Birdman: Wings Clipped

Birdman by Alejandro González Iñárritu is a tale of a washed up actor seeking redemption at the hands of the theatre community after previously starring in the wildly successful 'Birdman' trilogy. From the start right until the final credits the camera movement is nauseating and the scatty jazzy soundtrack borders on pretentious, which is plain irritating. This shamefully masks some fantastic acting from Michael Keaton, Edward Norton and Zach Galifianakis.

I thought I had daydreamed for a moment and thought I was watching a bizarre remake of the West Wing, with Keaton as the president. How the camera followed in front of Keaton as he walked down the halls of the theater (intentional or not) was very reminiscent of Sheen in the aforementioned show. The only time the camera seems to sit still is during the scenes set in Riggan's room at the theatre. It could symbolize the stability and calmness he feels when he is alone in his room (well apart from the Birdman of course!). 

The hint to Michael Keaton's caped past throughout this film is obvious, even down to the deep voice of the voice of Riggan's ego echoing Christian Bale in the Nolan adaptions. The diatribe towards audiences of the Superhero movie genre seems to come from jealousy rather than clever observation. Superhero movies are borne from illustrated novels mostly and are supposed to be action packed by definition right? All genres are plagued with hit and miss films, not just this particular area. Its worth having a thousand Green Lantern's if we still get a Dark Knight at the end.

Edward Norton is fantastic as the passionate, volatile Mike who is brought in at the last minute due to some terrible acting. His highlight is a smashing incident during one of the play's previews. Emma Stone is the daughter who's sass and apathy inevitably melt as she has a predictable Hallmark moment with her father. Her romance with Mike is very unrealistic like most romance in Hollywood, but adorable nonetheless and an essential part of the plot. Without all the little things building up and going against the protagonist like a game of Buckaroo, we wouldnt get how stressed Riggan is by everything going on and not going on in his life.

Despite all my angst when describing this film, there are some genuinely funny moments. The dressing gown episode that goes viral is genius. When Keaton's ego is rallying him during a great scene, he says "60 is the new 30 motherfucker". Not that nudity and profanity are the only things that float my boat, this is just coincidence.

Insomnium - Ephemeral EP

Insomnium seem to be confident of a strong album release in 2014, with the as yet unnamed project touted by the band to be sounding amazing on their Twitter and Facebook pages. If there's anything to get excited about (apart from all the great records they have created in the past) there is a teaser EP, Ephemeral which contains the title track and three acoustic instrumentals. Whether or not this track appears on the anticipated new album is subject to speculation, but either way it documents a band on form.

There is a subtle haunting in the vein of Dark Tranquility (no strangers - see below) that echoes though the opening passages of 'Ephemeral'. It has all the elements of a fantastic Insomnium tune, pacy heavy yet beautiful in so many ways, so much so it could probably slip into their most complete album to date, Above The Weeping World (2006) The screams and growls are all perfectly timed and punched though the mix by the pounding percussion. Even the interlude/bridge whatever you want to call it is just as strong as the rest o the song which is a failing of so many melodic death metal bands.

Weather the Storm featuring Mikael Stanne of Dark Tranquility (2011)

The three acoustic tracks that follow Ephemeral are undeniably quality pieces and can be listened to as one track with three parts, but surely unnecessary considering the amount of acoustic interludes and tracks across all the Insomnium catalogue. They are worth a listen nonetheless. This EP serves as a window to the highs and lows, emotionally speaking we can come to expect in 2014 from this remarkable band.

Moonsorrow - Tulimyrsky EP Review (from 2009)

Originally posted on Blistering.com, 2009.

Tulimyrsky from Finnish band Moonsorrow is an EP with only one track of new material and in the style of the last full-length is longer - around the half hour mark. This song is (as most of the other material) written in Finnish and has several ‘stages’ separated by interludes of Finnish narration.

We need to question how well this works, in comparison to the might of the five full lengths that have preceded it, form Suden Uni (2001) to V: Hävitetty (2007), however after the initial narration, the title track starts off with the closest to black metal sounding material they have produced since the demo days.

A really bold move and a perfectly executed one, with the vehement opener. After the final narration and chant section followed by a little ending to what could be a 50’s epic movie based on Biblical times, the listener will feel a sense of victory and elation and 29 minutes will have seemed like a snap. 

