Lullaby Reviews the Dark Knight

The Dark Knight - Directed by Christopher Nolan (Released 16/7/08)

Like many people, this film has been my most anticipated film in quite some time. Christopher Nolan is at the helm again and off the back of the outstanding first installment Batman Begins, the film sets itself not to only break box office records but to become the most superior superhero/comic book film to date. As I take A deep breath as I firmly planted myself in the cinema chair I couldn't really begin to fathom that in just less than 3 hours the 3 years of anticipation would be over, and the beginning of the next 3 would arrive with new questions of the next installment. The greatest thing Nolan has got going on with this franchise is it's free of superhero cliche boundaries, we've had a taste with BB but that was more so an origin story. I immediately think back to Sam Raimi's Spiderman franchise and how exciting the 2nd installment was to the first as Peter Parker had already obtained his responsibilities which takes the film to completely new level.

I had huge expectations with how The Dark Knight would begin, and after witnessing it I can safely say I was quite impressed as it was completely unconventional and not what I would of expected. Without the superfluous ins and outs of the slightly complex script developed by the Nolan brothers and David S Goyer. The Joker, Batman's most notable villain has arrived on the Gotham City scene and has set his sights on terrorizing the city as the Dark Knight, White Knight district attorney Harvey Dent and Lt James Gordon put a firm hold on the justice of Gotham City.

From here on in, we have a fast paced action film, cutting from scene to scene in less than a blink of the eye. Beginning with performances, the cast is dazzling. Christian Bale upholds his duty as both Batman and Bruce Wayne, Gary Oldman is satisfying as the newly appointed Commissioner. Aaron Eckhart glistens in his role as Two Face/Harvey Dent. From the start I was extremely interested to see how Nolan would transform his White Knight into the villainous Two Face, within the realms of a realistic world and script it works, even if half the internet disagree on that one.

This paragraph is dedicated to the late Heath Ledger, for starters I kind of feel sorry for anyone just wanting to see this film because of it being his last, without really having any kind of clue about what was involved in the development of this character. In my redundant opinion, Ledgers role as the Joker has to be one of the most impressive on screen character portrayals I've ever, ever witnessed. It's nothing short of (and I hate using this word) amazing. The scene in which he sits in the holding cell as Gordon is promoted, he totally taps into that Alex De Large mentality, body language wise he owned it. From a voice you can't even imagine Ledger being able to acquire, his mannerisms, the executions of his actions and lines it's simply magic. For fan boys like myself it's a good feeling that it can be realised that it doesn't matter that he is no longer among us, 3 years ago when he was cast (and when we learnt he was cast) for this role we could only dream of what he would bring to the character and he fucking delivered.

So, the Dark Knight a comic book film masterpiece? Probably not, but damn impressive. It met every expectation I had, without exceeding it. At the centre of the film something was absent. The film in my opinion could have been probably titled "The Joker". Maybe Nolan thought he had developed Bruce Wayne/Batman enough in BB, but I really thought there was an aspect of the character dynamic missing, Bruce Wayne pops up here and there but I didn't really ever care for him or his love for character Rachel Dawes (Maggie really wasnt that bad guys, what do you expect from such a character), as far as villains go, Ledger's Joker and Eckhart's Two Face have been the best any Batman franchise has yet seen. With trying to accomplish a well rounded complex script (engrossed in reality), with probably too many characters I think the task is a bit overwhelming for anyone at the end of the day while Nolan has saved Batman from both Schumacher failures I still have my issues with the current franchise, mainly the vehicles, costume, voice etc but at the end of the day all we really want is Batman defending Gotham City.

Film - 4/5
The Joker - 5/5

Sean

Book Review - Simon Reynolds: Rip It Up & Start Again...

Simon Reynolds - Rip It Up & Start Again: Postpunk 1978-1984
[Faber and Faber Ltd; 2005]

The term post-punk seems to be severely overlooked around the world. Particularly where its origins lay; England. Believe it or not, some people have to name check John Lydon's Public image Limited; those who bang their heads to the jukebox blaring the sounds of 'God Save the Queen', anyway. Memo to these types; post punk isn't just Joy Division and if you care to take a couple of months out of your heavy schedule and read Simon Reynolds' Rip it Up and Start Again: Postpunk 1978-1984 you may just learn a thing or two.

A critic for a wide array of musical publications, Reynolds' works are about the “post” in punk and not always about the sound people associate with the term. A very heft catalogue of artists, people, and scenes zigzag through this book, that forms as the most insightful tale of music that stemmed in the late'70s/ early '80s.

