"The Distractions EP", vindicating Rose Elinor Dougall

The Distractions EP

"Without Why", the 2010 debut album from the ex-Pipette Rose Elinor Dougall was a fantastic work that went criminally under the radar. Let's admit it, The Pipettes were a fun, entertaining band, even a guilty pleasure with some undeniably addictive tunes, but it was hard to consider them seriously being a 60s girl-group recreation. Luckily, The Pipettes gave us something much more rewarding than some "silly" (without negative connotations) songs to dance to. They gave us Rose Elinor Dougall, a real artist, with a (I hope) career to look for.

"The Distractions EP" is a three-songs collection released for free (they are available for download at her bandcamp) in early January 2012. The tunes were recorded at the end of 2010 as rough demos with The Distractions, her backing band. On the release note, Ms Dougall stress that "this is not material off the new record, as since the time of recording, a whole new body of work has been formed that has suggested a different path to me from the one gestured towards in tracks such as these. But i really hope you enjoy it all the same"... Too bad because the three songs are great, following the path of "Without Why".

Miles away from the "doo-woop" style of her former band, Rose keeps showing a deeper, richer side, where sounds are sweeping but at the same time springy, especially on the more upbeat, song of the trio, the jangle greatness of "I've Always Known". Wistful arrangements that blend with her disarming sad voice, on which you can hear traces of Mazzy Star, Cocteau Twins or The Sundays. "The Night" is epic despite its constraint, allowing the atmosphere embrace Rose's singing before reaching the end, on an instrumental crescendo. "Hanging Around"  starts in a more straightforward way, with guitars presiding the verses before the chorus turns into a jangle, more melodic tune. Morrissey would be proud of this. Overall, "The Distractions EP" is a dreamy, weightless, slightly dark but charming, sophisticated and lasting indiepop offer. Really eager to hear your next step, Rose!

SCORE: 8/10

"The Ides of March", the politics of betrayal

The Ides of March

Loyalty and betrayal are always relevant topics, whether we are talking about personal relations, work, or, like "The Ides of March", about politics. Being such a delicate subject for a film focused on a democrat's primary elections, the risk of resulting forced, or a caricaturisation, or a preachy and unwanted moral lesson, was obvious, but George Clooney and his top-notch cast achieve what seemed almost impossible due the nature (and development) of the film: leaving us wondering about the characters while our bowels are still shaking.

Because "The Ides of March" is bleak, even to the point of depression. It doesn't talk about material corruption, something that's so frequent around us that for example in Spain that our government has decided to concede an amnesty (sorry for the side note, but this is so shameful I will need to vent it from time to time). No, its much worse. Its about human condition and its corruption, its degradation. In that sense, the film is not just a political thriller-drama (as director, Clooney uses wisely both styles/tones). It's about people taking chances, some of them based in their aspirations and some even in their "ideals", and how these decisions turn into dramatic consequences, affecting others, and forcing the adoption of new measures. Come hell or high water? That's the dilemma that the movie poses, and Clooney's message, although somewhat open, is discouraging for humans.

As Clooney did with the brilliant "Good Night, and Good Luck", he directs, co-writes (again with Grant Heslov plus Beau Willimon, author of the play "Farragut North" in which the film is based) and acts. He excels in the three areas, showing a firm pulse in what regards to style, close to the 70s (but the good, meaningful seventies, recalling Sidney Lumet's films) and aplomb on the script, with a rewarding care on the actors.

And of course, we need to talk about the cast. Philip Seymour Hoffman, Ryan Gosling and Paul Giamatti together, plus Clooney? How can someone do wrong with such a trio of amazing actors? The scenes between Gosling and Giamatti are superb, and the same can be said about where Gosling and Hoffman share the screen. Unfortunately, there aren't "duels" between Hoffman and Giamatti (they only share one scene). I have goosebumps just thinking of that possibility. Evan Rachel Wood, Marisa Tomei and the aforementioned are equally excellent in their secondary roles. Side note: the reasons why Gosling is among the best actors I have seen in decades can be clearly found in "The Ides of March" (or "Blue Valentine"), not in "Drive".  