Now what else do you get? ‘Tulimyrsky’ is track one of 5 I hear you bellow. Well fair maidens and noble men, what lies after the first track are two covers and two revamps of demo age songs. ‘Taistelu Pohjolasta’ and ‘Hvergelmir’ are from the Tämä Ikuinen Talvi (1999) and Metsä (1997) demos respectively.

So the Metallica cover? ‘For Whom The Bell Tolls’? Recorded in 2005 around the time of Verisäkeet, it’s a bit like Metallica meets Hall of the Mountain King. Exaggerating the riffs that make more sense played in Moonsorrow style and with layers of keyboard coupled with the Sorvali cousins’ mighty wails it is quite a transformation.

More black metal for your dollar than you bargained for due to the inclusion of the rerecorded demo songs, Tulimyrsky really is a “firestorm” and not just a filler before the 6th chapter in the history of this great band is told. There really are far too many quality riffs for this to be dismissed as a stepping stone, in-between material, or quick cash in. All in all a fantastic little adventure.

Terror - Live By The Code

LA's Terror may not have been around as long as scene legends Sick of it All, but through consistency, hard work and quality album after quality album, they deserve all the attention and success they receive. I can safely say I have not heard a bad Terror song. Admittedly there are highlights on each album, but no songs are worth skipping altogether.

The only thing I can't click with is the use of American high school football style font for the band logo, and the use of imagery and fonts that would be more suited to a gangsta rap group. Maybe it is inevitable considering their upbringing and locale, but I think it sends mixed messages and clashes with the virtues of the genre. The ideas of giving the middle finger to authorities, corrupt business people and governments are shared, but you don't hear Terror boasting about drug use, bitches and drive-by shootings.

The band's albums have always been personal, honest and open, and this is no different. The opener 'The Most High' is a great nostalgic and inspiring look at the scene that Scott Vogel fell in love with back in the late 80's. The booklet accompanying the record is full of intelligent debate about the scene what it was and how it has changed and continues this theme of transparent hardcore music and ethos.

The production is perfect for hardcore, a little bit muddy and raw. This is how hardcore should sound, not polished and perfect. When the songs are as strong as 'Live By The Code', 'The Good Die Young' and 'Shot of Reality', any minor quibbles go straight out the window.

Heavy Metal Kitten Covers!

Apart from the retarded argument about what bands are 'Heavy Metal' in the comments section, this is genius!

Carcass - Surgical Steel and 3 Reasons Not to Get Over Excited About It

This CD has been in my car stereo since the day that my pre-ordered shiny digipack copy of Surgical Steel arrived. Every errand, every commute to work, every drive to the shops it has been on. Shuffled tracks too, so from the openings of the mainly pointless intro '1985' to the official ending of the track with the more progressive 'Mount of Extinction' these songs have haunted me near enough constantly.

I may only be in my car a fraction of the time but I find my self humming a particular riff or remembering a particular hook and the feeling is like a relentless Carcass experience. Not a bad thing most metalheads would argue. The time from release to review here is substantial, and has made clear that there might be three reasons why I or any other reviewer worth their salt could be biased and totally lodge tongues in arses.

Number one: Fan-boy syndrome. I am a Carcass fan-boy yes, I heard 'Corporal Jigsore Quandary' back when I was a long-haired responsibility-shunning youngster and that was it for me. Completely sold, the combination of nasty sounding Death Metal, Jeff Walker's poisonous vocals and the sheer weight of the groovy main riff on that one song alone were enough. However the length of time (about 3 months) has had me question the album over and over again. The media had reacted very strongly in a positive way and this made me nervous, hoping the fatal fan-boy (or girl) syndrome hadn't become an epidemic.

Number two: The fact that this is the first album in 16 YEARS. Ever since the reunion shows from about 2008, two of which I was lucky to see, there has been a buzz about the band. A faint hope that on the strength of these performances and the crowd's overwhelming reactions that there might be new material on the horizon. Then earlier this year the news dropped like a bomb, new Carcass album coming this Summer on Nuclear Bast! Then the track 'Captive Bolt Pistol' acted like a 'single' and became available for streaming as a taster for Surgical Steel. It was extremely exciting, and you can easily imagine many foolhardy reviewers experiencing the journalistic equivalent of premature ejaculation, and giving 'Instant classic', 5 out of 5, album of the month and so on. (You can't have an instant classic – it needs to stand the test of time first surely?)

