Catherine – PS3 Review (also found at http://gaming.thedigitalfix.com/)

Catherine – Atlus Games (Playstation 3)

If you’ve ever been cheated on, Catherine; Atlus Games latest transnational triumph offers you a fitting opportunity to channel that frustration into cathartic revenge. Catherine follows Vincent Brooks, a 32 year old software engineer whose mundane life descends into surreal devastation as an unfathomable series of night deaths among young men sweeps Japan. Curiously, the same week as these unpredicted deaths occur Vincent is seduced by a succubus-like young woman named Catherine in his local boozer. Catherine seemingly represents everything his five year strong partner Katherine does not, she is loose lipped, seductive and sexually playful all encompassed in the body of a full-chested 22 year old blonde. After a night of depraved passion, Vincent’s nights are filled with terror as he is plagued with nightmares in a twisted world of tetris-esque survival. It appears his only hope for survival come morning is to beat those around him to the top of each night’s puzzle. An extensive tower of blocks confronts him, waiting to be manipulated to reach the door to freedom.

Catherine is a hugely off-kilter rejuvenation of the puzzle genre, packaged in an interactive social simulation anime narrative. As Vincent progresses through each night’s puzzle nightmare, a large proportion of the player’s time will be spent in the Stray Sheep bar wherein Vincent can check text messages, converse with friends, build social links, order drinks (which rewards the player with real-life factoids about each beverage following an empty glass) and play an arcade version of Catherine named Rapunzel. It is in the Stray Sheep bar that Vincent is given solace to be himself and begin to comprehend the turbulent events unfolding around him. The name Stray Sheep corresponds to the other players in his nightmare, whose physical appearances resemble that of a humanoid sheep. These same sheep also appear as customers in the Stray Sheep during day, where they will come and go as time passes with each interaction by Vincent. Each sheep will have their share of personal woes which Vincent can empathise with, eventually solving or neglecting their blanketed cry for help by the end of the game.

The puzzle gameplay itself is fairly simplistic in execution, focusing primarily on the movement of said blocks. This is done with basic movements on the d-pad or analogue stick and the X button to grasp onto tangible objects. There are several varieties of blocks each offering a different tactical advantage or restriction. These include blocks which crumble upon repeat contact, elevated spring blocks, spiked blocks which result in instant death and unmovable blocks among others. If the player makes a number of moves they are unsatisfied with, the select button can be used to reverse their last move (the number of times one can do so is dependent on difficulty setting). There is also an array of collectible coins and power-ups scattered throughout each stage, ultimately affecting the players scored outcome depending on their usage and collection.

Catherine’s cinematic sequences are produced by Japan’s Studio 4°C, lending the in-game cut-scenes a visually profound narrative quality. The use of anime inspired visuals does much to lend Catherine its own aesthetic identity, particularly in the fearsome boss encounters where Vincent’s true fears are animated with grotesque flair. Throughout Vincent’s nightly trials, which primarily focus on navigational skills and lateral thinking to succeed, the player’s ability will also be tested in a hellish limbo period between each puzzle. Here, the player can interact with others condemned ‘to climb’ and share techniques which help in the playing field. Most intriguing is the confessional; to move on Vincent must enter a confessional booth wherein a piercing, effeminate voice probes the player with personal questions. These largely concern the players approach to sex, life and love; expect some real home wreckers.

Catherine’s puzzling campaign is titled the Golden Playhouse, which presents the player with the narrative trajectory playable in a standard very easy to hard setting. In addition to this, the player is rewarded with an alternative campaign titled Babel, which is unlocked progressively depending on the player’s prowess at attaining gold prizes within the Golden Playhouse. Babel is clearly Atlus’ attempt at including further replay value beyond Catherine’s 12+ hour campaign, however it is treated with equal respect; avoiding the cheap ‘new game plus’ features seen frequently in other contemporary titles. Babel both ups the ante with its comparatively complex level design (often forcing the use of tactics that are arguably avoidable in the Golden Playhouse) but also introduces local multiplayer. Working together sometimes dilutes the difficulty but offers an enjoyable alternative if you find Babel tough alone. Additional story content is revealed upon completion of Babel, providing an incentive for those particularly enamoured with Catherine’s unorthodox tale.

