'Beautiful Noise', shoegaze me

Beautiful Noise
Beefeater In-Edit 2014, Chapter III

The third documentary seen at this year’s Beefeater In-Edit was another easy choice. To my knowledge 'Beautiful Noise' is the first-ever documentary made on shoegaze/noise-rock of the late 80s-90s. Must-watch, again.

The merits of the film are many. Eric Green has created a relevant film from ground zero, working alongside producer Sarah Ogletree during almost a decade through their company HypFilms. Considering the DIY origins of the documentary (funded by a Kickstarter campaign), it's a great achievement they managed to arrange so many interviews with very big music names. But even more important than that, they have been capable of offering us a very solid and coherent work. It's clearly a work of passion for music.

The rise-disappearance-revival of shoegaze is well documented on the rockumentary, thanks to a straightforward chronological line but, foremost, by the huge bulk of interviews. From Cocteau Twins to Chapterhouse, it's hard for me to remember who's missing in the picture (although my dearest one, the great Rachel Goswell, is not interviewed). There are in-depth cuts with Cocteau Twins' Robin Guthrie, The Jesus and Mary Chain's Jim Reid & Bobby Gillespie, Slowdive's Neil Halstead, Ride's Mark Gardener and Andy Bell, or My Bloody Valentine's Kevin Shields, among many others. But there's also space for music giants like Robert Smith, Trent Reznor and Billy Corgan. Extremely impressive. The greatest moments are reserved to Reid and his controversial relation with fame/frustration for the band's lack of sales, and the unresolved war between Alan McGee, boss of Creation Records, and Kevin Shields. They were both right.     

So, the story of late century 'wall of sound' and musicians looking to their sneakers is the tale of a bunch of musicians who tried to subvert rock traditions without leaving guitars, looking for new sounds, atmospheres and introduce melody within the noise trying. Experiment and feel. They were ahead of their time, but they didn't find the success they were hoping for (Ride were the closest ones to achieve commercial support), so the pretty spontaneous movement faded away... until the digital era rescued them. 

Unfortunately, 'Beautiful Noise', except some situations like the ones referred before, lacks poignancy, debate, insight. Bands are utterly praised then simply glorified (can't put all bands in the same bag), and so is the revival (same applies). Besides, the film has too many minutes of empty visual fillers. We get it, it sort of connects with the ethereal, elusive music, but it's kind of lame. The overall feeling is that we are watching a formal, very correct but a bit monotonous documentary. The movie does makes a beautiful noise, but it's subdued.

SCORE: 6,25/10

“My Secret World”, one hundred Sarah Records

My Secret World. The Story of Sarah Records
Beefeater In-Edit 2014, Chapter II

Our second choice at this year’s Beefeater In-Edit was a no-brainer, a must-watch. I mean, a movie about the story of Sarah Records? On the first row without a doubt.

Why? Because every truly single indie-pop heart needs to know about the Sarah Records story, the referential label based in Bristol with an adamantium spirit of independence founded by Clare Wadd and Matt Haynes. They created an immaculate, DIY label (oh my God, the story about the letters!), that overpassed it’s eight years of existence (1987-1995) to become a myth.

Director Lucy Dawkins chooses the most straightforward and didactic approach. She gathers with Clare and Matt and in a very logical order. The origins, the fanzines, the idiosyncrasy and attitude of the label... and every band that published with them in chronological order, covering the 100 7” limited releases Sarah put before going out with a bang. That choice proves to be a very coherent one, making “My Secret World” a very consistent documentary and a pleasant experience for fans, but also an excessively linear and, sorry to say, a bit boring film too, in particular for newcomers into the label’s world or for the ones that are not familiar with the bands.

What this rockumentary shows is that Sarah Records’ was a very small world. A relevant world full of indie-pop pleasures, but also shoegaze and punk flirts, twee music (funny how the interviewed bands refuse the adjective). A world with clear goals and a distinct way of understanding music. A world with a will to fight against the silly criticism (what a piece of shite were the music tabloids, I refuse to say magazines), sexism and misogyny, in my opinion the most interesting moment on the movie, would have loved that bit lasted much longer. But still a small world.

If you are a fan, you’re going to love seeing Blueboy, The Wake, Another Sunny Day, The Orchids, The Field Mice, Heavenly (awww Amelia Fletcher, why not a documentary about her), or “special” fans like music journalist Everett True or Jacob from The Drums, evoking their Sarah Records related memories, or just praising the label’s evolution. Not everything is wines and roses, but Dawkins is not interested on digging deeper on some of the “issues”. Something you have to respect seeing the direction of the movie. But if you’re not a fan, or if you’re not a die-hard fan, “My Secret World” can be just tiring. Whatever the case, a film that needed to exist. Plus a great excuse to listen several unmissable bands. At the end, that’s what makes a label memorable.

SCORE: 6/10

"Pulp", singing for the common people

Pulp: A Film about Life, Death & Supermarkets
Beefeater In-Edit 2014, Chapter I

Our first rockumentary at this year's In-Edit was a highly expected one. I could develop my argument properly, but just let's say that anything involving Jarvis Cocker interests me. Besides, the movie was receiving quite a lot praise, being saluted as somewhat innovative and exciting. Unfortunately, it doesn't fulfill the expectations.

For starters, Florian Habricht's documentary is not that shocking. It's an insight take on a final concert, in this case the last (hope we are wrong) Pulp gig after their most celebrated comeback. With the addition the show takes place at home, at Sheffield. While he approaches the band while they prepare for the show... and to say goodbye to play as one of the fundamental pop bands of the last twenty years, the director tries to dissect what means Pulp, and their music to their fans (some of them, quite quite hardcore fans), their hometown and it's common people.

