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All reviews - Movies (2) - DVDs (3) - Books (1) - Music (119)

What is this I don't even....

Posted : 3 weeks, 4 days ago on 25 October 2009 11:20 (A review of Stay)

I watched this movie back in 2005, and for some reason forgot that I'd even seen it. Earlier tonight I was cleaning out some DVD sleeves from this old case of burned off movies (most of them more movies that I had completely forgotten about) and I came across this movie again. The only thing I could remember is that this movie had a killer ending that I really liked.

It is now 1:38 am, and I just finished watching this film for the second time and I think I understand why I could barely remember anything about it, it's because it fucked my mind the first time around just like it did this time.

Not to say it's not a good movie, it's decent. I mean, if you're into these types of physiological movies it would certainly be worth checking out. I don't know what to say about it really, it was just OK, nothing more.

So here's the SPOILER SECTION:

Basically Henry is a young man that is involved in a car crash with his family, and everything you see in the movie is a dream like vision he has while he lay dying. While his world goes dark and nerve endings are snapping off in his brain or something. The people watching him die and the people trying to save him on the street end up pulled into this nightmare as characters. Of course, you don't know this until the end of the movie, which makes the movie itself the mindfuck it turned out to be.

Like I said, I don't really know what do say about it. It's been said that if you're an artist or know a lot about art you can appreciate this film more, and well, I am no artist, so maybe I'll never fully understand all the hidden meanings and things like that. For instance, the appearance of twins and triplets in the movie, or the significance of all the different paintings in the film. It's lost on me really. I'm sorry to say.

My main problem with this movie though was the way it made me feel. The nightmarish quality and the way the film is shot made me feel sick. It evoked a depressing feeling in me that I generally don't like my movies to do. A very sad movie all around, there's not much positive going on in it, and you really do feel the character's pain and you certainly feel like you're watching a nightmare. Sign of good movie making I suppose, but I don't know, I didn't like the way it left me feeling.

I've rambled long enough, I'd say check this movie out, but make sure you're in the right mind set for it is all.

-The Dante Half

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Genesis Archive 1967 - 75

Posted : 3 weeks, 6 days ago on 24 October 2009 03:54 (A review of Genesis Archive: 1967-1975)

Genesis Archive 1967-75 is a 1998 boxed set by veteran progressive rock/pop band Genesis.

This retrospective release covers the band's formative history when Peter Gabriel was lead singer. Two of the four discs consist of a previously unreleased live recording of The Lamb Lies Down on Broadway from 1975. Some of Peter Gabriel's vocals on the live recordings of this box set were re-recorded by the singer in 1995 due to technical problems with the recording as well elaborate costumes that often muffled his voice. Guitarist Steve Hackett re-recorded some guitar parts as well.

In addition, Genesis Archive 1967-75 includes some performances from an unreleased live concert from London's Rainbow Theatre in 1973, demos, rare B-Sides and BBC recordings in 1970. The tracks are notable for being in reverse chronological order.

A well received package, Genesis Archive 1967-75 reached #35 in the UK.

Track Listing:

Disc one
All songs by Tony Banks/Phil Collins/Peter Gabriel/Steve Hackett/Mike Rutherford, except where noted.

"The Lamb Lies Down On Broadway" – 6:29
"Fly On A Windshield" – 4:38
"Broadway Melody Of 1974" – 0:34
"Cuckoo Cocoon" – 2:17
"In the Cage" – 7:56
"The Grand Parade Of Lifeless Packaging" – 4:25
"Back In N.Y.C." – 6:19
"Hairless Heart" – 2:22
"Counting Out Time" – 4:00
"The Carpet Crawlers" – 5:45
"The Chamber Of 32 Doors" – 5:52

Disc two
"Lilywhite Lilith" – 3:04
"The Waiting Room" – 6:15
"Anyway" – 3:28
"Here Comes The Supernatural Anaesthetist" – 3:57
"The Lamia" – 7:12
"Silent Sorrow In Empty Boats" – 3:15
"The Colony Of Slippermen (Arrival. A Visit To The Doktor. Raven)" – 8:47
"Ravine" – 1:39
"The Light Dies Down On Broadway" – 3:37
"Riding The Scree" – 4:30
"In The Rapids" – 2:25
"It" – 4:20
A remix of the 1974 studio version with a new Peter Gabriel vocal track recorded in 1995
All of the above recordings (except "It") were captured live in Los Angeles on 24 January 1975. According to Nick Davis, about 40% of Gabriel's vocals were re-recorded, as was some of Steve Hackett's guitar work.

