"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

Spanish Indie 17: suggesting the best national acts

Time for more of the best bands coming from Spain, enjoy!

Santa Rita. Formed in 2008, this all-female quartet hailing from Barcelona started their career by playing a lot live, including a slot at Primavera Sound Festival, or supporting Juliette Lewis. In early 2011, they released their debut S/T EP and, after a change in their line-up, in March 2013 came out "High On the Seas", first album on Aloud Music. Nine fire-powered pills of indie-rock, channeling the 90s spirit, fierce, passionate, cohesive and fuelled by rousing guitars and a tone of attitude. A lot of promise from a real band offering a heavyweight debut. 

Puzzles y Dragones. Discos de Kirlian again, they're on a pluperfect pop roll. Daniel de la Mancha (Autofans, Atrapado en el Tiempo, El Diablo Adolescente) gathered with three members of Alborotador Gomasio, and after seven months of devoted recording, here comes their debut 7" EP "Somos Puzzles y Dragones". Four tunes (five on its digital version), some reworks from Dani's previous bands and some new, this is a haunting little collection of indiepop gems in the vein of the best British pop from the 90s. Songs so good that seem to have been waiting for you for decades, ready to embrace and never let you go.
Wild Balbina. Coming from Vigo, the trio formed in 2010 when Antía Figueiras and Marta González decided to move on from their initial covers combo to a real band after recruiting V. Zapata. A lot of local exposure live followed until 2012, with their only release to date, the EP "Eat Tacos", out on Elefant Records. Self-defined as wild teen-punk-surf, the four tunes are a stunning blend of styles recalling bands like Bleached, Veronica Falls, Helen Love or The Shop Assistants. Besides their killer songs, the link with the riot grrrl movement is obvious, as they also run the feminist-cultural fanzine Typical Girls, offering another reason to keep this name on your agendas. More soon please!  

Discoverer 79: new indie findings

Penultimate and very female-sounding new indie discoveries of the year (we have to prepare the best of the 2013 lists), hope you enjoy!

Cate Le Bon. Hailing from Penboyr, Wales, but based in L.A., Cate gained public attention while supporting Gruff Rhys (Super Furry Animals) on his 2007 solo UK tour. That same year, she self-released her first single "No One Can Drag Me Down"/"Disappear" and recorded the shelved album "Pet Deaths". In 2008 came "Edrych yn Llygaid Ceffyl Benthyg", an EP sung in Welsh, while collaborating on Neon Neon's album "Stainless Style". In 2009 her first proper LP "Me Oh My" came out on Rhys' Irony Bored label, followed with her sophomore release, "Cyrk" in 2012, and after singing with Manic Street Preachers on their latest "Rewind the Film", since November we can enjoy the hypnotic "Mug Museum". A peculiar folky voice, somber lyrics and a music style that summons Nico's mystery combined with Eleanor Friedberger's natural grace, Cate's tunes are an extremely charming pleasure.
Go Violets. Coming from Brisbane, Australia, this all-female quartet formed in 2011. After a digital release in March 2012, "^​-​.​-​^" EP, three tunes, "Teenager" in August 2012, "Josie" in May 2013 and "Wanted" in August 2013, anticipated her debut proper release, the EP "Heart Slice", available since October on Create Control. Six delicious tunes of immediate addiction, full of killer hooks and harmonic vocals, bringing us back to the magic music of Tiger Trap, Go Sailor, where garage meets the sweetest pop. You can't do much more than falling in love with the Go Violets...    
Lady Lamb the Beekeper. Behind this stage name hides musician 24-years-old Aly Spaltro, hailing from Brunswick, Maine, but now based in NY. She began her career in 2007 recording songs in a DVD rental store, using it as a studio after finishing her daily job duties, giving out free samples of them in handmade packages to the local Bullmoose Record Store. In 2008 multi-instrumentalist TJ Metcalfe joined her, releasing "Samples For Handsome Animals" and becoming one of most popular local acts. Reverted to a solo project again in 2010 she was named Folk Artist of the Year by the Boston Music Awards. Finally, on February 2013, she released her first studio album, "Ripely Pine". She's a storm, a singer-songwriter with an unbelievable intensity, an explosion of feelings that come in multiple forms, without missing her stark rawness. Like Torres (Spaltro has supported her live) here's a genuine talent.