I know, I know. That doesn't sound bad at all. And, despite its originality is dubious, it is fair to say that's not your average music documentary. And I agree some of the inhabitants of Sheffield interviewed are really genuine and/or deadly funny (freaks, venerable old women with a knack for humour, sensitive and fragile human beings). And they like to sing (the musical scenes where they singalong the band tunes are charming) But it's hard to see the supposed sociological depth or even the testament to a city and HIS band in an amount of jokes for hipsters (the one with the kids is particularly annoying). Entertaining? For sure. Enlightening? Ummm...

So, what we got instead? Several Jarvis Cocker' witty comments, in particular the ones looking/hiding from the camera while he talks about the pass of time and on the subject of fame ("it didn't agree with me – like a nut allergy" he sentences). Jarvis Cocker in diverse and kind-of-cool situations, the best one involving his concert wardrobe and aid kit, which is priceless. Few revelations from the rest of band members, including the über cool Richard Hawley. And a mind-blowing, absolutely fantastic concert footage. Is that enough? Well, thanks to Jarvis charisma and the great tunes, it is. But the best film of the Festival? Or the movie Pulp deserves? It just fails short for that...

SCORE: 6,5/10

"The Punk Singer", Girls to the Front!

The Punk Singer: a Film about Kathleen Hanna
Beefeater In-Edit 2013, Chapter V

And last but by no means least (on the contrary) here's the winner of the International Award at Beefeater In-Edit 2013. A touching and engaging film on Kathleen Hanna, iconic leader of Bikini Kill, Le Tigre and happily back on the scene (hopefully on stage too) with The Julie Ruin, the voice of the riot grrrl movement and feminist activist symbol. And a slap in the face to all the female prostitutes that some consider artists (not me) and keep invading mainstream pop music (sometimes also indie), serving the greedy industry while degrading themselves.

Director Sini Anderson had a lot of information to digest and compress on "The Punk Singer". Her music career, her crucial role as a pivotal person on a socio-cultural movement, her disappearance from scene in 2005 and her legacy. But she doesn't just nail it. She is also capable of moving the viewer deeply, affected by the dramatic turn of events of her personal story clashing with her fierce and fearless attempt of being a force of change. I left the theater with the feeling the movie is just too short. I didn't want to end. I just wanted to see and know more.  

The combination of archival footage, comments from other musicians plus her intimate interviews makes the movie flow with grace and dynamism. But again, it's more than that. The remarks from other artists are usually flattering if the rockumentary subject is someone the viewer likes, but truth be told, they tend to be tiring and mostly irrelevant. That's not the case with this film, as they also serve to determine better than any director's digression could do the importance of Kathleen Hanna. Kim Gordon (Sonic Youth), Joan Jett (The Runaways, solo), Tobi Vail (Bikin Kill), Carrie Brownstein (Sleater-Kinney, Wild Flag), Corin Tucker (Sleater-Kinney, Corin Tucker Band), Allison Wolfe (Bratmobile)... are only a bunch (just to name a few) of wonderful artists eager to acknowledge Kathleen as a cultural reference and an unforgettable influence.

But what makes the film achieving such great heights is the personal side of our beloved punk singer. Almost a superhero, outspoken and determined to raise her voice to defend women rights, the sudden end of Le Tigre comes as a shock, and when we know the reason why she had to vanish from the spotlight (what a memorable, human scene when pours her heart out) is like being teenager and seeing your own music Wonder Woman losing her superpowers, forced to hide herself... to RISE again. The scenes with her husband Adam Horowitz (Beastie Boys) are breathtakingly vivid and emotional.

As I said before, my only complaint is how short this rockumentary is. 75 minutes is an extremely efficient work of concision, and as it develops, I can't say anything else but praise it. It's a great, flawless film. One to celebrate as Kathleen Hanna is a real role-model, a positive influence in this time of pornification of music, where terrible women without any talents are fighting to lead the music charts. She's such an interesting person, and her story is so powerful I believe there's a lot more to be said. About her, and of course about the riot grrrl movement. But please don't take this as a complaint. Take it as a suggestion. A second, third, fourth chapter as good as "The Punk Singer" would be more than welcomed. And needed.

SCORE: 8,25/10

“Mistaken for Strangers”, Abel Come On

Mistaken for Strangers 
Beefeater In-Edit 2013, Chapter IV

Back with movies, with the rockumentaries still pending from the latest In-Edit Festival. And we do it with The National. Here goes my band, again.

The most serious group in the "indie planet" shows a much unexpected side, stripping their impeccable black suits and matching ties to offer a funny but equally engaging film about two brothers: Matt and Tom, the Berninger brothers, living extremely different lives. The bloodless, indie-rock version of Cain and Abel with the best soundtrack of the decade. Of course.

Leaving the traditional “tour” rockumentary behind, although there’s some fantastic footage of their mind-blowing gigs too, “Mistaken for Strangers” is a surprising private show, where film director Tom Berninger, Matt’s younger brother blows up all the genre cliches. As a matter of fact, I couldn’t help but think the film has some similarities or debts with the magnificent documentary about Banksy, “Exit Throught the Gift Shop”, where the viewer never knows if the whole plot is a mockery or deadly serious.

If you are looking a film about the band, is not here (the only omplaint I have about is how the rest of the band is sacrificed for the coherence of the film). This is a portrait not so much of The National, but of the relationship between these two brothers, Matt Berninger, the lead singer of a band in the rise and an alternative icon himself, and Tom Berninger, the unlikely roadie of the band while they embark on the "High Violet" tour through Europe, aiming to film his adventure with his now famous older brother while he figures out what he does with his pretty messy life and his… demons.

Even with the shades of being in front of a spoof movie, “Mistaken for Strangers” not only entertains and makes you laugh (Tom really steals the show here with his ridiculous behaviour and comic disasters, even funnier in contrast with the highly professional and serious image the band gives) but it’s also surprisingly rich and emotionally affecting.