Disc three
"Dancing With the Moonlit Knight" – 7:05
"Firth of Fifth" – 8:29
"More Fool Me" – 4:01
"Supper's Ready" – 26:31
"I Know What I Like (In Your Wardrobe)" – 5:36
The above five tracks were recorded live at The Rainbow Theatre in Autumn 1973
"Stagnation" (Tony Banks/Peter Gabriel/Anthony Phillips/Mike Rutherford) – 8:52
A 1971 BBC recording
"Twilight Alehouse" (Tony Banks/Peter Gabriel/Anthony Phillips/Mike Rutherford) – 7:45
Originally released as the B-Side to "I Know What I Like (In Your Wardrobe)" in 1974, but was recorded during Foxtrot's sessions in 1972
"Happy The Man" – 2:53
A 1972 single-only release during the Foxtrot era
"Watcher Of The Skies" – 3:42
An edited 1972 re-recording for a US single release

Disc four
All songs by Tony Banks/Peter Gabriel/Anthony Phillips/Mike Rutherford.

"In The Wilderness" (rough mix w/o strings) – 3:00
"Shepherd" – 4:00
"Pacidy" – 5:42
"Let Us Now Make Love" – 6:14
The above three tracks recorded for the BBC on 22 February 1970
"Going Out To Get You" – 4:54
"Dusk" – 6:14
The above two tracks are demos recorded in August 1969
"Build Me A Mountain" – 4:13
"Image Blown Out" – 2:12
"One Day" (demo) – 3:08
"Where The Sour Turns To Sweet" (demo) – 3:14
"In The Beginning" (demo) – 3:31
"The Magic Of Time" – 2:01
"Hey!" – 2:28
"Hidden In The World Of Dawn" – 3:10
"Sea Bee" – 3:05
"The Mystery Of The Flannan Isle Lighthouse" – 2:36
"Hair On The Arms And Legs" – 2:42
Tracks 7 - 17 are 1968 recordings
"She Is Beautiful" – 3:47 (became "The Serpent" with different lyrics)
"Try A Little Sadness" – 3:21
"Patricia" – 3:05 (became "In Hiding" with lyrics added)
Tracks 18 - 20 are 1967 recordings


-SOURCE: http://en.wikipedia.org/wiki/Genesis_Archive_1967-75

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Genesis LIVE Review

Posted : 1 month ago on 19 October 2009 03:11 (A review of Genesis Live)

Genesis Live is the first live album released by progressive rock group Genesis. The band in fact had no plans, at this time, to release a live album, but the decision was made on the part of their label, Charisma Records, to release Genesis Live as a budget-priced title to mark time while the band recorded the album Selling England by the Pound in mid-1973. The result became a boom for Genesis' most devoted fans, as this album represented the only legitimately released concert recording of the band (with Peter Gabriel on vocals) for 25 years.

The tracks on the album were recorded at De Montfort Hall, Leicester, on 25 February 1973 (except for "Return of the Giant Hogweed", recorded in Manchester on the previous day), when the band was touring in support of their Foxtrot album. A handful of early radio promotional double sets pressed on an extremely limited basis by dutch Philips Records exist, which include the epic-length "Supper's Ready", the band's signature live song from this period. Ultimately, the track was omitted and the album was released as a single LP. Despite this, the cover art still depicts a performance of "Supper's Ready". Genesis never officially released a live recording of "Supper's Ready" from the Foxtrot tour, but a recording of the song from the following tour finally made an appearance on the 1998 4-CD boxed set, Genesis Archive 1967-75. However, this shouodn't be considered a genuine archive recording since Peter Gabriel re-recorded vocals before this release, making it an extra rarity among the collectors' vaults as a variation of the legendary performances of April 21, 1974, at the University Sports Centre in Montreal.

A digitally remastered version was released on CD in 1994 on Virgin Records in Europe and on Atlantic Records in the US and Canada.

