missing dust jacket
Monday, October 26, 2009
Sunday, October 18, 2009
song of the week: Sakura - Joe Hisaishi
On a rare day off work last week, I popped into Brixton's fine, but irritatingly non-alphabetised second-hand bookshop, and picked up the BFI's book on Hayao Miyazaki's Spirited Away. The book offers a concise but useful recap on Miyazaki's history, a pithy exegesis on the film, and best of all, is full of old-school animation references which have since sent me scurrying off to youtube. And it also rather helpfully reminded me to listen to more Joe Hisaishi on spotify.
His work includes the score for Spirited Away, Princess Mononoke, Laputa: Castle in the Sky, My Neighbour Totoro, Nausicaa and Kiki's Delivery Service (so pretty much all the Miyazaki/Ghibli films then) and his music devilishly pulls the necessary strings to move a single teardrop into a flood of sobbing.
This opening scene from Takeshi Kitano's Dolls features Hisaishi's Sakura, a hauting combination of the eerie and the gentle, the sweet and the menacing, beautifully creating an atmosphere of surreality and seriousness. Melancholy and disquieting, Hisaishi's work is characterised by tremors, chimes and shivers, often followed by roaring, soaring orchestration. Sometimes, I agree, he can get a bit much, verging more on Enya than Eno, but frequently he stuns his audience with the musical equivalent of heartbreak. Tripping pianos, fluttering harps and intensely neurotic rhythms are where I think he really hits his stride, and his Dolls soundtrack is more or less a trembling, broken collection of sighs and shudders.
Monumental without being bombastic, his soundtracks for Kitano and Miyazaki are some of the most affecting and stimulating compositions of the last thirty years. As the leaves start turning and now there's a distinct nip in the air, I'm reminded of those amazing shots of the Japanese seasons and the vivid, eye-watering trees with their soft pink or violent red leaves, that make Dolls such an extraordinary feast.

Dolls isn't really a film you can talk about without sounding like a guffbag so I'll leave it here, but do seek it out if you're a sucker for the devastastingly gorgeous.
Monday, October 12, 2009
by way of apology


I was dashing off for a last-minute visit to the loo with a friend of mine, prior to us running the Royal Parks Foundation Half Marathon in London (it hurt), when I asked him if he'd been watching X Factor. He scoffed, and then exclaimed how much he hated "that one with the afro" and how he loathes "Sex On Fire". I mumbled something in agreement, because I do actually agree with him, ...but I also have bad taste. Paddington was the perfect gent and didn't blow my cover. It's times like this I'm relieved my friends don't ever check my blog. However, in case he does, I hope this link to a very lucid and intelligent look at the influence of Studio Ghibli's Howl's Moving Castle and Laputa on Pixar's Up does something to restore his confidence in me.
Wednesday, October 07, 2009
SOTW - Sex on Fire - Kings of Leon
The Kings of Leon video is "disabled by request" so we shan't plug them and their silly record label. Pah.
This week’s SOTW has been a slow-burner, as on its release I pretty much refused to listen to it. I think this band is overrated, and I thought the song was too silly. But ever since that bloke Jamie performed it for his “first” audition on X factor, Kings of Leon’s Sex On Fire has been in my head all week. No one is more acutely aware of this than Paddington, who has had to endure me wailing the one thing that makes this song brilliant– “Yeeeeewwwwwww-ooooooooooooo, uuurrr sexxx iz on frrrrrrrrrrrr!”
It’s not so much a lyric as a primal scream, or at the very least, a muddle of the English language which takes some heavy cues from Lolcats.
Ever since Molly's Chambers came out I've remained unconvinced by Kings of Leon. Caleb’s [real name, Anthony what’s with the middle-name thing? If people knew me by my middle name I’d have an entirely made-up name that’s a composite of my mum’s maiden name and her actual name. Which, by the way, I actually think is quite cool. But KOL don’t even have interesting middle names. Huff ?*?] Sorry, I’ll start that again...
Caleb’s gravelly whine has never done much for me, and the opening of this song is about as generic as radio-friendly rock comes. It has a chugging bass, a crunchy guitar, a plodding drum beat, a half-hearted strum thrown in, and that predictable progression of quiet and moody to BIG AND LOUD, usually employed by half-arsed rock groups to signify depth of feeling. [Unless you’re The Pixies, whereupon it actually represents true genius and greatness.] But gollygeewhiz if that ain’t the damned catchiest chorus ever.
By now everyone’s probably familiar with the story about how this song was called Set Us On Fire or something until some sleepy sound engineer misheard it as Sex Is On Fire. Yeah, right. If the lyric to this song was actually 'set us on fire', it would sound like any other U2-cum-Killers wannabe stadium rock track of stinky cheesiness. But the fact it’s actually 'Sex Is On Fire' elevates it into dizzy new heights of silliness. Suddenly this song about the euphoric, intense, violently unmanageable flush of new love/lust feels immediate and impulsive, and it’s that ridiculous OTT-ness that gives it such potency, enhanced by the fact Caleb-Anthony insists on delivering it as if he means every word . It’s a joyful, noisy, hand-clapper of a choon and I love it.