I do believe "The Ides of March" could have even been better, though. The story itself , the thriller that "explodes" and justifies the superficial development of the film is a bit questionable, allowing Clooney the "cat and mouse" games that, in my opinion, are a bit too spectacular, drifting from 0 to 100% too fast. But I do understand that what lies behind of these "games" are just for the sake of showing human behaviours when they are put into so much pressure and tension, when their career and ideals are confronted, when anger shows, when they fear loosing, and when their (our too) miseries are revealed. "The Ides of March" shows, that politicians (Republicans and Democrats, both get their share), journalists (Clooney hits hard again here, so deservedly) can be as mean as human. All our doubts, complexities, insecurities, ambitions and miseries are reflected on Gosling's face at the unforgettable final scene of the film. Yes, we can (be like that).

SCORE: 7,5/10

"Knockemstiff", the great American white trash book

Knockemstiff- Donald Ray Pollock 

Welcome to Knockemstiff, Ohio. Welcome to a rural nowhere, a black hole that absorbs everyone that survives (I don't dare  to say live) there and, for sure, a place from no-one escapes. Welcome to a human monster's parade, that will puzzle, terrify you as much as it grabs you. There's no redemption or mercy here. There might have been dreams, but misery and desolation easily corrupts them.

Donald Ray Pollock short stories have an structure that resembles the legendary "Winesburg, Ohio" by Sherwood Anderson, where stories and characters are, at times remotely, at times directly related, and where characters can be the centre of the tale, and then become a secondary actor in the next story. So when you reach the end of the book, you have the feeling of having read a novel of a place (and a time) on its own. It's a book about Knockemstiff, a place which may be the closest thing to hell on Earth. Seems the town, the hollow as it is referred on the book, really exists, being the are where the writer was born. But the amazing thing here is that Pollock manages to transcend the autobiography. Knockemstiff could be anywhere, and the reader will think there are many Knockemstiff out there. The Sex Pistols got famous by singing "No future no future for you no future for me" on "God Save the Queen". But in "Knockemstiff" the situation is much depressing. There's no future, because there's zero hope for the present.

The inhabitants of "Knockemstiff" are pure white trash fated for a life of alcohol, drugs, miserable sex, miserable works and the weight of their families, their bad choices and mistakes, their addictions, their inabilities to drive their lives and, of course, the place that surrounds them. They might be damned by the hollow where they live. But for sure, they are doomed. Pollock needs only just one sentence to resume it all.  "My father showed me how to harm people one night of August when I was seven years old". If we were talking about boxing, that would be an absolute knock-out.

Sensitive stomachs could be distressed by the cast of horrible and violent situations and human beings that swarm "Knockemstiff". I would ask you to persevere and going further than the (disgusting, brutal) surface, because this short stories deserve it. Pollock manages to avoid sentimentalisms or affectations, as well as repetitions. I have read in a review that the book is luckily amoral and I completely agree, being one , in my opinion, of the factors that makes his fiction so absorbing. There are no lessons here, just the cruel and raw "reality". Straight and without contemplations. And thanks to that, there are also credible feelings of desolation, frustration and shame in the condemned characters. As Raymond Carver would say, "No heroics, please". Even if the truth hurts. Even if it hurts so much that can turn you into a monster. I guess you realize by now what's going to be my conclusion: read "Knockemstiff". Just a final note. Read the great prologue from Kiko Amat after finishing the book.

SCORE: 8,25/10

"Port of Morrow", The Shins' maturity record?

Port of Morrow

Five years have passed since The Shins' last record, the recommendable "Wincing The Night Away". And despite I loved "Broken Bells", his adventure with Danger Mouse, it was quite obvious we needed another dose of James Mercer, now the remaining member of the original band. Considering this fact, there were concerns about how this "new" The Shins were going to look like (better said, sound).

The mix between uncertainness and great anticipation quickly turned into extremely high expectations after hearing "Simple Song", the first single, premiered in advance of the album. Among the best things Mercer has created, in my opinion, the song is an instant classic, and the best appetizer for the record. But now that we have "Port of Morrow" in our hands, the tune is also a curse for the rest of the album, being its arguably greatest moment.