Track Listing:

All songs by Tony Banks/Phil Collins/Peter Gabriel/Steve Hackett/Mike Rutherford except "The Knife", by Tony Banks/Peter Gabriel/Anthony Phillips/Mike Rutherford. The second guitar solo in "The Knife" has been adapted by Steve Hackett, and the drum parts differ from the original version, a change probably made by Phil Collins.

1. Watcher Of The Skies
2. Get 'Em Out By Friday
3. The Return Of The Giant Hogweed
4. The Musical Box
5. The Knife


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King Kong is the worst movie of all times!

Posted : 1 month, 1 week ago on 13 October 2009 12:09 (A review of King Kong)

This movie made me actually want to get up and leave. I have never actually wanted to leave a film out of disgust before. I have hated movies, I have watched really fucking bad movies before, but this was terrible. It took everything I hate about Hollywood movies. It took bad camera angles, bad acting, bad motion cg, bad lighting, took a good budget and a good plot, and completely ruined it.

Never have I been so unhappy with a film. Naomi Watts looked and acted just like Nicole Kidmen, that is to say poorly, and Jack Black acted just like Jack Black. The supporting cast wasn't terrible, although they did over and under act accordingly. There was a terrible dinosaur race that didn't make any kind of sense, in that there were about 20 brontosaurus' running from 3 raptors. Only 4 people died and about 10 brauntosaurus'. Yea. Plus, people punching raptors? And sending them flying? And people not getting squished by 60ft dinosaurs and not getting a concussion by being shook around like a nanny with a baby, and not getting killed by falling down a 300ft cliff and ... I simply cannot list all of the inaccuracies and illogical melodrama that made this movie so terrible.

But not only was it terrible, but it disgusts me that this was rated pg. Not only do we see SEVENTEEN brutal murders, including people getting their head bitten off, and not including all those people Kong threw into walls, there was also a part where Kong TEARS OUT a T-rex's tongue, and then proceeds to tear his jaw apart and squish his head. This is not a pg movie. There was so much violence. It's obviously Peter Jackson making it a "family" rated film to get more bang for his buck.

Now, keeping all of this in mind, Naomi Watts took a page right out of "Birth" (another TERRIBLE film) with all the sad, thinking, and confused face close ups for 5 minutes each. She fell in love. With a gorilla. And that's not the bad part, I can totally understand that, and how if done well, it would be really effective (like you know, the REAL Kong movie). But no, Anne is not that kind of person. She doesn't bother trying to do anything except for yell at a few moments 'no'. She doesn't go and tell Jack Black that Kong is good and just wants to be left alone. She doesn't do anything. She goes away and leaves him and everyone she loves. Then she feels sad about it. But she doesn't do the right thing. She doesn't. She's not a good person. She makes a few futile attempts to do the right thing and gives up.

The only real emotion came from a cg rendering of Kong. No emotion was displayed that appropriately suited the situation.


In summary, please, do not see this movie. Do not let Peter Jackson take your money, and certainly do not encourage him to ruin more things about your childhood that you love.

Don't even download it to see how bad it is, don't waste your time. Go for a walk instead :P

Oh, and fuck Peter Jackson.

-The Dante Half

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Review:

Posted : 1 year, 10 months ago on 17 January 2008 06:55 (A review of 12''ers)

Extended mixes of 6 Phil Collins hits.
1988's 12"ERS is a six-track EP compiling extended versions of the half-dozen singles from Phil Collins' best-selling 1985 release NO JACKET REQUIRED. It was released as a stopgap between Genesis' INVISIBLE TOUCH and the soundtrack to Collins' first movie, BUSTER, a brief stretch of a few months in late 1987/early 1988 which was the first time since Genesis' 1980 commercial breakthrough DUKE that there hadn't been new Collins product all over the radio.
The two highlights are the hypnotic "Take Me Home," which only benefits from the stretched-out form, and a sizzling remix of "Sussudio" which emphasizes all of the best aspects of the song while minimizing its flaws. The other four range from interesting to passable, with a barely-different version of "One More Night" being as close as it comes to actual filler.


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Tony Banks- Seven- Interview:

Posted : 2 years ago on 30 October 2007 05:49 (A review of Seven: A Suite for Orchestra)

Tony Banks in an interview with Christopher Thomas, March 2004


Seven: A Suite for Orchestra


For nearly thirty years Tony Banks was the keyboard player, principal songwriter and pivotal force in Genesis, the rock band he co-founded whilst at Charterhouse School with Peter Gabriel and Mike Rutherford. From the mid seventies onwards the band, now a three piece comprising Banks, Rutherford and Phil Collins, who joined in 1970, enjoyed a hugely successful period of commercial success as one of the world's biggest album selling rock bands.


