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Day: 30 March 2015

Live: All We Are

09/03/2015

Deaf Institute

6.5/10

Literally out of nothingness, from the stage door of not only the Deaf Institute but seemingly the entire musical world, All We Are step into the light, immediately greeting the Deaf Institute’s surprisingly full dance hall with some seriously skilled harmonies. It’s also immediate that All We Are are on form, most likely helped along by the flattering structure of their tracks but signalled by the odd mess about here and there.

Early on, the band jump into their soundcloud-dwelling cover of Caribou’s ‘Can’t do Without You’. It’s minimal, super tight and damn rhythmic, making me wonder whether if, one day, bands like this could hold slots in between DJs. As long as there’s versatility, which there definitely is here, it’s only a matter of time until acts like All We Are and Caribou start climbing bills in some interesting settings.

As much as they flex themselves to cover all sonic bases however, All We Are’s set sounds pretty safe; they play around but never stray too far from their falsetto-laden path. Nevertheless, the whole thing never lulls too heavily and even the unheard songs from their debut have the crowd jiving. In-fact, the set’s pace is quite interesting, as tempo and mood swings are brought about within songs, not between. Whether that’s a consequence of playing only one album’s worth of music I’m not sure, but it certainly works.

All We Are’s encore, unlike so many pointless others, in fact presents a perfect break after fan-fave ‘Keep Me Alive’ to set up for the slowly building and more methodical finale ending in a final jam. Give All We Are some time to settle into their gigging shoes and maybe some more writing activities and prepare for some serious festival contenders.

Interview: Fightstar

Sniggering aside, Fightstar have had quite the journey: From the inevitably shakey post-Busted beginnings to the mature and composed album Be Human—you could even say Fightstar have moved from strength to strength.

“We’re planning on playing some festivals this summer,” says Alex Westaway, “and we should have a single by summer.” After an ample hiatus, the band seem keen to get straight back into the fray, with a slot booked for Download festival as well as an impromptu UK tour which saw them headline Manchester Academy 1. “Well we’re writing plenty of new stuff between now and the festival period—we always try and evolve every record so who knows what it could sound like.” Furthermore, Alex points out their aims to “pull on the heartstrings”—who could expect any less?

Personally, I feel Fightstar’s main attraction is their inclusion of a more orchestral-type sound, one which builds on the pop influence of Charlie and combines well structured arrangements with orchestras and choirs all whilst retaining the punch. “Hmm, we’re not sure if we’ll use many strings again; we could even add more synths actually. I mean I’ve always been on the less heavy side anyway, more post-rock. This is unlike Dan, who has the heavier background, and Charlie kind of meets in the middle.”

“As for songs, we just kinda pitch it to each other. One of the songs I wrote back in the day, when I was 16, was ‘Amethyst’. I pitched that to Charlie and we wrote a new chorus melody and that’s one of the first songs we wrote. It’s very very simple and I really like that, think we might try and bring some of that back into it—just guitars and vocals. Sometimes I think when you get too complicated, you can miss a little bit of the raw human emotion.” Of course, one couldn’t imagine Fightstar without it. “I mean one of my favourites is probably War Machine—it’s such a tense track, probably because we spent ages arguing whether the lyrics should be ‘I am a war machine’ or ‘I’m not a war machine’. Either way, we managed to sneak ‘I’m not a war machine’ in there at some point.”

With music covering death and rebirth to the apocalypse, the band have always had the grander topics in their sights and, if their individual efforts during the hiatus—Alex and Dan’s Gunship and Charlie’s solo albums—have something to hint towards, it’s something that could be utterly unique and completely new.

24 hours on air

The tragic consequences of the Germanwings flight which this week was crashed into the Alps prompted a mass media outpouring. Within hours of the disaster news desks erupted, filling television screens with breaking information. While the popularity of minute-by-minute news casting, particularly in cases such as this, is undeniable, it has deep flaws.

In this particular example, the time between the initial shock of the crash up until the deciphering of the black box was essentially dead air time. Breaking updates became less and less specific. This continued up until around 4am GMT. At this point, the New York Times released information illuminating the the co-pilot’s involvement and the story was once again blown open.

Where 24 hours of news is deeply flawed is in that in this downtime, a time for consideration of events, they still have airtime to fill. What this type of machine gun newscasting can sometimes promote is irresponsible and overtly ruthless reporting; the type the media should not be proud to perpetuate.

BBC News, for example, interviewed a number of aviation experts following the collision. Each, like Carsten Spohr and Thomas Winklemann (CEOs of Lufthansa and Germanwings, respectively) were grilled on every aspect of the Airbus’s safety. These interviews were unable to provide any clarity, other than explaining the excellent safety record of the planes. There only effect was that they served to promote hysteria regarding the planes’ suitability to fly. In filling the airtime before any more illuminating material became available, the media in fact served to cloud the events further.