Catherine’s story employs the typical surrealism that Atlus have maintained in their past titles, however Catherine feels like a more personal experience. As Vincent progresses through each hellish event, the player can punish or appease his desires depending on their own emotional response to his actions. The outcome as such can be manipulated through a variety of ways, including Vincent’s mobile texts to both Katherine and Catherine, his answers during confessional and his attitude towards those around him in the Stray Sheep. The game has eight final endings, including two bad endings which dependent on your feelings towards the characters; could be the most satisfying to witness.

The level of control the player has over these eight outcomes however, is disappointingly passive. The saint and devil metre that frequently appears on screen in moments of moral panic can be easily manipulated to sway either way with very little persuasion. This largely removes the need to carefully build a gradual good/bad direction, for example if the player suddenly decides in the later chapters they wish for Vincent to go back to Katherine, then simply send her a few flattering responses, shy away from the lacy young minx and don’t be a dick in confessional. On a positive note, this allows the player to avoid full replays in order to attain all eight endings. By creating a reserve save before the final night, Vincent can easily amend his relationship with either persuasion, thus removing excessive back tracking. It is worth noting that the player’s performance during the puzzle sequences does not impact the ending received.

Catherine is among Atlus Games finest efforts, cementing their place in the elite of Japanese game developers. It is a daring, unique title that combines a rare juxtaposition of high production values and niche thematic gameplay, making it one of the most attractive gaming aberrations this generation. Catherine offers what little others do; challenging and addictive gameplay while simultaneously attempting to fuck your personal life up with a relentless commitment. If you have nothing to hide, Catherine makes for a perfect bonding activity with your partner and is quite possibly the first videogame to offer relationship counselling without the need for therapy or bills – how can you argue with that?

9/10

http://gaming.thedigitalfix.com/content/id/640/catherine.html

Black Pond Review – RUSHES MAGAZINE (Pending)

Black Pond (Tom Kingsley and Will Sharpe, 2011) – Independent

Friends Tom Kingsley and Will Sharpe have created something of a micro-budget masterpiece with their debut feature, Black Pond. Despite a modest production fund of £25,000, such constraints are never visually apparent. Black Pond’s pseudo-documentary talking heads are weaved seamlessly within a reversed narrative; offering a suitable structure to the films tangible subject matter.

Black Pond follows a dysfunctional suburban family whose scattered members are reluctantly brought together against a common enemy: the local media. After being accused of the murder of a dinner guest, the family’s reputation is temporarily torn apart by the British public; whose fickle press woven perspective torments their daily lives. In reality, the death at hand was honourable and humane; leading to a touching aftermath as directed to the family by the victim in his final moments. The revelatory nature of Black Ponds’ narrative, as unfolded through Kingsley and Sharpe’s unorthodox editing style makes their story all the more intriguing. As the audience is challenged to place together the truth in small instalments, the family’s brash and frank expression of emotion begins to affect the viewer, as they slowly reveal the damage truly afflicted on their relationships.

Kingsley and Sharpe have found a perfect equilibrium of humour and drama. Precise, believable and frequently hysterical writing compliment a naturalistic set of performances from what is arguably a flawless cast. Of course, there is the issue of Chris Langham; whose own experiences with public humiliation and imprisonment in 2005 is in no part an ironic choice of casting. It has been stressed that his involvement was integral from the start and it is with ease to say that Langham’s performance is more than justification for such statement. His deadpan portrayal of a man saturated by the fatigue of married life is heartfelt and authentic, both channelling his characters naive flaws into comic ingenuity and a believable integrity. Will Sharpe’s role as the insecure, lovelorn ‘associate’ of the family’s two student daughters’ offers an outsider’s perspective into the abnormality of an otherwise typical British family. After confiding in his erratic and disagreeable shrink (played by a comically charged Simon Amstell in his first feature), he unknowingly ignites the events that lead to the family’s arrest.

Colin Hurley provides an uneasy yet endearing performance as Blake, the sweet hearted widower who’s eccentric presence acts as a rejuvenated chapter in the Thompson family’s otherwise vapid lives. Performances aside, Black Pond works on almost every level; it’s inherently British humour allows the story to amplify its messages home but unfortunately may not reach the larger audience it so clearly merits. A thoroughly touching and poignant film, which may just be the precursor needed to its delightful cast and directors future success.