The "problem" is not at the start of "Port of Morrow", which is terrific. Opener "The Rifle's Spiral is brilliant, full of wonder and a lusher production (many little things going on). Then comes the aforementioned "Simple Song", followed by the first ballad, "It's Only Life", the first divisive song of the album. I admit I adore it, to me is one of the finest moments of "Port of Morrow", but I can understand some criticism that points this is a "docile" tune, not very far from AOR music or mainstream pop. Awesomely done (I like the reference I have read about Crowded House, a band, sniff, sniff,  that introduced me into pop when I was a teenager) for certain, but a bit cheesy.

That "issue", the slight feeling of dissatisfaction with the record worsens with the next trio. "Bait And Switch" and "No Way Down" are the usual beat, fast paced, psychedelic tunes from The Shins without a real punch, while "September" offers the acoustic, pensive side of the band. Don't get me wrong, they are more than ok songs, but for me they are a bit on autopilot mode, considering they are coming from the mind of James Mercer.

"For a Fool", seventh song, is the most worrying of the lot. Its' sad to write this, but this is an AOR ballad destined to become famous by some "emotional moment" on a TV Show, and if we weren't talking about The Shins I bet many "specialised" critics would have "destroyed" its composer. Compared to that, the lighter, happier "Fall Of ´82" sounds almost glorious (I definitely love the chorus and the trumpet solo). And "40 Mark Strasse", that turns from an unpromising number into a compelling tune with a soulful nuance and a powerful chorus (the falsetto part amazes me). Closer "Port of Morrow" is a ghostly, more experimental one, sounding like a Broken Bells tune, which ends the album on a very high and promising note.

"Port of Morrow" is not a bad album. It contains two masterpieces, "Simple Song", "Rifle's Spiral" and three excellent ones, "It's Only Life", "40 Mark Strasse" and "Port Of Morrow". But the rest of the album is a bit flat, ranging from the ok but unsurprising/unremarkable to the disappointing. Maybe this is the "maturity" record from James Mercer (frightened mode on) or maybe this is the first step, after a long hiatus, from a new band, a new The Shins, that still have a genial composer leading them, as half of the record proves. Welcome back James, next time don't take that long to return!

SCORE: 6,5/10 

Discoverer 33: new indie findings

Our weekend proposals are here!

Dunes. This trio from LA came to life in 2009, from the ashes of defunct punk bands, and while they were roommates. After a self-titled 12' EP, a 7' and a single during 2010-11, "Noctiluca", their debut album is out now. And what a record this is. Sounds as it was created in another world. It's dreamy, lush, atmospheric and expansive. Cocteau Twins meets "Murmur"? Guitars jangle and echo, Stephanie Chan's voice and harmonies highlights the mood, while her lyrics intrigue you. Every element relies, in a beautiful tension, on another, so the LP is an incredibly suggestive whole, a mysterious artefact that has been just revealed.
Vertical Walk

Jukebox Adieu
Tied Together

Alpaca Sports. Our second proposal hails from Gothenburg, Sweden. I was reluctant to include them, as we have only been able to hear two songs from the band, but both are so lovely that I couldn't resist it. This is the new music project of Andreas Jonsson and it has arrived to us in the form of the irresistible single "Just For Fun", out now. Two indie-pop wonders, delicate, lush (marvellous arrangements), catchy and memorable. Awww, Sweden, what would we be without you? Needless to say, we want more music from Alpaca Sports!
Just for fun by Alpaca Sports
I'll never win by Alpaca Sports

The Stammer. And our last proposal today comes from Philadelphia, USA. They recently dropped by the blog inbox, and it was a matter of seconds I realised this wasn't a "average" band. What a stormy and immediate indie-rock. Impressive. First a project by vocalist Brian Brotman, it quickly evolved into a four-piece band, and since February with a self-titled debut EP out. Four songs that serve as an infectious compendium of post-punk, with an amazing talent to combine tones, styles and melodies. Expect droning guitars, synths and buzzing vocals. Expect greatness.