From Sheffield, England where The Human League re-emerged to reach number throughout their career (1981's 'Don't You Want Me'), to Boston, America, where the likes of Mission of Burma were making listeners' ears bleed; the scope of coverage Reynolds gages with Rip it Up... is one of great feats. Maybe a little too insightful for one, who maybe prone to skipping a couple of chapters due to the heavy diversity this book contains.

Whatever you do, though, don't miss out on the chapter of The Fall. Reynolds encapsulates music journalism at its finest right here, integrating political notions with the music (as he does through large quantities of the book). A facet that clearly segregates the boys from the men, so to speak.

By Simon K

Album Review - The Hold Steady

The Hold Steady - Stay Positive
[Vagrant Records; 14/07/2008]

The Hold Steady's music evolves in a genre that a lot of people would generally pass off. However, their music is so strong that it draws listeners from a wide array of communities. This is what all good music does and The Hold Steady are one of the few artists in the modern day to achieve this.

The band's fourth album, Stay Positive, is once again an affair of catchy rhythms and Craig Finn's straight-to-the-point lyrical topics. Unlike a lot of their contemporaries who have managed to cut the same amount of records, The Hold Steady continue to refine and not decline in the art of creating.

In terms of sound, The Hold Steady have pilfered strands of Husker Dü circa Candy Apple Gray, with Finn transforming something a little more direct and less vague lyrically, as apposed to Bob Mould and Grant Hart. 'Sequestered In Memphis' kick starts the sing-a-longs with glib fanfare and melodic chord progressions setting the tone. 'One for the Cutters' is Finn's baby, embarking on a narrative rant about the judicial system his country employs.

The pinnacle of 'Positive definitely lies within with the double-whammy of the fist-pumping aura that is the title track, outlining Ginn's position with his personal battles. 'Magazines' comes across with lyrics that would be deemed lame if any other band had rendered them, but somehow with The Hold Steady they get away with it just as good as O.J. Simpson did!

For every lad that slobbers over Oasis and various other bands that appeal to the herd-mentality, there's an aloof kid that sits in the corner of a pub with his head-phones and Ipod that dares to get up and shake his ass to the sounds of The Hold Steady. Finn's lyrics are once again the talking point, sharing nostalgic laments, which on the back of get-up-groove instrumentation, conform as athemic. Did we ever think that such confronting and literal lyricism could throw off such a liberating energy? It's always been the case when listening to The Hold Steady's music, but now the message is loud and clear; staying positive!

Lullaby Recommended

By Simon K

Album Review - Ladyhawk

Ladyhawk – Shots
[Jagjaguwar;06/05/2008]

If you take away the over zealousness of Okkervil River and the grandeur from Wolf Parade then the sounds of Ladyhawk aren't too far away from the sound metres. Hailing from Vancouver, Canada, Ladyhawk are yet another Canadian collective that go about their everyday business, yet still receive the necessary plaudits from the small community that engages with their music. With the release of their second album, Shots, Ladyhawk continue to naturally progression within their landscape.

That progression consists of a mixed bag of tricks this time around. 'I Always Don't Know What You're Saying' – like all good openers - flows with an organic democratic steel, while the short clasps during 'S.T.H.D' are raucous rock at it's best, embellished with a murky aesthetic. Opening single 'You Ran' is without a doubt the catchiest thing to come off Jagjaguar in quite some time, almost ending before it even gets started. Closing affair, 'Ghost Blues', expands the band's sound, musically, rippling with highs and lows of your typical epic closer, naturally ending the album on a high.

Although Shots is admittedly an experience of peaks and troughs, the peaks witness a band at the top of their game. Ladyhawk's attitude impresses out of all of this. It's no-frills rock 'n' roll that impresses when at the top of its game. Add a raw country tinge to the mix and you have a band releasing music that's placed towards the top end of the spectrum.

By Simon K

Album Review - Harvey Milk

Harvey Milk – Life...The Best Game in Town
[Hydra Head Records; 03/06/2008]

With so much music at our disposal there's bound to be times when you get knocked on your arse when in the pursuit of finding some new and ground breaking. This is one of those times. With their name deriving from the first San Franciscan gay politician, Harvey Milk (Creston Spiers; vocals, Stephen Turner; bass, Paul Tredeau; drums) are a wrecking ball that you dare to stand in front of. Forming in the early nineties, the band disbanded only to get back together in 2005. Life... The Best Game in Town is the band's second album after their re-form and their fifth overall to date.

The riff-o-rama gets your head spinning that much that it seems vertigo is on the way to cause some distress. 'Decades' is a vintage rock number that tumbles with a sludge aesthetic, with Spiers seemingly regurgitating fury and spitting it out like balls of fire. 'Motown' is a sheer stoner combat that would make Buzz Osbourne of the Melvins a proud man, while the sounds of the Jesus Lizard are only just a couple of streets away, too.