Rich because the movie reveals itself as and absorbing insight inside the hard, troubled quest, into the creative process. The creative process of a band trying to give their best live (the scene with Matt losing his temper, his exhausted looks to his annoying brother), on the road (the patience and attempts to understand the peculiar logic of Tom’s questions from the rest of the band members), and a glimpse on the studio starting what it would become "Trouble Will Find Me" ("I Should Live on Salt" playing). And the process of filming the documentary itself, with a sprawling mess of footage the most chaotic filmmaker ever will have to ensemble and give coherence to.

And emotionally affecting, because Matt and Tom’s exposure. What does it mean to be successful? How does it affects the relationship between two brothers? The film depicts it to an absorbing depth, and although there’s a sense of chaos and luck (on purpose?) there are real feelings that cannot be acted (faked) that well enough, like the admiration Tom has for his brother and Co., or how the famous rock frontman is eager to help doing whatever Tom requests him while he keeps pushing his younger brother to finish his (by then) improbable movie. By the time “Terrible Love” is performed, you are completely captivated by the film, and that rousing and impossibly revealing take of one of their most powerful tunes, with the Berninger together will really bring you to your knees.

SCORE: 8,25/10

"Muscle Shoals": Magic, Tragic, Music

Muscle Shoals
Beefeater In-Edit 2013, Chapter III

It all appears to be some sort of joke, or a extremely tough trivia question: what do songs like "When a Man Loves a Woman", "Land of 1.000 Dances", "Wild Horses", "Free Bird", "I Never Loved a Man", "Sweet Soul Music", and hundreds of other soul-pop-rock classics have in common? Here's the answer. A small town in Alabama, named Muscle Shoals, on the banks of the Tennesse River, was the unexpected were they were created. And this is the ridiculously absorbing documentary that reveals and depicts that astonishing truth.

Although having similatiries with the highly recommendable "Standing in the Shadows of Motown", "Muscle Shoals" it's even more shocking. For me it's bizarre that this is not a widely known legend, and that director Greg "Freddy" Camalier had the chance to surprise the spectator with such an spectacular story. And despite that, in my opinion, he takes a while, a long while, on unnecessary scenes filming the "Singing River", and the landscape of rural Muscle Shoals, while he recaps the first bits of opinions from music stardom. Sure, he wants to create the atmosphere, build the myth. But when you have such a striking story in your hands, you just have to let the camera roll on...

But on the other hand, Camalier really nails it when deciding that the focus of his documentary is going to be Rick Hall, and later on, Rick Hall and The Swampers. With that choice he provides the film with an structure while adding a human side that makes it richer. The founder of FAME studios has also a powerful story to tell, Southern style, that includes poverty and terrible, recurrent tragedy. Music is a way to escape and confront his inner demons, and along his rise as owner/producer there's a mind-blowing account of music history, racial evolution (he brought black and white together in not the most open/tolerant place in America), personal ambitions and struggles.

Not yet convinced? Well there's even more to be engaged to. Despite looking like redneck farmers, homegrown FAME studio musicians, The Swampers, will soon evolve as a parallel, intertwined plot. Responsible of creating that special trademark sound that made so many music icons as well as Atlantic Records owner Jerry Wexler go to Alabama seeking for the next big hit, they eventually left Hall to start their own studio, Muscle Shoals Sound. Betrayal, rivalry, tragedy but also huge success again.

On a final note, the amount of musicians that pay tribute to the place is mesmerizing. Bono, Keith Richards, Mick Jagger, Alicia Keys, Greg Allman, Clarence Carter, Etta James, Percy Sledge, Wilson Pickett, and many many more. The majority are/were direct, real witnesses of the music that was/is created there, and the amount of precious, personal remarks is colossal. But even the ones that haven't/didn't record there are so mystified by the place that I guarantee you will end this film absolutely convinced there has to be some kind of magic, maybe something special something in the air or the river banks at Muscle Shoals. Allow you to discover the story. You won't regret it. Thanks In-Edit.

SCORE: 7,75/10

"Greenwich Village", Generation Folk

Greenwich Village: Music that Defined a Generation
Beefeater In-Edit 2013, Chapter II

Very few places have the mythical qualities of Greenwich Village. The Beats, CBGBs, Dylan, Woody Allen... Literature, music, cinema... these streets are sacred ground for me. I've been lucky to wander around the area, and despite the hipster-posh-pricey-style, full of Starbucks (that's heresy!) and organic stores, the neighborhood still has a special vibe. So watching this film at In-Edit Festival was an obvious choice.

As its perhaps too evident full title announces, "Greenwich Village" aims to be an in-depth take of what it meant to be there on the 60s-early 70s, and how the music scene fuelled, or at least was an intrinsic part of the political, social and cultural changes of American society. Director's Laura Archibald approach is a coral one, full of interviews mixed with some striking performance clips, which, on paper, makes absolute sense. After all, the Greenwich Village in the 60s was a collective, a community that became the voice for many. Right?

That's the question. And I'm afraid it remains unanswered after watching the documentary. Don't get me wrong, the film is excellently structured (the comic animations are pretty cool too) and the division in several "chapters" gives cohesion to the different remarks of the artists interviewed. But it is not as revelatory as it could haven been, in my opinion because the quick interventions from the speakers are so short the whole majority of them are just flashy or superficial statements that makes you think there's a bit of indulgence and self-importance. Won't add a lot to the ones who, like me, are already "converted" to the cause. But I don't want to criticise the film, as I believe it's a fantastic work, that can really grab the attention of the casual spectator or only big-names folk/protest songs fans, showing a glimpse of a simpler but probably more human way of understanding life, and a sense of commitment and unity that would be very much welcomed and needed today.