"Blue Jasmine", from Riches to Rags

Blue Jasmine

An overwhelming praise of a "serious" Woody Allen film? That should had been a warning for me, like "Match Point", that was saluted as a masterpiece, when at its best (Scarlett Johansson magnetic screen presence aside) it was an ok noir recreation with a solid script but a non-Allen film. "Blue Jasmine" is worse. I'm very sad to say that Allen's latest movie seems to come from another planet and characters are mostly unbelievable.

I could blame it to the fact Allen is too far from his natural environment here. Truth is that the world of Allen's filmography has been always pretty constrained in what regards to his sociodemographic scope. An intellectual, slightly upper-class American, recurrently related with arts or cultural industries. But that wouldn't be completely fair. Brilliant and very different works like "Purple Rose from Cairo", "Radio Days" or "Broadway Danny Rose" just to name a few depicted middle and lower classes with more depth an charm that "Blue Jasmine". And that's terrible considering Allen's new piece really wants to say something about social class in the new millennium, in this age of economic crisis where capitalism is showing (even to the most stupid) what a wrong system this is. The problem is that he tries to explore human nature, and its darkest sides, without getting there. Like the failed "Cassandra's Dream", the terrible "You'll Meet a Tall Dark Stranger", or the better but still sterile "Match Point", "Blue Jasmine" lacks depth and heart. And coming from Woody that's a huge disappointment.

"Blue Jasmine" is not a terrible film. The life of Jasmine French is the tale of a downfall, from riches to rags (not enough of these in real life sadly), that Allen exposes in a quite dynamic and wise juxtaposition of current and past events. It does seems it could work, as Cate Blanchett is the perfect actress to give her character sophisticated an elegant looks mixed with the vulnerability of someone who is always on the verge of a nervous breakdown. She is completely lost when she arrives to San Francisco (cool to recognise many locations of the city) looking for a shelter and a new start at her sister's house, a character so different to her that when the spectator knows that they were both adopted there's a relief. 

But right then things to feel pretty unbelievable. Jasmine's sister, Ginger, played by Sally Hawkins, who seems to repeat her "Happy-Go-Lucky" role to an exaggerate extreme. Her naivete seems a bit silly to me. And so are many of the situations, conversations (not very funny) and secondary characters that appear on the story. In particular, I even felt a bit of embarrassment for Allen with the lame and ridiculous dentist as well as the wealthy Dwight (wasting an excellent actor like Peter Sarsgaard).

Then it occurred to me that maybe Allen was just pointing how delusional this woman can be after losing her status and lifestyle. That maybe we were looking to the story though her neurotic, bipolar eyes. That maybe would explain the "wild mood swings", the "going back and forth", not in terms of structure, but in what regards to Jasmine's behaviour... but it didn't really worked out either. Because I didn't care about Jasmine. Not talking about feeling empathy for her character, but I'm referring to interest in the story. Everything kept going, but nothing grabbed me, with the feeling some parts were pretty forced and the whole narrative-dramatic arc being a bit flat (Alec Baldwin's crumbling empire could have been better developed). 

There's a glimpse of brilliance at the end, with a cruel twist in the turn of events on which Allen seems to be punishing not only Jasmine but also Ginger (resignation). I believe the director wants to hold Jasmine as responsible for the crimes of the greedy class, as the perfect wife who profited from corruption, and when reality gives the final slap in her face, she lets madness win. Like in "Midnight in Paris", the impossible desire to be somewhere else and escape from your neuroses and a life you are incapable of living. But if the Parisian dream was lovely and full of magic and wonder, "Blue Jasmine" is just the image of madness. That darker twist saves the film from being a flaw in Allen's career, but it's a big deception nonetheless. 