Although Harvey Milk seem to present their influences with a sense of boldness, the nature in which they expose extra facets of sound and ideas make this release all the more thrilling. 'Goodbye Blues' is a musical monolith, with top end snare smashing, sledge-hammer riffs and an overall wall of doom.

Yet another band that has fallen into the right hands. They've joined the ranks of fine modern alternative artists who dabble on the fringes of metal. Isis, Earth, Boris, Pelican and even Pissed Jeans. Harvey Milk can be added to this conclave of innovative music with Life...The Best Game in Town. One of the avant-garde metal releases of the year.

Lullaby Recommended

By Simon K

Album Review - Beck

Beck – Modern Guilt
[Interscope; 08/07/2008]

You never swim in the same river twice. In Beck Hansen's case you don't, anyway. Working with more genres than you could poke a stick at, the American born artist has come a long way since the ironic statement of 'Loser'. This time the waves of diversity continue, this time with Beck drafting in producer Danger Mouse to form his latest offering, Modern Guilt.

Danger Mouse is the trump card during Modern Guilt despite Beck once again correlating a sound where boundaries simply don't apply. Although there's tinges of Mutations and Midnight Vultures simmering under Beck's latest creation ('Gamma Ray'), directly this album is miles apart from his previous works. Standout track, 'Chemtrails', is sparked with retro undertones as Beck's slow hippie-esque drawls transcend in a provocative manner.

Due to Beck's carefully chosen lyrical topics, his music continues to hold a currency. Normally, music with currency fails to present longevity, but with Beck this doesn't apply. A political undertone unravels during this 33 minute jaunt (Look no further than 'Youthless' and 'Walls'). Even the album's title speaks volume.

Apart from Sea Change (which is a personal all time favourite), Beck's music has failed to strike a chord with me. As is the case with most collage artists, sometimes you attempt to indulge but just don't 'feel it', so to speak. Modern Guilt is one of the nice surprises of 2008. The co-production with Danger Mouse has proved more than fruitful for Beck, whose ability to engage with an array of musical genres has always been undoubted. Now, though, it's not only a matter of respecting Beck as an artist but there's an added bonus of actually enjoying what he has created.

By Simon K

Live Review - Interpol

Interpol
Sheffield Academy
09/07/2008
Sheffield, United Kingdom

Although success can be measured in many different shapes and forms, I guess it's fair to say that Interpol can be deemed as a successful act. Plying their trade for Matador Records in the early days with two landmark albums, New York's finest dressed band took the leap and signed for Capitol records for their third album, Our Love to Admire. It has to be said that their if-it's-not-broken-don't-fix-it ethos came off a treat with their first two outings. Turn on the Bright Lights is without doubt one of the highest points of this era when talking about 'good' music, while their second outing, Antics, followed in a similar vein with a little more vigour.

Live, the band have beefed up their sound (not surprising, since they now have Capitol in their corner) with the ethereal drones substituted for a gear-shifting and almost sweaty rock assault.

Sheffield were in the long line to witness this 'new sound' and along with it were treated with a slew of Interpol singles, not to mention a couple of old favourites thrown in for good measure. The new material – like on record – was presented in similar fashion, with 'Pioneer to the Falls' kicking off the night, followed by the larger sounding 'Slow Hands', which comprises of ricocheting guitars generating sound that bounces off the walls. An experience that is a first whilst in the hands of Interpol.

'PDA' and 'Obstacle 1' are also speedy renditions, while wall of sound that is 'Not Even Jail' is the night's evident stand out with its longevity unleashing a special aura, live. The drawn out rendition of 'Roland' sees Sam Fogarino's prominence on the drums, while the ethereal goodness of 'Obstacle 2' presents the vintage sounds we are accustom to hear from this band; a fitting way to close the night.

The older material has undergone an overhaul, with Interpol stepping up the pace and intensity, resulting in the band seemingly giving out an energy to its audience rather than draining it in from them, which is a compliment to their virtuosity. It was good to see the band throwing bits and bobs of material off OLTA into their set-list, rather than rendering large portions of it, despite album stand outs like 'No I in Threesome' and 'Pace is the Trick' left out in the cold. Still, it can't be argued that 'The Heinrich Maneuver' is a solid single and live the song remains to live up to quality.

It's no secret that Interpol's new album ranks as the weakest in their catalogue of work and with the abundance of old material the band perform live, maybe they're aware of this, despite their new demographic of fans thinking on the contrary to these beliefs.

By Simon K