And it does has many points of interest and remarkable situations. Archibald goes way beyond Dylan (maybe the weakest chapter, despite Jose Feliciano's hilarious impersonation), and shows many others artists, rather unknown, doing justice/paying an unexpected tribute to a few of them. She also features some mesmerizing performances by the likes of Phil Ochs, Odette, Richie Havens or Joni Mitchell. And she's not shy to bring (although I would have loved a richer insight) a not-so-happy issue to the table: the blacklisting and persecution from the House Committee on Un-American Activities, and the perennially ridiculous fear of Communism.      

Finally, and it's such a big plus it deserves a separate comment: it does have PETE SEEGER (yeah, in big capital letters). Every remark he offers in the film is full of wisdom and joyous eloquence (don't miss the final credits where he reveals what happened on the über-famous Newport Folk Festival where Dylan "turned electric"), and brought me near tears a couple of times.“What in the world is an un-American activity?” Not singing songs about people, that's for sure...  

SCORE: 6,75/10

“Big Star: Nothing Can Hurt Me”, the Cursed Band

Big Star: Nothing Can Hurt Me
Beefeater In-Edit 2013, Chapter I

Before June 1st of 2011, Big Star was a band always pending to discover because R.E.M., my heroes, were always praising them. But on that date two years ago, the Big Star's Third tribute concert at Primavera Sound 2012 in Barcelona was an unforgettable moment for me, simply being one of the most touching music experiences of my life. Truth be told, the main reason I went to the show was Mike Mills' playing among the guest starts, but the night was so memorable I still got goosebumps when I remember. Since then I've been trying to get into Big Star's music, so no question I was eager to watch this documentary.

Having said that, I don't consider myself a fan yet, and that might explain why, although "Nothing Can Hurt Me" is a highly recommendable rockumentary, I would say it's only a must for hardcore fans. There's an undeniable feeling you are in front of a very peculiar group and a unique story... but not exactly thanks to the film achievements. Allow me to explain.

The film is a caring chronicle of the Memphis' group ill-fated path and its recurrent struggle with success or popularity in the early 70s. Big Star's tale is the epitome of the cult band: loved by critics and fellow musicians, but remaining out of focus from popularity. Sure, it makes no sense, Ardent and Stax Records are sure to blame... but it's not surprising or extremely meaningful. The band's bad luck with his three records, distribution issues and lack of air playing is not that interesting for the occasional listener or the non-fan.

Being honest, I don't how co-directors Drew DeNicola and Olivia Mori could have solved the obvious obstacles they faced doing this film. The factor of the "absence" of the two band leaders on the film is crucial. There's no Chris Bell and no Alex Chilton on camera. All their story, within the band, after the first left, and finally after the combo disbanded in 1974 is reconstructed. The band's tragedy, crystallised on its two key members, can only be recreated by the filmmakers. Add another issue, which is, of course, the fact there's almost no footage of the band performing live. That makes the movie absolutely dependable on cool but a bit tiring visual compositions and a vast amount of opinions from the many people interviewed, harming the overall rhythm of a considerably lengthy film (close to two hours).

Not to criticise the opinions and remarks of the people interacting on the film. On the contrary, that's what makes "Nothing Can Hurt Me" worth watching, and at times, unforgettable. They are the best example of how deeply the songs of Big Star have touched many hearts and souls, in a way that to me (I've seen a lot of documentaries) is hard to compare. As the film develops you'll see an spectacular constellation of musicians, critics and industry-related folks showing a genuine love, even devotion (Mitch Easter, for example) for the cursed band. Some will get close to tears, impossible to hide how affected they still are by the tunes. Others are just striking for the viewer (family, close friends) with lone surviving band member Jody Stephens topping my "personal list". So human and compelling. That's why Big Star is a mythical band. Heartfelt rockumentary, despite the shortcomings. It couldn't be any other way with Big Star.

SCORE: 6,5/10

Festival Weekend. Defend Culture, Culture, Culture!

This country (I don't mind whether you are thinking on Spain or Catalonia, the result is the same) is a complete shame: corruption, lies, manipulation and an undisguised attempt to destroy the rights of the "regular citizen". Don't want to go "higher" and write about the European Union, not after seeing how are they reacting after the Lampedusa drama, because to me is just embarrassing to think I once was a serious supporter of the EU ideals, now an unmasked bunch of miserable people trying to design, rule our lives in their own benefit... I need a weekend to take shelter and hide, and to do that the best option, at least for me, has always been culture. Culture and education are the answer, and are bound together, against the bastards. Both needed to be defended (we do have a villain to fight against you know, it's called Wert, and looks like a vampire from a very dark age on Spanish history, not that long ago). Defended by you.

And in that sense this weekend is an ideal one. Two amazing festivals are taking place in Barcelona. Yesterday the 11th edition of the Beefeater In-Edit began (yes, music films are back in town!), and tomorrow the second BIS Festival (a fantastic idea where local labels gather to show the world what they do and why) will open its doors too. Music documentaries and local independent music, what a powerful and exciting combination. Would you like to defend culture? Here's a double option. You only need to get up and join what's going on in your city...      

   

Introducing... the Bloodbuzzed's Fall 2013 Agenda!

Introducing the blog's music & related agenda! It's an ongoing calendar and easy to update, so proposals are welcomed!

Music Documentaries: recommendations wanted!

This summary is not available. Please click here to view the post.

"London: The Modern Babylon", the roaring city

London: The Modern Babylon
Beefeater In-Edit 2012, Chapter V

A wonderful way to end this 10th edition of the In-Edit Festival. A genuine premiere, with the presence of director Julien Temple who was kind enough to answer some questions of the audience and chat a little after the film, but mostly a really remarkable documentary that reveals an impressive, titanic work of a director who has a tremendous, rare talent for combining visuals, music and ideas brilliantly.