The band gained a reputation for "progressive" rock, pushing the boundaries of their art to new levels of complexity and sophistication. Always the quiet man of the group, Banks would often be hidden behind his keyboards and synthesisers preferring to shun the limelight in favour of his more extrovert colleagues. Musically however his influence was critical to the band. As his interests diversified he released a number of solo albums as well as providing the music for several major films.


Seven: A Suite for Orchestra represents not only Banks' first major musical project since Genesis went their separate ways in the late 1990's but also his first complete work for symphony orchestra. The interview that follows was conducted shortly before the launch of the disc, which is available on the Naxos label.
CD reviews Chris Thomas


CT: How have you been occupying yourself musically since Genesis went their separate ways?


TB: To be honest this project has taken some time although I have also tried to get some work in films and television but couldn't find anyone who would let me loose. I have done a fair few demos though. I have also been working on some Genesis stuff along with Nick Davis and we have done a DVD of the Wembley concert. I've also been looking at the archive albums, re-mastering and putting them into 5.1 surround and although Mike Rutherford's involved as well I probably have the slightly greater degree of involvement in that.


CT: Have you always harboured an ambition to write an orchestral piece?


TB: I have certainly felt over the last few years that I would like to do something like this before I hang my boots up. You never quite know whether you have done your last thing or not and it just felt like a natural thing to do. Many years ago I did a film score for The Wicked Lady and I have always loved classical music and the sound of an orchestra. In The Wicked Lady I was very much one stage removed because the arranger was so important to it but it was very much my music and I thought the main theme sounded good so I always wanted to return to it.




CT: Was Seven written specifically with live performance or this recording in mind?


TB: Given the medium that I have been involved in I always tend to think of records before live performance. Talking to various people in the classical world this is very different to how they would see it. Many people would try out a piece live perhaps on a smaller scale before they ever got to this kind of stage. Yet I am lucky enough to be able to afford to do it so it's a kind of indulgence really. Having started it though I wanted to take it all the way through. The piece that really got me going was Black Down, the second piece. I had written it on a string synthesiser and I decided that the only way that it was going to sound right and good was to use real strings. Once I had started that idea I decided to see how much I could do but there was a lot of learning for me.




CT: Are there any particular musical preoccupations that remain with you from your days in rock music and which have played a part in the composition of Seven?


TB: I was perhaps associated with the more complicated pieces in Genesis and there are certain kinds of chords that I like to use. Sometimes you have to reign yourself in a bit with a chord pattern rather than something that can go on forever. But the introduction to something like Watcher of the Skies in the old days was a stream of consciousness chord sequence and in orchestral music I feel I can do that much more. I love room to breath and that's one aspect I really liked about doing this. I can just let my mind go where it would and paint a picture and story with the music without having to worry about repetition and hooks and such like.




CT: Thinking of a Genesis song such as Home by the Sea where the music comes full circle to end with the material with which it began, to what degree would you say that the thematic structure of the pieces in Seven has come from the early days of Genesis and the major pieces of that period?


TB: That's most obvious in the final piece, The Spirit of Gravity, where I have the same theme in the beginning, middle and end. I quite like the idea of giving it a reference point because each theme that occurs in between really doesn't get repeated. Several of the other pieces don't do that however such as Black Down where there is one theme that is sort of repeated twice. In fact I had that theme and I felt I really wanted to use it more than once. When I wrote the piece originally it only came at the end so I brought it in at the front so that when you hear it a second time it makes that much greater an impression.




CT: Would you cite any particular influences as having been important to you in writing Seven?


TB: I suppose you are always influenced by what you have been listening to recently and in recent years I have listened to Vaughan Williams, in particular his Fifth Symphony and I've listened to quite a lot of Sibelius too. I really love his Fourth Symphony and also the Seventh Symphony. They are quite strong influences as well as his tone poems. The tone poems do more of what some of these pieces do in that they take you through things without any real structure to them.


CT: I felt that in some of the more expansive melodies John Barry could have been an influence. Would you agree?