All together now...
Yeeeeewwwwwww-ooooooooooooo, *grrr* uuurrr sexx iz on frrrrrrr!
Tuesday, September 29, 2009
Song of the Week: Call the Shots - Girls Aloud
Next to the recent glut of antiseptic nineties revival euro-dance, this 2007 offering from Girls Aloud is a refreshing slice of quality. But next to earlier GA tracks, such as the rambunctious multi-chorused The Show or former SOTW Biology, Call the Shots is, at first glance, an incredibly conventional number.
Opening with a rather generic mid-tempo dance beat of synthetic, echoey ‘ah-ooh’s that swirl into that ubiquitous washing-machine-fuzz, it’s so far, so heard-it-all-before. Nasal Nadine delivers an unemotional, polished pop opening verse...and then as the low-key lead-in to the chorus speeds up into a defiant floorfiller, this becomes a little bit special.
The stupidly simple backing track, with its electronic booms and jabbing keyboard chords, calls for overenthusiastic grooving on the kind of light-up dancefloor you find at Infernos in Clapham. However, the song’s melody and break-up lyrics make this a decidedly plaintive, grown-up affair.
The song’s very basic structure means that the classic GA formula is stripped of all its usual playfulness and irreverence, and what’s left is an equally melancholy and catchy pop song. Trimmed off their 2006 Best Of album for being too downbeat, Call the Shots, while perhaps less innovative than some of their earlier output, arguably offers the most conclusive proof of GA’s status as the best new pop act to come out of...well, anywhere since Kylie.
Deliberately tinny and artificial, but with a sincerely sad anti-girl-power sentiment at its core [I’m over you, except I’m obviously not, as I’m singing this song and it’s coming off more Carly Simon than Gloria Gaynor], Call the Shots shows up the differences in the five girls’ voices. There’s diva Nadine, belter Sarah, husky Cheryl, poppy Kimberley and angelic Nicola. As a result, instead of delivering the kind of deliberately characterless dance pop that’s fashionable at the moment, their distinctive voices give a solid, but perhaps unexceptional, song depth and immediacy.
No where demonstrates GA’s strength better than in Call The Shots' middle eight. In lesser break-up songs this would soar into the heights of defiance or the depths of heartbreak, but in Call the Shots it stays in almost exactly the same sparkly place it began, and shifts moods by shifting singers. Cheryl’s rich Geordie boom is replaced by GA’s unassuming and overlooked star, Nicola. Her girlish, icing-sugar voice is clean and vulnerable following Cheryl and Nadine’s beefier, sassier vocals. Without a whiff of Mariah-melodrama, she deftly takes the song to a lonesome place.
As the track closes up into an ambient fade out, the middle-eight’s faux-naive rhyme of shimmer and glimmer stands in stark contrast to the dumb beat of the dance track, which punches its way back into the limelight with an irresistible hammering knock. And - ta-dah - we’re back to the circular euro-beats of the song’s opening.
All-too-soon it fades out unassumingly, but although no one’s made a big fuss or done any clever pop pastiches, Call the Shots cries out for a repeat listen.
Sunday, August 09, 2009
Dumbeldore's death in the style of Chuck Palahniuk
I'm currently reading Chuck Palahniuk's Snuff, and while nosying around reviews for it, and for the film adaptation for Choke which appears to have sunk without a trace, I came across this...Made me chuckle.
And if you've seen Lars Von Trier's Antichrist I also direct you to this. Transcendentally misogynist is probably the pithiest, sharpest way I can think of to describe this film, but oddly, I don't use that as a criticism. Antichrist is a solid 3 stars sort of film, but is likely to initiate conversation of the 5 stars kind.
Right, I'm off to carry on writing something else. x
Thursday, July 09, 2009
In Nunhead Cemetery
In Nunhead Cemetery
by Charlotte Mew
It is the clay what makes the earth stick to his spade;
He fills in holes like this year after year;
The others have gone; they were tired, and half afraid
But I would rather be standing here;
There is nowhere else to go. I have seen this place
From the windows of the train that's going past
Against the sky. This is rain on my face -
It was raining here when I saw it last.
There is something horrible about a flower;
This, broken in my hand, is one of those
He threw it in just now; it will not live another hour;
There are thousands more; you do not miss a rose.
One of the children hanging about
Pointed at the whole dreadful heap and smiled
This morning after THAT was carried out;
There is something terrible about a child.
We were like children last week, in the Strand;
That was the day you laughed at me
Because I tried to make you understand
The cheap, stale chap I used to be
Before I saw the things you made me see.