I can only imagine how monstrous has to be the task of selecting bits from 120 years of history of a city like London, just to summarize them and try to offer a complete portray from such a vibrant place. Sure Temple spent never ending tones of time at the British Film Institute’s archives. Tracing London’s chronology in this exhaustive way must have been exhausting. But what it is worse, it could have been exhausting and not very rewarding. Tones of footage, interviews, pieces of movies, etc, etc, doesn't mean an interesting film. On the contrary, and being honest, it could have been a very boring stuff without an inner coherence or a direction. But Julien Temple, and that's why "London: The Modern Babylon" deserves to be highlighted, knows where he wants to go with his film.

Because this documentary is not a pleasant postcard of a city, willing to export its beautiful locations, investment opportunities or exciting attractions. Don't expect a "London welcomes you for the Olympics" kind-of-film. The film is an absorbing statement on social change, transformation. It's a vital process, one that dates back from the British Empire, suffers and evolves dramatically with the two World Wars, welcomes and rejects the recurrent migratory waves, struggles with shameful politicians (always Thatcher) and wannabe leaders and reacts, regularly, with violence, and social angst, against injustices. As Madness' Suggs describes wisely “People get taken in and become part of the city itself and change the city. And that’s the whole point. The place keeps changing.”

If something has to be criticised, it should be the considerable effort the films requires from the spectator, or at least the non-Londoner. More than two hours of imagery, music and clipping structure, with a (logic) slower beginning about the early 20th century. But I assure you it is worth the effort. Temple, a master of film edition, is capable of capturing the vitality of a city in all its forms and builds a narrative conformed by several layers, a well-taken, vivid collage, full of humanism. Its an extraordinary example of what we call "collective memory". Parallelisms between time periods and relevant dates (mostly tragic) abound, so the idea that city life is cyclical permeates in your mind. "The London Mob" arouses throughout the history of the place. A structure is built, then is fought, battled. Then London begins again.

Another factor I believe its worth highlighting is how Temple's puts his focus in ordinary people. With the exceptions of a few opinions, Londoners are the ones who develop the city's story. The clarity of mind of Hetty Bower, incredibly vital despite her 106 year-old is shocking and uplifting. From waving goodbye to soldiers on World War I to taking part of the Battle of Cable Street against Edward Mosley fascists to support today's Occupy movement in just a killer sentence: “They’re asking for the basis of our society to be questioned, and I think that is correct.” Through the eyes and voice of people like Hetty we are told a story of poverty, much suffering, surveillance, and a common brave spirit of getting active and fearless to react, to fight for change.

Temple doesn't doubt to establish an obvious correlation between the bursts of social creativity (in the arts, music, etc) and the political-revolutionary moments. London was an empire, hippy, punk, romantic, multicultural. But it always was, and still is, about the people who live there and shapes it, no matter where they come from (migration is the other recurrent topic here). Suggs (again) defines it better than anyone on the film: “The good old days? “There were no good old days. London doesn’t belong to anyone. It’s whoever’s on the go at any given moment." That's what Temple shows in "London: The Modern Babylon", and it's a fascinating lesson to be learnt.

SCORE: 7,5/10

"Sunset Strip", on entertainment street

Sunset Strip  
Beefeater In-Edit 2012, Chapter IV

Our fourth music documentary during the In-Edit Festival was the one with less expectations as, being honest, we didn't have any clue about what we were going to find. In that sense "Sunset Strip" was a nice surprise, quite fun and smooth entertainment on one of the most famous (arguably the most) streets on the planet, Sunset Strip, aka The Strip.
 
The documentary proposes a historical ride through the quite wild story of The Strip. From its origins, the not so glamorous road that connected Hollywood studios to a developing area that soon would become Beverly Hills in the roaring '20s, to the new Millennium. There's music, cinema stars, gangsters, hippies, drugs, hair metal, decadence, counterculture, glamour, scary parties, comedy, more drugs, and neon lights.... All is narrated in a very lightweight way, just a glimpse, a little bit of the whole, so the film can keep flowing, peppered by the comments of an impressive number of celebrities (even too many in my opinion) and people who were there (and others who weren't).

"Sunset Strip" doesn't offer any real insight or much substance. For the good and the bad. Some of the opinions are more passionate, amusing or significant than others. It's not the same hearing former mobsters talking about that policeman who made their life impossible than hearing Kelly Osbourne (what?). It's not the same hearing Lemmy or Billy Corgan than Slash (uggh). Johnny Depp (at least he used to be interesting) than Keeanu Reeves. I think you get it now. Also, some parts are way more absorbing than others. The mafia, the story of the clubs or the bloom of live music is much more engaging than the Chateu Marmont's or the comedians parts. But despite being somewhat uneven in the weight of its parts, or its unconventional mixture of footage, opinions, storytelling, live music and animations, it keeps going with fluency. It would be close to being confusing or chaotic, but believe it works because its doesn't attempt to go deeper. 

If something is made clear on the documentary, is that Sunset Strip's story is made by cycles. It's arguable if there's space for a new rebirth of the street today, despite director Hans Fjellestad tries to convince us that the new generations of artists and club owners are injecting new life to The Strip. That sort of latest minute eulogy looks forced, as the director doesn't show us the reasons behind that argument, and doesn't help the film coherency either. But I don't think "Sunset Strip" deserves to be blamed at all. It works just fine as a quite entertaining and pleasant, unpretentious carousel of stories on a very particular street.