TB: I have been accused of sounding a bit like John Barry in that he was known for liking to repeat the same motif lots of times because it was easy to score. Also on my previous solo album Strictly Inc. there was a piece called An Island in the Darkness which Jack Hughes, one of the guys I was working with described as John Barry meets Pink Floyd because of the repeated rhythmic pattern running all the way through it.


CT: Was it always your intention that Seven should comprise a suite or could the individual pieces stand-alone?


TB: I certainly see them standing alone which was one of the reasons for calling the piece Seven. In other words seven individual pieces. If there is something that runs through them it is more to do with time and orchestrations but there is no thematic connection between them at all. I would be very happy to see someone take a piece out of context and place it in a concert somewhere else. In fact it is what I would like to see most of all because that's the way you get to hear something that you may not otherwise become familiar with.




CT: Although you used an orchestrator did you conceive the piece in terms of orchestral sound and did you therefore give the arranger precise instructions as to what you wanted to hear?


TB: It's a difficult thing to totally isolate this. I did quite extensive demos but nevertheless I told Simon who did the orchestrations to feel free to do things. The only thing we did do was to keep absolutely strictly to every melodic line, the structure of the pieces and all the harmonics. But what I did say to him was that I wanted him to make it convincingly orchestral. I knew that if I had done it just on my own, which I could have done, that it would have sounded a bit restrained. I did give him a fairly clear idea of what I wanted but sometimes he would make his own decisions about things and we would then talk about it. For example the piece Earthlight begins with a bassoon melody which I had originally written for cor anglais but Simon said it went to low. There were also things that Simon added that would never have occurred to me in a million years such as the semi quaver viola parts in Earthlight. I would simply not have thought of it. I guess it's the fact that although I have listened to a lot of classical music I have never really analysed it in the way that I would if it was a rock song. I hear a rock song and analyse it instantly but there are certain combinations of sounds in classical music where I am still not one hundred percent sure what they are.


CT: How do you think some of your Genesis material would work for orchestra?


TB: There was an LSO version of some of our stuff done but the problem is if you do it too straight you end up with an orchestra playing pop music with the wrong rhythms. You would have to rewrite it I think and take the piece apart and put it back together again. But there are pieces that could work and in the early days there were parts of songs that I could imagine an orchestra in. I would have done them differently but they would have worked. It's an interesting thing because there is a version of some of my music done on two grand pianos. Some of it sounds really good but they have been too faithful to all of the little pushes and things where the first beat of the bar is advanced to the eighth beat of the bar before. It's something you do in rock music all the time but if an orchestra does it it sounds like the Boston Pops and you think oh no, please don't do that. So it just doesn't work unless you unravel it. I would be slightly keener to do it with some of the solo pieces because they are less well known and people would feel differently about them.




CT: Having written several film scores how did you handle the freedom of writing in Seven as opposed to the strict discipline of film music?


TB: The freedom was there in that I just let the music go slightly more where it wanted to. I have done that with Genesis things in the past and I enjoy not allowing things to repeat so that you just use a bit once. Occasionally there may be quite a good bit and I would think actually I could have made a song out of that. I like songs that go from section to section rather than repeating and with this I was able to do that even more.




CT: The pieces all have descriptive titles. Was it the music that came first or the titles?


TB: No, the titles came right at the end. I was really struggling for titles. In fact I have never struggled so much for titles in my life. I didn't want to saddle the pieces with anything too profound and tried to avoid them carrying too much baggage. The only one that does carry some baggage is The Spirit of Gravity, which is a quote from Nietzsche, but the others are all fairly naturalistic. When the titles did finally come though I was pretty happy with them.


CT: What of future projects? Any further music along similar lines planned?


TB: I would certainly like to do something else but to a degree it will depend on whether anything sidesteps on from this and how well it goes.


CT: Is a live concert performance of the piece a possibility?


TB: There are all sorts of possibilities but the problem is that it becomes very expensive and with the rehearsal time needed you would have to use a different kind of orchestra. In many ways it would be lovely to do the whole piece but you are then definitely preaching to the converted whereas if you can get one or two pieces done alongside other music there is a chance that it will reach people who would otherwise never have dreamed of listening to it.