As the amount of breaking material slowed further, a former pilot was interviewed at around 5pm. This individual offered even less clarity, instead expressing the incredibly unsympathetic view that no pilot should ever wish to commit suicide like this. Again, rather than offering any information, this interview served to express a knee-jerk demonisation of mental illness rather than providing any explanation as to the chaos.

This is not the first time that the need to fill 24 hours on air has led to insensitive journalism by the BBC. In late February, following the identification of ‘Jihadi John’, a representative of CAGE was asked by Kay Burley how he felt about the beheadings. This incredibly unfair question provoked Cerie Bullivant to respond that, “We should not have to justify our humanity by saying that I am shocked by something as brutal as this.”

Kay Burley, in an attempt to fulfil the criteria of non-stop, up-to-the-minute news, offered up an impossible and ignorant question. The parallel between this and the none stop need for information regarding the Germanwings tragedy, when there simply was none to be found, highlights the weakness in rapid fire news.

While it is vital that we are informed, and that news is rapid, it also has to ensure that it fulfils a responsible role. Arbitrary allusions to the possibility of pilots across Europe being part of an extremist sleeper cell are simply instant regurgitation of hearsay. The media, largely, did not credit such extreme reactions. However, hurling around misinformation, some of which invariably sticks in the public consciousness, only serves to perpetuate fear and confusion.

Consideration and responsibility need to override ruthlessness and knee-jerk reactions. Tracking down the family and friends of the dead offers little in terms of lucidity. Interviewing Bodo Klimpel, mayor of Haltern—home to 16 passengers on the flight—hours after the events contributes very little. This is especially true when he is asked questions, as he was, about his response to the accident itself rather than being asked to give a tribute to the dead. Likewise ‘Everything we know about Andreas Lubitz’ news articles provide forensic analysis of the most innocuous aspects of the individual’s life. For the family of the co-pilot, his history is paraded in the public eye, with its inspection the only aim.

The Daily Mail have run an article following an interview with an unnamed ex-girlfriend of Lubitz. He is said to have woken from nightmares shouting “We’re going down!” insinuated in the article to be a clear allusion to his actions this week. With the difficulties interpreting the effects of mental illness in this case, these kinds of accusations do nothing to debug attitudes to depression. Instead the newspaper have provided a controversial aspect to the story, delving into the co-pilot’s history in order to fill column inches. This can easily be attributed to the fact that publications like The Daily Mail are not forerunners in responsible journalism. But the difference between this and the BBC’s questioning of Klimpel, is not too far a leap.

These stories, again do nothing to illuminate events. Information released by police is of relevance, and is made sure to be relevant by careful consideration. In juxtaposition with this, Bild were publishing information about ‘Lubitz[‘s]… serious relationship crisis with his girlfriend before the disaster and the resulting heartbreak… thought to have led to this,’ just hours after the disaster. Similarly The Daily Mail‘s investigation and the BBC’s desperate attempts to find some reason for the disaster fuel confusion.

This brand of investigative—but speculative—journalism is not how our media should approach disaster. It is devoid of respectability, balance and validation. Public hysteria is not subdued or explained by this type of information being thrown around, rather it is mirrored. This is hysterical journalism. A desperate attempt to throw information into a void of uncertainty in order to fill time and space.

In a recent interview, editor of Private Eye Ian Hislop was asked whether he considered his magazine to be relevant, publishing every two weeks, in the world of 24 hour news. His response was that in a world of instantly regurgitated information, the considered angle of his magazine was a breath of fresh air. This is true, but is also indicative of how news needs to be run.

Speed is increasingly becoming of the essence. News broadcasts every two weeks would, obviously, be totally redundant. We want to know everything we can immediately. However, too often, 24-hour news doesn’t contribute what we are looking for.

Two hours of news is stretched over four hours of television, or alternately ruthlessness too often rules in order to provide material for the conveyor belt. This isn’t a promotion of balance or of thought, it is a promotion of irresponsibility and, at its worst, hysteria.

That is not what our media should be providing. So often in circumstances of tragedy we turn to the media for clarity. Considered, informative and validated information is what the media should look to provide, and too often this is incompatible with the culture of 24-hour news.

Review: Suite Française

Despite boasting a talented cast the big screen adaptation of Irène Némirovsky’s bestseller falls rather flat. The story of how the book came to be is unfortunately more fascinating than what was presented onscreen. Némirovsky, a Ukrainian-Jewish writer, had started to write a five-part wartime love saga in 1940, but was captured and died in Auschwitz in 1942. Her daughters discovered the first two self-contained novellas of this story in the 1990s and released them in 2004 to widespread acclaim.

