Ill Manors

It was only a matter of time until Ben Drew pulled together his talents for music and film to present Ill Manors; a feature film and album. Interestingly Ben does not star in the film (other than a short cameo).  I have not seen the movie and will focus on the album as a musical work, presented by Ben’s musical persona; Plan B.

The album features plenty of collaborations and several feature tracks from the film amongst other pieces completed post film production, which set the album up as a supporting work and not a direct soundtrack.The storytelling format of the album is not dissimilar to Plan B’s previous works - his debut depicting the trials and tribulations of “Strickland Banks”. Musically it achieves a complex fusion of urban lyrics, soul melodies, hip hop and ethno beats with dustings of acoustic instrumentation. A stand out track which demonstrates this collage perfectly is “Deeply Shame”.  Opening with Plan B’s vulnerably understated vocals (of which we hear more in his earlier album) set against harmonies in simple instrumentation; the track carries poignancy which is delivered with raw emotion. I was slightly disappointed when Plan B disturbed these soulful melodies with rapped lyrics; however it certainly offers a further example of the complex layers and varying textures built throughout the album.

Plan B’s urban poetry, presented through contrasting timbres and emotions, consistently functions to deliver messages of moral and political strife; Ben Drew’s personal strife against a judgemental society. Such level of passion accompanied by a creative medley of musical styles both old and new set out a highly convincing and arguably sophisticated work.

Anyone who is brave enough to set Saint-Saëns Aquarium against explicit narrations deserves some level of respect, although I am not entirely convinced by the resulting track.

Drive!

Weeks have turned into months and summer has come and gone and come back again. My writer’s block has dissolved; first up Drive.
After weeks of listening to people rave about Nicolas Winding Refn’s latest movie Drive, the boyfriend and I fixed the Lovefilm priority listing and two days later the DVD came through our letter box. For George it was all about the cars, for me the music. I had heard as much about the soundtrack as I had the film, and for good reason.
Cliff Martinez is accustomed to fitting music to hard hitting storylines, for example Traffic and Wonderland. In Drive Martinez uses synthesisers to build an alluring sonic backdrop to a violent fairytale. He creates an interactive sound design of deceptively comforting themes juxtaposed against grounding, cued sound effects which perfectly highlight the smatterings of violent jabs amongst an otherwise blissful love story.  Interspersed amongst Martinez’s compositions are a selection of mystically slow paced European pop songs from the likes of French Electronica producers David Grellier and Vincent Belorgey. Providing the fundamental elements of Martinez’s surrounding music, these songs poignantly narrate the film’s story and bolster the aura of a 1980’s soundscape. 
My favourite track of the compiled Soundtrack is Nightcall by fellow French artist Kavinsky. The distorted vocals project the Driver’s grappling affections towards Irene wonderfully! 

Bon Iver, Colston Hall

A little late but this is my review of Bon Iver at Bristol's Colston Hall, 11th November 2011

Following the widely anticipated self-titled second album, Justin Vernon and his expanding medley of band members presented a select series of dates across the UK. After 16 weeks on the road with the likes of US country singer, and the current Mrs Vernon, Kathleen Wilson and other equally sensuous support acts, Bon Iver concluded their journey with a concert at Bristol’s Colston Hall.

Widely known for presenting symphonic programmes with resident ensembles such as the Bournemouth Symphony Orchestra, Colston Hall was perhaps an unlikely venue for the vulnerable sounds of Bon Iver (If the first album was anything to go by this is). As it transpired, the space couldn’t have been more suitable for the 9 piece ensemble that filled it’s stage.

Complete with two drum kits, a range of wind and brass; including the rarely heard contra-bass saxophone, and an array of mounted guitars (I counted 12), Bon Iver instantly consumed the hall with the unmistakable fusion of ridiculously close harmonies, edgy drum riffs and falsetto vocals.

Something to note, why is it that when you label an event a “gig” people feel liberated enough to display their emotional response to the sounds bestowed on them? Yet when you are in the same venue, for the same experience of getting lost in music but that music is distributed in the form of a “classical concert” one feels obliged to stifle any response, cough or stomach gurgle in fear of disturbing other audience members...

Happy Birthday to the king of film music!

Today is John Williams' 80th birthday and I thought it apt to pay tribute to a composer who, through his oscar winning catalogue of scores, has engrained a vast array of films into the memory of several generations. After a career of nearly 60 years, Williams has 140 composing credits to his name and the most academy award nominations, second only to Walt Disney.

Throughout my childhood I continually enjoyed stomping around the house chanting the themes from Jurassic Park whilst fighting off velociraptors, and hiding in the far corners of the house when my sisters plagued me with the soundtrack to E.T. (I had an immense fear of the number one “family” film of all time). Now as an adult, I still jump for joy when ITV2 play another instalment from the JP trilogy and continue to hide when E.T. comes on at Christmas; the audio memories remain as strong and sentimental as ever.

Perhaps most notable for character themes, Williams has provided the fear behind a finned sea creature, the menace of a masked, fallen Jedi and the vulnerable endearment of a young wizard. These themes have become people’s first point of reference when recalling the films themselves.

It is worth mentioning Williams’ relationship with director Steven Spielberg. Long standing collaborations between composer and director offer a distinct signature to film. Pairings include Sergio Leone and Ennio Morricone, who provided the backbone of the Spaghetti Western; Tim Burton and Danny Elfman, who continue to capture fantasy with a purely unique set of visual/audio syncs, and; the masters of the family blockbuster themselves, Steven Spielberg and John Williams.

The score to Warhorse is Williams’ latest masterpiece and has already been tipped for an Oscar. With no indication of retirement, here is hoping Williams will be writing the soundtrack to my childrens’ childhood.

A few gems for the road...

Here is a SoundCloud link to The Woods

http://soundcloud.com/wise-children

The Woods

Here is my review of Wise Children's debut album, The Woods

The debut album from Chichester based Wise Children presents the accumulative creations of Robin Warren-Adamson. Anyone who has followed Wise Children from the beginning can see the progression of both the musical skill set and creative originality. As an overview the record balances varying influences of folk with pop/electro sounds, all the while encompassing Wise Children’s now infamous haunting tonality and harmonies.

An extensive (13 track) playlist, The Woods demonstrates a portfolio of Wise Children. Perhaps more in line with an artist’s refined scrap book than the story told by an album, the tracks offer a liberating spy hole into the mind and heart of the artist.

The opening track is a magnificent demonstration of both satisfying writing and developed production and provides the perfect prelude. The combination of infectious, tumbling riffs and scenic lyrics leaves the listener mesmerised. The same infection continues with the beautiful sounds of tracks 2 and 3. The darker side of Wise Children antiphonally balances lighter moods with a mystery and complexity. The use of a recorded music box and reverberating solo piano in track 10 really highlights this artist’s delicate vulnerability. Any barrier between writer and listener is broken.

It is worth recognising that this musical diary of Wise Children was recorded in the artist’s bedroom. All instruments and vocals were laid down by Robin and all production undertaken by him. The array of skills presented demonstrates not only the dedication of a student but a unique insight into a solo artist’s quest to find gold and grasp his identity.

Prologue

After two years working in the music industry attending numerous concerts, reading numerous reviews and attempting to write numerous reviews myself I thought it was time to start collating my own interpretations of music.

Each of us likes to experience music in varying ways, whether it is private listening through head phones or the uninhibited expression in a nightclub, at a gig/concert or even during an hour and a half church service on a Sunday morning...

So here is goes, a selection of my thoughts on music, unaccompanied.