This is not a real place; perhaps by-and-by
I shall wake - I am getting drenched with all this rain:
To-morrow I will tell you about the eyes of the Chrystal Palace train
Looking down on us, and you will laugh and I shall see what you see again.
Not here, not now. We said "Not yet
Across our low stone parapet
Will the quick shadows of the sparrows fall.
But still it was a lovely thing
Through the grey months to wait for Spring
With the birds that go a-gypsying
In the parks till the blue seas call.
And next to these, you used to care
For the Lions in Trafalgar Square,
Who'll stand and speak for London when her bell of Judgement tolls -
And the gulls at Westminster that were
The old sea-captains souls.
To-day again the brown tide splashes step by step, the river stair,
And the gulls are there!
By a month we have missed our Day:
The children would have hung about
Round the carriage and over the way
As you and I came out.
We should have stood on the gulls' black cliffs and heard the sea
And seen the moon's white track,
I would have called, you would have come to me
And kissed me back.
You have never done that: I do not know
Why I stood staring at your bed
And heard you, though you spoke so low,
But could not reach your hands, your little head;
There was nothing we could not do, you said,
And you went, and I let you go!
Now I will burn you back, I will burn you through,
Though I am damned for it we two will lie
And burn, here where the starlings fly
To these white stones from the wet sky - ;
Dear, you will say this is not I -
It would not be you, it would not be you!
If for only a little while
You will think of it you will understand,
If you will touch my sleeve and smile
As you did that morning in the Strand
I can wait quietly with you
Or go away if you want me to -
God! What is God? but your face has gone and your hand!
Let me stay here too.
When I was quite a little lad
At Christmas time we went half mad
For joy of all the toys we had,
And then we used to sing about the sheep
The shepherds watched by night;
We used to pray to Christ to keep
Our small souls safe till morning light - ;
I am scared, I am staying with you to-night -
Put me to sleep.
I shall stay here: here you can see the sky;
The houses in the street are much too high;
There is no one left to speak to there;
Here they are everywhere,
And just above them fields and fields of roses lie -
If he would dig it all up again they would not die.
It is the clay what makes the earth stick to his spade;
He fills in holes like this year after year;
The others have gone; they were tired, and half afraid
But I would rather be standing here;
There is nowhere else to go. I have seen this place
From the windows of the train that's going past
Against the sky. This is rain on my face -
It was raining here when I saw it last.
There is something horrible about a flower;
This, broken in my hand, is one of those
He threw it in just now; it will not live another hour;
There are thousands more; you do not miss a rose.
One of the children hanging about
Pointed at the whole dreadful heap and smiled
This morning after THAT was carried out;
There is something terrible about a child.
We were like children last week, in the Strand;
That was the day you laughed at me
Because I tried to make you understand
The cheap, stale chap I used to be
Before I saw the things you made me see.
This is not a real place; perhaps by-and-by
I shall wake - I am getting drenched with all this rain:
To-morrow I will tell you about the eyes of the Chrystal Palace train
Looking down on us, and you will laugh and I shall see what you see again.
Not here, not now. We said "Not yet
Across our low stone parapet
Will the quick shadows of the sparrows fall.
But still it was a lovely thing
Through the grey months to wait for Spring
With the birds that go a-gypsying
In the parks till the blue seas call.
And next to these, you used to care
For the Lions in Trafalgar Square,
Who'll stand and speak for London when her bell of Judgement tolls -
And the gulls at Westminster that were
The old sea-captains souls.
To-day again the brown tide splashes step by step, the river stair,
And the gulls are there!
By a month we have missed our Day:
The children would have hung about
Round the carriage and over the way
As you and I came out.
We should have stood on the gulls' black cliffs and heard the sea
And seen the moon's white track,
I would have called, you would have come to me
And kissed me back.
You have never done that: I do not know
Why I stood staring at your bed
And heard you, though you spoke so low,
But could not reach your hands, your little head;
There was nothing we could not do, you said,
And you went, and I let you go!
Now I will burn you back, I will burn you through,
Though I am damned for it we two will lie
And burn, here where the starlings fly
To these white stones from the wet sky - ;
Dear, you will say this is not I -
It would not be you, it would not be you!
If for only a little while
You will think of it you will understand,
If you will touch my sleeve and smile
As you did that morning in the Strand
I can wait quietly with you
Or go away if you want me to -
God! What is God? but your face has gone and your hand!
Let me stay here too.
When I was quite a little lad
At Christmas time we went half mad
For joy of all the toys we had,
And then we used to sing about the sheep
The shepherds watched by night;
We used to pray to Christ to keep
Our small souls safe till morning light - ;
I am scared, I am staying with you to-night -
Put me to sleep.
I shall stay here: here you can see the sky;
The houses in the street are much too high;
There is no one left to speak to there;
Here they are everywhere,
And just above them fields and fields of roses lie -
If he would dig it all up again they would not die.
with thanks to Paddington, Sasha Goblin and Lady Quinoa for helping me find this...