The story is set in the small French town of Bussy and centres on Lucile (played by Michelle Williams) who lives with her disdainful mother-in-law, Madame Angellier (Kristin Scott Thomas) while Lucile’s husband (through an arranged marriage) is in the army. As the Madame scornfully collects rent we are introduced to a number of other characters including Margot Robbie’s Celine and the Labaries, played by Ruth Wilson and Sam Riley. As the Nazis sweep across France refugees from Paris arrive in the village, followed shortly by the Germans themselves. As the conquerors, the Germans take temporary lodgings in the conquered town, which will inevitably lead to a lot of unease. The Angelliers’ house becomes home to the handsome and sensitive Bruno van Falk (Matthias Schoenaerts). Lucile is drawn to Bruno’s unfinished piano composition (namely the titular ‘Suite Française’) and as the poster suggests, the pair’s shared love of music may lead to a bit more.

There are aspects of this film to admire, foremost of which is the socio-political dimension of the story. The changing dynamic between the landed gentry and their tenants, as well as the effect of the occupation upon the situation, is handled with intelligence and complexity. Characters who initially appeared almost like two-dimensional caricatures gain real complexity very quickly. Some of the supporting cast does impress, in particular the aforementioned Labaries, as well as the Viscount and Viscountess who share arguably the most touching scene in the entire movie. Furthermore, as with director Saul Dibb’s last period piece, The Duchess, the production design is beautiful and is complimented by Alexandre Desplat’s score (although arguably it does occasionally drift into overly sentimental territory).

The problem is that the film’s essential focus is this romance which is woefully short of any chemistry. Whilst this can partially be blamed on some clunky dialogue, it must also be said that neither Williams nor Schoenaerts are anywhere near their best. As a result a large proportion of the movie fails to amount to much more than a wartime soap-opera with the audience neither believing nor investing in the couple. The film is also not helped by a horribly unnecessary use of voice-over, through which Lucile spells out to the audience thoughts and observations which are blindingly obvious. The ending is also rather abrupt, although given the unfinished nature of the work that is to be expected.

Overall, there are undoubtedly some positives to garner from watching Suite Francaise and arguably those in search of a romantic trip to the cinema could do far worse (Fifty Shades is still playing) but on the whole the film left me unsatisfied and disappointed.

2/5

TV Binge: Unbreakable Kimmy Schmidt

The success of Netflix’s newest addition to their portfolio of hugely hyped shows comes as a bit of a surprise, after they bargained it from US channel NBC, where Unbreakable Kimmy Schmidt wasn’t deemed a promising candidate in the run for viewing figures. Then again the names behind the sitcom should have been reason enough to believe in it. Created by Tina Fey and Robert Carlock, who previously worked together on 30 Rock, Kimmy comes with a substantial amount of VIP backing (and an unbelievably catchy theme tune!).

Abducted by a narcissist priest under the pretence of the emerging apocalypse, Kimmy and her three fellow ‘mole-women’ spent 15 years in an atomic bunker. Naturally, their final rise onto the surface of the earth is accompanied by extensive media coverage which leads the disturbed women out of rural Inidiana. New York tastes like freedom and Kimmy (played by Ellie Kemper) decides to take her fate to the Big Apple permanently. Equipped with the cultural knowledge of a 15-year old from 1998 and an unbreakable spirit, she sets off on a journey towards a regular life. She soon moves in with Titus Andromedon, a failed Broadway singer who is trying to find his place in the world by assuming the guise of a werewolf or taking lessons in lad-culture to conceal his minority statuses. Other recurring characters include Kimmy’s rich but refreshingly likeable boss Jacqueline, Jacqueline’s spoilt teenage daughter Xanthippe and rich, wannabe-British ‘Daddy’s-boy’ and love interest, Logan.

Kimmy’s enchanting quirkiness is conveyed visually through brave colour choices throughout her wardrobe and aurally through her constant inventiveness, expressed through all sorts of fun neologisms replacing the standard swear word (yes, the only swearing is in the title sequence).

Comparisons to shows like New Girl are warrantable as both series share their en vogue weirdness that makes their characters so amiably annoying. This being said, when New Girl falls victim to its own tendency of getting stuck in the cutesy corner of boy-meets-girl dramatics, Kimmy Schmidt takes it that one step further and ultimately delivers a notably higher level of punch with its lines. The main difference between the two programmes is exactly the importance they assign to the romance aspect of the plot: while New Girl revolves around the on/off relationship of Jess and Nick, Kimmy is more concerned with living. When romance does play a part it remains the subplot to some bigger issue Kimmy has to deal with—finding a job, turning 30 or getting accustomed to the phenomenon that is electronic music. Hence Kimmy isn’t just the cutesy weirdo trying to solve her problems by expressing them in song, she actually gets things done. This leads back to the hint in the theme tune (which I’d really like to give Tina Fey credit for): Females are strong as hell.

The refreshing Unbreakable Kimmy Schmidt takes all the familiar stereotypes to a new level by portraying its characters as fully aware of living their cliché, which isn’t only funny but also makes the show a lot cleverer than most of its contestants, regardless of its silliness. Sadly, TV doesn’t seem to assume its audience to be capable of relating to something of quality without the usual taste of schmaltz. Have some faith, damn it!