Third and Final Reason: The new material doesn't suck. That is relief enough to those who have vested time, money, blood, sweat and tears over the years into being a die hard Carcass fan. It would easily be enough to trigger a rushed review and slapped on gold star, but I have resisted temptation. Terrorizer magazine here in the UK released the track 'Unfit for Human Consumption' on a recent Fear Candy CD, and I was so close to letting it all slide. Dignity, integrity and my pure unbiased nature nearly went out the window. It was such a fast, blood-pumping song with amazing clear powerful and melodic leads, the lure was mighty powerful.

After all that, these reasons dissipate. After 3 months a new singular reason emerges to get over-excited about this album. Because its freaking amazing!! It sounds like a Carcass greatest hits but remixed to current standards of production. Occasionally a riff will sound like it would belong on either Heartwork or Necroticism, but there are so many new ideas on here, its more like an amalgamation of the two dragged though a portal to the present day. There is a melding of the two best (I know still up for debate) albums here. Raw, intricate, obtuse but groovy death metal fused with super-slick pulse-pounding melodic metal and it works extremely well.

Many will notice the absence of Michael Amott on this latest album, but as it stands he is not an integral part of this band, the duo of Steer and Walker remain strong and focused enough to write some incredibly infectious material. The appointment of drummer Dan Wilding seems to be a perfect fit. The tightness is most profound on songs like 'The Master Butcher's Apron' with its mighty meaty breakdown after a whirlwind of riffs and blasts from the outset.

A resurrected British metal institution is back firing on all cylinders and with deadly surgical precision, and it just feels great. So many have said how bands like Impaled and Exhumed are what Carcass would sound like today, had they not split. Now they wish they sounded like Carcass, back from the dead! Here's to another great album in an already spectacular line up.

Stripping Down The FIFA 14 Demo - What's In Store?

There are the FIFA fiends, like myself, that will buy this game each year no matter what. This is because the balance between good game-play and the official license with all the up to date players and kits is usually acceptable enough to warrant this annual upgrade. One main problem I have found over the years is that the career mode has never been tweaked to perfection, it all just seems a bit unrealistic (I know its just a game dammit!) when it comes to the financial side of things, and the growth and development of young players.

Notice they have brushed out Gareth Bale from the original artwork...

Another annoying part of career mode – with the fictional youth players that you and other teams scout in the game are all randomly generated which is fair enough. They are given a random body and face, so why the fuck can't their face appear on the player ratings screen like the IRL players do huh? Very irritating. So what about the latest instalment? Slick. Slick is the first thing that comes to mind, a new menu layout with large pictures as the buttons making up each main menu screen, nice stats and visuals when navigating the pause screen. The font they have used for this game is perfect for a sporty interface.

The players are affected by bodyweight, balance and momentum more in this game. The physics involved with ball control and trying to protect the ball or dispossess another player are a lot more realistic. Headers in this game also seem to be more responsive to the direction you push on this stick, rather than FIFA 13 making it incredibly frustrating to score a headed goal when you are certain you have nailed it. I remember when the cross or corner was a beauty and you pointed to the part of the net you wanted to annihilate and it just goes begging, usually over the bar. It is more realistic this time, I mean you cant just head in any old pass or cross your player has to time it right and be balanced and facing the right direction. When its all in place though it feels smooth and natural to whack it in with your bonce.

The commentary is a bit more inspired this time around. Talking about famous events and football history, players back stories is all well and good but is it going to make you want to punch a hole in the screen if you hear the Mancini and Man City fans letters story for the millionth time? The fun and rewarding training mini-games from FIFA 13 are back too, but all slightly different this time. The same categories are all back (shooting, dribbling, free kicks, penalties, crosses etc.) but each one is a new challenge which gives the game another addictive element. Whoever thought of putting these games randomly generating while your game is loading is a freaking genius! The opportunity to fine tune your skills while you wait is such a good idea.

Its a shame the release of this game will be overshadowed by the gargantuan almighty release of Grand Theft Auto V, because they have put in a real effort this year. Only time will tell how the career mode and other game play modes will turn out. It would be a bastard kick in the nuts if they made it look so shiny and play so smoothly to go and spaff it all up the wall when it comes to replay value. So an addict getting their fix, an occasional football game participator, or a complete newbie may all get something out of FIFA 14 if the demo is anything to go by.