SCORE: 6/10

"Let's Get Lost", the sad jazz of Chet Baker

Let's Get Lost
Beefeater In-Edit 2012, Chapter III

Our third film on this edition during the 10th edition of the Beefeater In-Edit Festival was a special challenge for me. I assume this would decrease my "hipsterism" or "coolness factor" to dramatic levels, but I don't get jazz. I won't lie. It bores me, sometimes even annoys me, and I don't think it works for me, not even as background music. That's why "Let's Get Lost", incredibly praised by movie critics (rated 2nd on the documentaries' best-of list) was a challenging proposal for me? Would I enjoy it?

The answer is yes and no. Mostly "yes", because Chet Baker's story is powerful and puzzling, and foremost, because director Bruce Weber seems to be always there, allowed to explore not just the most pleasant parts, basically that Baker was an outstanding talent, a one-in-a-million musician, but also showing that he wasn't precisely a lovely human being: liar, drug addict, not a very caring father, troublemaker, etc. It seemed to me that he was careless about life, and in some way a very sad character. Was he really able to connect with other human beings aside from his trumpet or voice? Weber had the courage of presenting the contradictions of the artist. Showing that behind the "cool cat" flair, there was a lot more to dig in.

"Let's Get Lost" show us Baker's "glory days" in abundance, becoming an icon (he was also good-looking, so success was granted), a reference for the youth in the 50's. He basically represented being cool. It's very interesting to see (its also pointed out by a few opinions) how jazz and particularly Chet Baker were "the alternative" in those days. But his "dark side" was also notorious, and Weber finds and seeks opinions enough to let the spectator get its own conclusions. In particular, there's a lot of attention and information regarding Baker's behaviour with his several women. They are one of the stand-outs of the film for sure.

But I also said "no" before. And that's due to the amount of footage that to me was gratuitous or overlong (as you can see I'm not referring to the songs played despite admitting I'm not into jazz). We have plenty of them, and I can only presume artistic intentions (many of them seems to recall Nouvelle Vague in the way they are filmed) that may embellish the film as a whole, giving it a dreamlike sensation. Ok, it may fit with the music, and even gives a poetic touch reconstructing some moments of Baker's life. But there should be some logic in the chaos, and sometimes is very hard to find it in the film. The opening scene on the beach, the cars at the amusement park, these recurring night walks joined by stunning ladies, the naked women book... I can understand the purpose was to reflect that Baker's life was almost surreal, a junkie (the end of the film is striking) living a parallel existence, one that Weber wants also to present, mixing, building what his memoirs, thoughts and experiences would have been along with not that beautiful reality. But it really harms the dynamic of the film. A length of 120 minutes was completely unnecessary. It also makes it a bit confusing and, sorry to say, pedantic.

Overall, it's an striking portrait of a deeply absorbing character, but also a blurred documentary that wouldn't qualify as really recommendable for many. Shame because "Let's Get Lost" could have really deserved all the praise received.

SCORE: 6,5/10

"I Am Trying to Break Your Heart", Wilco at the crossroads

I Am Trying to Break Your Heart. A Film About Wilco
Beefeater In-Edit 2012, Chapter II

The nice and great people of Beefeater In-Edit elaborated (collecting the opinions of "many experts") the 100 music documentaries best-of-list in occasion of its 10 birthday, including the top ten among the films that can be seen in this edition of the Festival. Needless to say, it was a great opportunity to enjoy some of them. I’m not a fan of Wilco, but its a band I’m quite curious about and I respect a lot, so their story in its hardest hour, their battle against music corporations, sounded pretty exciting to me.

Unfortunately, “I Am Trying to Break Your Heart” suffers, quite a lot, from “too high expectations”. Interesting and I assume, really addictive for Wilco fans thanks to the amount of live songs included, I have to say this is not the promised revealing take on a band struggling, internally and against their record label (Warner- Reprise Records). How to define it? The documentary is (hope that’s understandable) reflective. We don’t really see the band in these turbulent, tense times. We see the band (and manager Tony Margherita, plus other few people) telling us there was conflict and tension then. But that’s giving us their opinion, something that can be interesting, but its far from being the outstanding, unmissable documentary we expected.

That brings directly me to my other concern, or better said, main question: is this documentary controlled, approved by the band? The insight on the group seems quite biased, in my opinion. You spent a third of the movie length before any of the “issues” arise. There’s only one scene in which you can see the obvious tensions between Jay Bennett and Jeff Tweedy. Then there’s a little take on Tweedy doesn’t wanting to say much about it, and the rest of band showing their relief the former member was fired, while Bennett suggests a much bigger problem within the band. There’s only one phone conversation in which we can see the label and the band are going to crash. The rest is merely the thoughts and opinions of Tweedy and Co. (Margherita opinions are brutally biased, he’s a pretty annoying character I have to say). I expected a lot more on the clash between artist independence vs. commercial/music label greediness.

So what’s “I Am Trying to Break Your Heart” offering? A bit of the band on the studio creating Yankee Hotel Foxtrot, tones of live music (Tweedy alone & the full band) looking cool (surely will amaze fans), and just a little bit of what was supposed to be a very troubled period for Wilco. I can’t help but keep thinking director Sam Jones didn’t want to or wasn’t allowed to show us all the stuff he had. Maybe the band (or some members) wouldn’t look so heroic if he had shown us the whole picture? Being honest, after watching the documentary, my impression is that Wilco is Jeff Tweedy's band (look who signs the new contract). For the good, but also for the bad.

I think the most definitive comments on this film came from Rolling Stone’s journalist David Fricke (an opinion that, if you think about it, shouldn’t be particularly relevant for the development of the story) who establishes Yankee Hotel Foxtrot as a landmark within their time, because of its painful process of recording and then fighting against media monster corporations, but in particular due to the music, a creative attempt to challenge themselves musically. What Fricke says is that all that matters is the music. I guess he’s right with this documentary. Must-see for fans, but occasional Wilco listeners or people without a clue about the band might find it quite flat in terms of storytelling. So it will all depend on how much the music appeals you.

