteau’s also recorded their own version, and it really allows Fraser to flaunt her vocal abilities even further. Throughout the Cocteau’s career, many of Fraser’s lyrics have been undecipherable; on Violaine she proves better than ever before that they don’t need to be intelligible. Fraser becomes a connection between music and language. She does not simply sing; she uses her voice as an additional instrument to create sounds with emotion that no piece of musical equipment could ever portray. She shows that she can find a balance between creating both sound and poetry with one voice, within one song. Her ambiguous singing is often open to interpretation, and it allows listeners to hear lyrics that they themselves choose to hear, Fraser acts as the guiding voice that allows listeners with a little imagination to piece together songs of their own. There’s a clear sense of rhythm regardless of the unconventional style, her verses flow seamlessly into one another. Throughout this EP (and especially with “Tranquil Eye”) I get the feeling she’s reciting words from an archaic language long forgotten in the seas of time, rather than the thought that she’d merely choked on a line, which could sometimes be the case with prior, less refined efforts. There’s minimal ambience with the fourth track "Circling Girl", the guitar screeches with distortion, and it again reminds us of the Cocteau’s initial post-punk influences. They really return to their roots with this track, showing they can improve on what they did way back in the start of the 80s, as well as performing well with their evolved technique. The simplicity of this song is one of its virtues. Fraser’s lyrics are much easier to decipher in places, and there’s little experimentation beyond the heavy guitar effects (which, regardless, are nothing new). It’s a neat and comfortable little song that may not be especially significant in many people’s minds, but will certainly please those that enjoy Guthrie’s use of guitar. Not as hard-hitting as “Violaine” was, “Circling Girl” acts as it’s little sister. The fifth and final song “Alice” is perhaps the real highlight, the perfect icing on the cake to mark the end of Violaine, and their career. Returning to their ambient side showcased in “Tranquil Eye” with the addition of a few simple piano chord progressions leaves little essence on the instrumental side of things. Yet again it’s Fraser’s vocals that bring the song into a whole new level. The piano supplements her voice admirably. Fraser also double records her voice, allowing her to deliver her own backing vocals; something that can often be a risk for some, but her wide array of abilities (mainly being able to change her pitch so well) makes it seem as if she’d miraculously found somebody else that is just as capable as she is. Her dual vocal approach is the extra perk to make what would have been a very good song, into a great one; and arguably one of the best of their entire career. After the piano halts and Fraser drifts into silence, nothing remains but the few final seconds of droning ambience as Violaine comes to a close and the Cocteau’s fade into memory. I’m left feeling saddened that they had to end in such a way, yet content that I’ve been able to experience listening to a little treasure that, despite its imperfection, I know will find its way to my ears time and time again. 7.8/10 Last edited by Vendak; June 24th, 2011 at 02:01 PM. |
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#6
June 26th, 2011, 04:09 AM
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X-Men: First Class  The movie starts out with a flashback during the time of World War I, showing us how Erik Lensherr, Charles Xavier and Raven Darkholme discovered their mutant abilities. The main antagonist of the plot, Sebastian Shaw, is also a mutant with the ability to contain all forms of energy and manipulate it. His plan is to persuade, or the better word is threaten, the Russian government to place Cuban missiles on an island near America, thus causing both super powered nations to declare war on one another, and of course, start up another World War- in this case, the third one. Why does he want to do so, you may ask? Simply, Sebastian Shaw wants to use that opportunity for mutants to rise against humanity in that war and with no exception, win. You could say that Shaw is trying to prove that mutant-kind is far more superior to mankind. On learning this, the CIA decides to team up with Charles, Erik and Raven to thwart Sebastian and his gang. Through the sequence of events as the team tries to track down Shaw as well as recruit more mutants to their cause, the origins of the Cerebro was shown and of course, the small dose of battle action scenes in a rather brief confrontation of both sides. The movie soon focuses to the tantalizing main dish which the audience relishes. As the two nations are on a verge of a nuclear war, our friendly mutants interfere to save the day along with intense epic battle scenes where both mutant sides face each other for the finale. Sebastian Shaw is killed by Erik Lensherr, ironically in the exact same way Shaw murdered Erik’s mother. The ending starts to slowly unravel with a dramatic yet somewhat fateful explanation as to how a rift formed between Charles and Erik, giving us the modern X-Men franchise we know. In terms of action scenes and battle scenarios, this movie would score perfectly, especially with well-placed moments of suspense and anticipation. One watching it would be constantly on tenterhooks. The further display of mutant powers and talents are just fascinating to behold, we see more tricks and stunts and the marvelous ingenious ideas the characters make use of. The visual and sound