"Bridesmaids", bye romantic comedies & weddings

Bridesmaids

Let's vindicate comedies. And the directors, screenwriters, actors, etc, that without missing the focus of making us laugh during 90-120 minutes, are capable of offering something, if not groundbreaking, at least refreshing, different. "Bridesmaids" might not be "high comedy" (whatever that means) but is an amusing comedy. And a big, much needed, kick in the ass to the abominable chick flick genre.

As the very recommendable and recently reviewed "Young Adult", "Bridesmaids" also subverts the archetype of female role, but now within the format of a comedy. Director Paul Feig (with the king of the new American comedy Judd Apatow behind him as producer) is capable of doing that "playing" in the most adverse of territories: the preparation of a wedding. Hard to imagine a more chick flick-bound scenario, but its hilariously used in its own benefit, providing the film the scenes, the munition to construct several unforgettable gags. Sorry lovers of weddings and traditional romantic comedies. This is not for you. We are closer to a female version of "The Hangover".

Still, that wouldn't make of "Bridesmaids" a recommendable film per se. If  you want to create a good comedy, you need an according script and a bunch of actors that can develop it. Which brings me to Kristen Wiig, unknown in Spain but a comic American icon. She's not only the absolute star of this movie, as the troubled, disastrous Annie Walker. She's also credited as co-writer of the script. What an immense work. At the very least, an Oscar nomination was in order (at the very least).

But Wiig is not alone, as all the secondary actresses are also amusing, with a deserved, very special mention to the explosive performance of Oscar-nominated Melissa McCarthy as Megan, while Rose Byrne is also remarkable as Helen, Annie's nemesis (and the caricature-archetype of the chick flick woman) and Maya Rudolph as Lilian, the bride and Annie's best friend. Male roles are quite marginalised here, being reduced to officer Nathan Rhodes (played by Chris O'Dowd) and Ted (Jon Hamm). Though both roles are nice, ridiculed updates of typical male characters (quite funny to see the Mad Men's star character turned into an evident XXI century asshole).  

The film doesn't have many misfires. Some (few) jokes might cross the line, and I could point an unbalance on its length, that hastens its conclusion to an unnatural extent, killing some secondary parts for the sake of reaching the climax of the film. But this are minor complaints in a film that for almost two hours keeps you laughing, with several scenes to be remembered, with actresses in a state of grace (especially Wiig and McCarthy), enjoying themselves while they dynamite all the romantic comedies clichés. Fun granted.

SCORE: 7,25/10

Spanish Indie 8: suggesting the best national acts

Stunning new proposals of Spanish alternative bands for you! Hope you like them!

Pegasvs. One of the best records I have heard this year so far comes from Barcelona. Their authors are Sergio Pérez and Luciana della Villa, veterans of the Spanish alternative/underground, that finally have the attention of the (indie) media as a duo with this homonym debut. And with a reason. Motorik rhythms and hyperbolic, cascading melodies, between Neu! and Stereolab, this is addictive krautrock with pop ambitions, propelling the listener to a unique place. A spot among the national best albums at the end of 2012 lists is granted.
Pegasvs by Pegasvs

Jane Joyd. I warned you. Hailing from A Coruña, Elba Fernández, aka Ms. Jane Joyd, was fated for great things. She only needed an EP on 2010 to become a must-see promise. Then she won the Proyecto Demo 2011, having the chance of showing her talents at festivals like Benicàssim (where I discovered her). Now she presents "Shy Little Jane Presents: The Dramatic Tale of Her Animals", second EP and the debut at Origami Records. Long title for an immense, hazy, rich and rewarding work. Folk, jazz, a haunting voice... and the confirmation that here's a talent that MUST be followed.

Juanita y Los Feos. Shall we (indie) dance? I have found the perfect soundtrack for it. A killing cocktail of punk-pop, new wave, garage, synths, bursts of guitars, surreal lyrics and an immediate feeling of fun. All comprised in 12 doses of 2:30 minutes' tunes, the perfect recipe to keep you moving. Hailing from Madrid, and with a quite a long history behind their backs, the band formed in 2004, published several EPs until "Juanita y Los Feos", their first LP in 2007. More EPs followed before "Pesadilla adulta", at the end of 2011. A second album that you should listen... and dance!