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Track Listing:

Posted : 2 years ago on 24 October 2007 11:58 (A review of Acting Very Strange)

1. Acting Very Strange – 4:58
2. A Day to Remember – 4:59
3. Maxine – 5:24
4. Halfway There – 4:11
5. Who's Fooling Who – 4:47
6. Couldn't Get Arrested – 3:50
7. I Don't Wanna Know – 4:36
8. Hideaway – 5:58

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Track Listing:

Posted : 2 years, 2 months ago on 31 August 2007 04:57 (A review of Morrocan Roll)

1. Sun In The Night
2. Why Should I Lend You Mine (When You've Broken Yours Off Already...)
3. ...Maybe I'll Lend You Mine After All
4. Hate Zone
5. Collapsar
6. Disco Suicide
7. Orbits
8. Malaga Virgen
9. Macrocosm


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Track Listing:

Posted : 2 years, 2 months ago on 31 August 2007 04:55 (A review of Xcommunication)

1. Xanax Taxi
2. Liquid Time
3. Kluzinski Period
4. Healing Dream
5. Mental Floss
6. Strangeness
7. A Duck Exploding
8. Message To You
9. Church Of Hype
10. Kluzinski Reprise


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Track listing:

Posted : 2 years, 3 months ago on 23 August 2007 02:28 (A review of Product)

1. Don't Make Waves
2. Dance Of The Illegal Aliens
3. Soho
4. Not Good Enough-See Me!
5. Algon (Where An Ordinary Cup Of Drinking Chocolate Costs L8,000,000,000)
6. Rheses Perplexus
7. Wal To Wal
8. ...And So To F...
9. April


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Dan Southworth, Jason Lee, Mat Gordon, Al Pacino, Robert De Niro, Beyoncé Knowles, Reuben Langdon, Johnny Yong Bosch, Lindsay Ellingson, Natasha Polevshchikova, Kevin Smith, Scott Mosier, Cillian Murphy, Christian Bale, Jonathan Rhys Meyers, Tony Banks, Genesis, Phil Collins, Michael Rutherford, Jason Mewes, T.J. Wilk, Walter Flanagan, Jeff Anderson, Sylvester Stallone, Milo Ventimiglia, Simon Pegg, Nick Frost, Bill Murray, Gordon Ramsay, Keanu Reeves, H. Jon Benjamin, Brendon Small, Will Smith, Stan Lee, Arnold Schwarzenegger, Robin Williams, Bruce Willis, Eddie Murphy, Stephen King, Regis Philbin, Phoenix Rising, Sonic The Hedgehog, Steve Burton, Russell Wong, Tim Roth, River Phoenix, James Marsters, Sandra Bullock, Uma Thurman, James Dean, Jamie Foxx, Stuart Townsend, Gaspard Ulliel, Bryce Draper, Renato Ferreira, Michael Chad White, Malik Yoba, Michael DeLorenzo, Crispin Glover, Daniel Erthal, Michael Keute, Laura Wright, Leland Sklar, Charlz Chalmers, Brock Harris, Noel Gallagher, Liam Gallagher, Oasis, Drea de Matteo, Michael Imperioli, James Gandolfini, Charles Devoe, Alexey Veter, Anton Antipov, Jarek Pietka, Carlos Freire, Lee Kholafai, Jamie Jewitt, Enrico De Giuli, Chris Fawcett, Levy Christiano, Natasha Poly, Richard Thomas, Kyle Ledeboer, Ryan Vigilant

Kevin Smith, Scott Mosier, Quentin Tarantino, Tyler Perry, John Hughes, Sylvester Stallone, Hayao Miyazaki, Jeff Anderson, Francis Ford Coppola, Rob Zombie, Mick Garris, Frank Darabont

Genesis, Oasis, Tony Banks, Hank Williams III, Phil Collins, Beyonce, Vergil Sparda, Strictly Inc., Bankstatement, Noel Gallagher, Mike & The Mechanics, Mike Rutherford, Peter Gabriel, The Phil Collins Big Band, Stevie Wonder, Garth Brooks, Paul Brandt, Pink, Lisa Marie Presley, Brody Dalle, Daft Punk, David Bowie

Stephen King, Kevin Smith, Scott Mosier, Tony Banks, Phil Collins, Mike Rutheford, R.L. Stine, Jeff Anderson, Mario Puzo, Lucy Grealy, Quick Easy Intro for Beginners