5,75/10

"Searching for Sugar Man", mystery, magic, music

Searching for Sugar Man
Beefeater In-Edit Festival 2012, chapter I

First of the five films of our selection at the Beefeater In-Edit 2012, and what a movie to start the Festival! Finally a film where what matters is the story that is trying to tell the spectators. And what a story! Incredible, shocking, mysterious, touching, musically very attractive... In a word, fascinating.

This is a documentary on a completely forgotten artist. Not even a side note on the page of the 70s' music history. Sixto Rodriguez, an unknown folk-rock singer/songwriter from Detroit (Mexican familiar origins) who released two albums in the early 1970s, "Cold Fact", and "Coming From Reality". Despite the quality of his music and lyrics, somewhere in between Bob Dylan and Nick Drake, he could not achieve any popularity, so he quickly vanished, retiring, unnoticed from music. We get opinions from his producers and critics, praising the artist and blaming his lack of success and being dropped by his record label.

To this point, "Searching for Sugar Man", would have been a nice music discovery, because the songs of Rodríguez deserve to be listened (so the research will be done) but not a very memorable film. But we quickly discover this is not the end of the story... On the contrary, is an unexpected beginning... Because while completely unknown in America, the guy was a phenomenon in South Africa, a massive success and a referential artist for many people in that country, the soundtrack of the fight against Apartheid by Afrikaners. For them, Rodríguez was a hero with little or zero information about. A mysterious legend who rumours said had a dramatic end.

How could that be? Why Rodríguez was never aware of his success? What about the terrible suicide? I won't spoil you the movie, so I will stop revealing the development of the film here. Just let me add that starting from these questions a search of information, an attempt to solve the mystery begins, carried by hardcore fans, who become music detectives. It will unfold a story that you will qualify as surreal, impossible, one that Swedish director Malik Bendjelloul bring to us in the most touching way, as explained by the people who did themselves, meeting and connecting with others. It's an amazing quest, that will grab you and touch you deeply. Because they will reach an unexpected goal, a goal that will reveal itself as an example, a celebration of human condition and how powerful music can be.

"Searching for Sugar Man" is not only a great and deeply absorbing entertainment. It is also an inspiring film on mankind. There's mystery, magic and wonderful music. What more can you ask for? Thanks In-Edit for such a discovery.

SCORE: 8,5/10

Music & Movies: In-Edit 2012 begins!

Beefeater In-Edit 2012 begins tonight! 

From October 25th to November 5th, a brand new edition (its 10th birthday) of the Barcelona's International Music Documentary Festival takes place. After last year's great experience, Bloodbuzzed repeats with another dose of the most exciting rockumentaries (plus a conference which I hope to attend). Here's what my schedule looks like. 

     Saturday, October 27th

18:00 Searching for Sugar Man

22:30 I Am Trying to Break Your Heart

Sunday 28th 

20:00 Let's Get Lost

Monday 29th

20:15 Sunset Strip

Wednesday 31st

19:00 Music and Politics (Chat)

Sunday, November 4th 

20.15 London: The Modern Babylon

 
See you at the movies!

"The Beat is the Law", Sheffield, not Pulp

The Beat is the Law: Fanfare for the Common People

The extraordinary Beefeater In-Edit, the local music documentary Festival, teamed again with the San Miguel Primavera Sound, offering a highly recommendable offer of rockumentaries as another complementary activity prior to the days at the Parc of Fòrum. And in principle, the movie programmed on Monday couldn't be more engaging: a film, premiere in Barcelona, about Pulp's story? Count me in.

But unfortunately, that wasn't the case. It might be very bad advertising, or perhaps, intentionally, a way to make it more attractive for bigger audiences, but "The Beat is the Law" is not about Pulp, is about Sheffield music scene, from the 80s to middle 90's.

Director Eve Wood starts the documentary tracing a quite ambitious, for a music film, overview of how it was living in the 80s in Sheffield, not precisely the friendliest city in the world. Unemployment and few hopes for youth clashing with the Margaret Thatcher totalitarian regime, explained by the opinions of Sheffield musicians and people related with the music industry/business of the city.

Right. Among the people interviewed you'll find Pulp members Russell Senior, Candida Doyle, Nick Banks and Jarvis Cocker. And of course, you'll be hearing part of their story as a band struggling to survive, virtually not existing while the city deals with a social agony provoked by the governmental policies and then against a vibrant music scene that exclude them, until the circunstances/luck/opportunity change so much they will become the forefront of the britpop movement in the middle 90s. But this is just part of the film.

"The Beat is the Law" is also the (partial) story of Richard Hawley, of the Longpigs, of Chakk, of Rob Gordon and the Warp label, of Clock DVA, of acid house, dance and the club culture. With all that material and the cooperation of so many artists the film could have been amazing. But there's no balance on it. After almost an hour of documentary devoted to politics and the evolution of a music scene in Sheffield during the 80s, giving a lot of the film length to dance and house growing movement, Pulp reappears, almost out of the blue, for a homecoming gig. And then they headline Glastonbury in front of 80.000 people? Wood also allows the Longpigs to explain how they failed in a moment when they seemed capable of "making it" too. But again it fells so short compared with the previous hour of film. There's no real analysis of what/how/why britpop exploded. And after Glasto's performance, the film abruptly ends. So you cannot say this documents Pulp's career.

Overall, "The Beat is the Law" gives you a quite blurred image of these times. Its lack of definition and scope gives the spectactor an undefined picture, with social and historical remarks, artists and band members (some very relevant, some barely known outside UK) sharing their view on the city and music evolution. Many are interesting and engaging, but cannot help the sense it fails as a whole, as a cohesive music documentary.