effects were well done, overall. I truly felt that the effects at a few points throughout the movie could have been toned down a notch, so as to not keep on startling the viewers unnecessarily. Also, I would appreciate it if our blue-skinned mutant would not show off a somewhat uncomfortable amount of flesh to ensure that this movie stays suitable for young easily-influenced minds and within its rating of PG 13. As always the battlefield becomes the place whereby characters fully develop and unleash their true potential. It may be cliché but it still sends across the inspirational message of believing in one’s self. In my opinion, this movie is possibly the best so far in its franchise, being more greatly accepted by the public and faring better than its predecessors X-Men Origins and The Last Stand. It is an essential prequel, definitely answering all the questions of X fans and giving us audience a deep insight into the complexity of the current X-Men. It also gives us some thought-provoking questions and a better outlook of humans ourselves, such as, how does society treat those who are specifically different from apparently normal people and how such discrimination or singling out can often result in strong negative feelings from the outcast and possibly leading to dire effects, as portrayed in the movie itself. The movie always shares a more toned-down subject to our growing young audience that true strength and power can only come from the heart, “the place between serenity and rage”, and not fueled by desire, anger or hatred. This can lead to more lessons to be learned in future. In conclusion, I think that this movie would be remembered as the best X-Men movie for a long time. If you’re someone who has been following the franchise since the start and have yet to watch this movie, I strongly encourage you to do so and all the questions you probably had in your mind when watching the earlier movies would surely be answered in that 132 minutes. Rating: 4 stars
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#7
June 26th, 2011, 09:25 AM
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#8
June 26th, 2011, 03:10 PM
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 The White Tiger - Aravind Adiga I have never seen a white tiger before in real life, although I do know these light-colored felines are quite elusive. Due to being part of the same subspecies of tiger, they are not part of a distinct population, and simply stand out on their own within tenuous instances instead. Yet as rare as they may be, Aravind Adiga apparently picked this animal to name his first book published three years ago. “The White Tiger” actually lives up to its name, for it is not often that I read something like this that has left quite an impact to my own judgment. Adiga did name the book after the white tiger for a reason. ‘The White Tiger’ was what the primary protagonist, Balram Halwai, called himself, and he believed that this reflected his own successful individuality, a rare event among the citizens who, in one way or another, originated from the slums. And his disposition toward the slums, which he calls the Darkness, creates a driving force that takes him to the country’s center of technology and outsourcing, which he calls the Light. All this is hinted in his introduction at the book’s start, and what took place in between is the entirety of the novel: organized as a series of nightly letters to the Premier from China. And each letter signifies a transition, a development not only of life state or Indian caste, but also of character, that Balram goes through. In fact, he goes from a rickshaw-puller’s son, to a teashop worker, and then to a rich man’s driver, the last occupation of which encompasses a great chunk of his narrations to Premier Jiabao. The receiver of these messages, in turn, serves as a fellow reader of the life story of Balram. This distinct way of passing on one’s story, coupled with Adiga’s sense of humor that is frequently shown within Balram’s speech, continued to make me interested of his experiences, opening my mind to another person’s view of his surroundings. The author picked the best places to place a talkative character in, and being within India showed both what was already known and what was not. But it is not just the point A to point B transition that drew me in. The evolution of the Indian society towards globalization is also evident with its each step here, including the side effects that a progressing part of the country creates towards others. This was brilliantly written between the lines, and with the author’s clear image of each locale making it easy to picture all that is narrated. However, within these same lines, the protagonist’s bias evidently lies, and only an objectively thinking reader may truly understand and apply to the big picture amidst the partiality. In the end, the book indubitably leaves a lasting image of the figuratively half-lit India, with the main protagonist staying at its light and facing away from his shadow. Being in the peak of one’s life may have been a predictable end for a success story, but it makes the reader wonder why there is a lack of any real closure towards the issues that were brought up. This may evoke the book’s ending to feel inadequate, yet in a way it compels the reader to feel like he or she must do something about the situation. And that might just be the reason as to why the book had left such a lasting impression to me as a reader. So for now-- just so I can see what the author had seen and become fond enough as to write a novel, I’m going to the nearest zoo that has white tigers, and pay the elusive white tiger a visit.
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