SCORE: 5,25/10

“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

The National Animated for Thanksgiving!

Americans, I hope you had a wonderful Thanksgiving Day, and that you realise how lucky you are. While Christmas arrival in Spain means terrible music, with despicable advertising campaigns where awfulness from another dark times are to appear (yes, I'm referring to the terrible Christmas Lottery ad) you got The National with a new tune to celebrate Thanksgiving. Not fair.

Yesterday's episode of the Bob's Burgers series featured a new The National song (100% nationalesque), named "Sailors in Your Mouth", where the quintet gets animated (don't miss captain Matt) in a surreal video in which they embark on a very special trip, that in accordance to the lyrics, serves as a surreal tribute to the gravy is put to the traditional turkey dinner. The band already participated in last year's Thanksgiving special episode with a cover of the classic "Kill Your Turkey" -hearing Matt's singing "kill, kill, kill the turkey" is priceless. Lucky Americans.  

These Go to 11: Interviewing Wiggum

Fourth interview, and we go back to a musician, one to came from the cold (and imo from one of the best countries of the planet, Iceland, at least one where the word democracy has a real meaning) to join one of the most exciting indie-rock bands of the Spanish scene, Wiggum. These Go to 11!

Halldór Már Stefánsson, Wiggum

Halldór, man on fire

2013 for me is the year (hope it's just the first one & more will follow) of label El Genio Equivocado. And one of the first, most exciting discoveries among their roster has been this quartet from Barcelona. Formed in 2009, and with just two records, one has the feeling they should be on the verge of "becoming big". Otherwise it will be the confirmation this country is deaf (and dumb). Their sophomore album, "La Guerra Mundial", released this year, is a blast full of guitar-driven 90s alternative-rock anthems without losing their melodics talents (these intertwined harmonies). Halldór Már is 1/4 of the band, fuelling the combo with his vocals, guitars and contagious passion live. Here we go!

1. First record that you bought (be honest)

Honestly, I don’t remember. But it’s possible that it was a Duran Duran album...

Abba... glups (in different colours) 

2. First and last concert you have attended (be honest too!) 

First, must have been some local Icelandic group (Sugarcubes included) but I’m pretty sure that first international group I saw was Whitesnake! Last concert: Seeing Austin TV in The Arenal Festival.

3. Guilty pleasure (song/band you shouldn’t like but you do, yes, it’s the embarrassing question)
That would have to be ABBA or The Carpenters, but it’s not very embarrassing for me since I listen to a wide range of music.

4. Most precious music item you own (collector mode on)
My made in U.S.A. Telecaster.

Mr. Vedder

5. Favorite lyrics (not yours)

I’m always fascinated by The Beatles' “I Am The Walrus” and Bowie's “Space Oddity”. “Mother” by Lennon and “Blue Valentines” by Tom Waits make me cry but my favorite has to be Pink Floyd's “Wish You Were Here”.

6. Musician/s you would like to meet (should be alive, for obvious reasons, but you can choose a dead one too)
Eddie Vedder (again), David Bowie and, last but not least, Prince! Yet a supper with Tom Waits might be interesting...

7. Favorite artwork album (not yours)
Surfer Rosa by The Pixies (these questions are hard!!)

8. Books or movies? Depending on your answer recommend us one (trick: you can choose both)
Comic: The Watchmen

9. Song (of yours) you are most proud of
I like to think that my best is yet to come but the first song I wrote for my debut album is somewhat special to me: "Twisted Minds".

10. What’s does it mean indie for you? (yes, the “serious question”)
Indie means being independent. Means you can do whatever, as they say in Spain, comes out of your balls. Not having to change anything for market reasons. It also means, in most cases, little money...

11. Where do you see yourself in 10 years?
10 years older and hopefully still here.

Zillion thanks Halldór!