SCORE: 5,5/10

"They Call It Acid", house music & the right to party

They Call It Acid- A Dance Music Documentary
In-Edit Beefeater Festival 2011, chapter IV

The last film at the music documentary Festival (on a cinema without air-conditioning that became a sauna) was, unexpectedly, a fine ending of four days of music documentaries for us. Unexpectedly because of the interest and quality of the movie itself, very remarkable considering I kind of hate house/dance music myself, and because after two films on folk music and the Newport Festival, "They Call It Acid" closes the "circle" on a high note.

Director Gordon Mason (who devoted over 10 years to the project, totally self-financed) takes a fantastic challenge: explain what was the acid house culture, from their origin, its cenit, and its downfall (or at least struggle against authorities). From being born as an underground movement to collapse the centre of London with the demand of "the right to party". And it does with a smile. The yellow, famous smile that became the most recognisable icon associated with acid house.

The film offers almost all explanations about this peculiar movement. Names (Paul Oakenfold, Carl Cox among many others), places, dynamics, evolutions, influences... inviting us to a trip that includes Chicago, Detroit, NY, grows in the Balearic Islands and gets full form in England. For the fans of this electronic music style, the documentary must be unique. For the "non-believers" is intriguing and very curious. Particularly absorbing is how an initial style of music, hedonistic and let's say it, completely empty (in what refers to lyrics, message, etc) develops into a countercultural, anti-establishment movement. Its quite amazing if we compare with the Newport Festival, 30 years before acid house. Folk music, with the people seated while they listen carefully the meaningful lyrics of the artist, who exposes his/her serious tribulations on mankind, war, rights of the people, became the soundtrack of a committed generation. But three decades after, a music that can only be danced (better with  drugs) achieves the same results. Noel Gallagher, also interviewed on the documentary nails it: "Acid House is thanks to Margaret Thatcher, she fucked England so much there was nothing else to do". Unbeatable historical and social comment.

But I wrote before "They Call It Acid" almost provides all the explanations. Almost, because misses a big one. The drug thing. Except the police/politics, everyone in the film talks about the peace, the community, the great vibes, and how the little pill made people connect with each other... That's great, we can believe that.. but there's zero mention to addiction, drug abuse and violence associated to house. Even more, there's no questioning at all of the quality of a music style that must be enjoyed under the effects of a drug. That's being partial, and harms the credibility of the film, missing the chance of having two potentially engaging debates. Aligned with that, there's also little blame on the commercialization of the acid house by the people who saw a lot of money could be earned from that, making the movement huge, for good and bad.

That made me feel a bit frustrated with the film at the end. It could have been a masterpiece, a detailed and very dynamic documentary, but the lack of willing to explore its obvious contradictions takes away some of its value. Anyway, a very remarkable work.

SCORE: 7/10

"Festival!", a music collage of the Sixties

Festival!
In-Edit Beefeater Festival 2011, chapter III

After Dylan and Kings of Leon, for our third film of the weekend at the In-Edit Festival, we "went" back to Newport, back to director Murray Lerner, and back to folk. But as I already announced when I reviewed "The Other Side of the Mirror", this film offers much than that previous documentary.

"Festival!" synthesizes four consecutive editions of the Newport Folk Festivals, from 1963 to 1966, being a complete summary, more a testimony, with many moments to highlight, of what was the music folk scene, and how it evolved. Lerner uses the same approach as we saw with the Dylan documentary: filming loads of songs. But this time the songs are not entirely recorded, as that's just a part of the film. The director wants to capture almost everything. As many artists as possible on stage, his/her opinions, as well as the audience's, and he also captures situations (pure cinema verité) that explain better than many speeches what's a Festival. All in all, a very entertaining package, an absorbing collage.

Of course, an amount of songs and artists wouldn't have much meaning if it didn't reveal something. And I would say "Festival!" is indeed able to tell us a few things. It offers an interesting attempt to define the nature of folk. Taking the opinions of public and some of the most dynamic performances, it is easy to catalogue folk as a popular art, that despite its message, is quite close to people, and then easy to understand. It is also a culture that intends to be participatory. It is really appealing to see/hear how young people debates on the  relevance of the lyrics as opposing the bubblegum pop that dominated radios by then, while others concede the most important virtue on the fact folk equals people: looks, beliefs, music skills don't matter that much.

There are contradictions though. Some artists prefer the company of the audience like Joan Baez, while others, Dylan basically, prefer to stay away from them. Some fans glorify the musician, while others debate on the need of fame. And there also different opinions on the music itself, as Lerner wants to show the different music styles that were gathered at Newport, from the open, politically charged early folk of Donovan, to the more eccentric, odd, numbers. Particularly striking in that sense is the "debate" on the blues. Watching Son House talking about it is just mind blowing.

Why I won't rate "Festival!" as a masterpiece then? Well, first, because it gets a bit weary. Not every scene (song, artist) adds something relevant, and I got the feeling, at least a couple of times, that the interest in what was being suggested (by an interview, or a series of songs) gets lost at the next scene. Second, because some labelling wouldn't do any harm. I guess in 1967 all the artists we see on it were very famous, but 44 years later... that doesn't help the flow of the movie. And third, and despite it doesn't have to do with "Festival!" itself, because the In-Edit organization didn't provide us a good viewing of the film. We lost Howlin' Wolf's performance due to the cuts in the image and the sound became pretty bad at the end. Sad.

Peter, Paul & Mary, Odetta, Buffy Sainte-Marie, Judy Collins, Howlin’ Wolf, Pete Seeger, Baez, Dylan, Son House... too many amazing artists to dislike this film. On the contrary, it is very easy to recommend and has many points of interest. But it lacks some punch to achieve what it could have been.

SCORE: 6,5/10