9/10

Active Child – You Are All I See Review (for the music fix)

Active Child – You Are All I See (Vagrant Records)

Release Date: 24^th October 2011 (UK)

The latest addition to 2011’s bedroom music canon comes from Pat Grossi, a former New Jersey choir boy whose foray into laptop produced indie pop is not quite what you’d expect. Active Child is host to Grossi’s most ambitious project yet; after years of fluttering between ideas, You Are All I See represents a full bodied and satisfying realisation of the ambition shown on last year’s Curtis Lane EP. Blessed with a saintly falsetto, Grossi’s choir roots make a clear contribution to the initially hair raising vocals on You Are All I See’s opening moments.  What elevates Active Child above other contemporaries in his field (such as tour mate James Blake) is the prominent use of harp throughout the record. The ripple of strings beautifully compliments Grossi’s layered sound-scapes, creating a wholly warm and organic electronic sound. It’s this standout instrumentation that makes Active Child comparatively more like Owen Pallett or Andrew Bird in terms of a song writing act, wherein a niche instrumental skill becomes a large appeal to the overall sound.

Disappointingly premature, the sophomore track Hanging On, takes its place as the album’s standout moment. A minimal beat builds as scratches and murmurs of vocal distortion and synth wave in and out of the mix. A subdued howl repeats throughout, making for a dreamlike hook as Grossi sings and plucks above a cluster of sonics. The song’s lyrical desperation is the closest Grossi gets to his mission statement with this record:  intent on creating an experience that was as much for the listener as it was himself, expressing a desire to reach the listener on a personal level through his music. “Touch me and then turn away/ Put your hands into the flame/ Tell me if you feel this pain/ ‘ Cause I don’t want to be a ball and chain” Grossi cries, as he flows into chorus. Grossi’s song writing is frequently saved by the sincerity and tone of his delivery, making any lyrical hiccups more or less screened over.

Active Child’s success is a double edged sword; musically You Are All I See is staggering and Grossi’s vocals possess an innocent enchantment. However as an amalgamation, it’s difficult at times on lesser tracks to stay attentive. Any connection Grossi wants us to have with his lyrics is lost by the general attractive nature of his music; ultimately it’s very easy for the listener to become passive.  At its best, Active Child delivers an experience unlike much else out there, with Ancient Eye, High Priestess, and Ivy being particular highlights. Yet for every moment of sensual euphoria and meditative beauty, there is a moment of cold, dismissible background music. Grossi is a talented musician with an admirable debut under his belt. With that in mind, it’s easy to get excited by what the future may hold for Active Child, big things are abound.

7/10

Bobby Fischer against the World Review – DVD

Bobby Fischer against the World (Liz Garbus, 2011) –  HBO Films

Whether the name in the above title means anything to you or not, director Liz Garbus has created a documentary that will inform, enthral and ultimately check-mate your interest in a lost American genius. Bobby Fischer; a once masterful chess player whose now legendary world champion match against Russia’s Boris Spassky turned the world’s sights on chess for 15 minutes of fame in 1972. Bobby Fischer against the World attempts to dissect his life in chapters, almost as if by turning his story into ingestible pieces of a larger puzzle; both the film makers and the audience alike can conclude what catalysed such an undignified fall from grace by the time of his death.

This chronological format makes the film a much more approachable piece of entertainment than any documentary about a chess player has any right to be. His childhood is explored in penetrative detail, while the film employs typical documentary attributes such as talking heads and narration; the opening chapter feels more like the beginning of a progressive visual psycho-analysis. The audience is given information to feed their interpretation of Fischer’s character and build towards the unstable and turbulent events surrounding his world victory in 1972.

The archive footage used to illustrate this historical event is extensive and helps to provide a fascinating insight for people whose memory does not extend to its origins. The match took place right after the space race, in which the U.S had seen a very positive outcome. Fischer was notoriously difficult to get on board, his reclusive nature coupled with his arrogance and obnoxious attitude made it difficult for people to understand his deterrence to the match. Eventually, Fischer complied after an additional $125,000 was added unto the stakes. The culmination of all the frustration felt by those who dearly wished for his participation is notably tangible, even having little interest in the game; the viewer is left physically exhausted by the outcome.

The finale chapters of Fischer’s life are depicted as bleak and desperate; his attempt at bouncing back with a rematch against Spassky feels ultimately soulless and vapid. Fischers’s subversive character additionally becomes easy to condone. A hateful anti-Semite, his Jewish roots and mothers left-wing campaigning have become clearly distant. Garbus collects together remnants of Fischer’s final moments in the press; all of which depict nothing but anger and loss. Archive footage from post 9/11 in which Fischer lambasts the U.S and claims they deserved such terror is a particular downturn. Bobby Fischer against the World is a fascinating mantra of a man at odds with himself, his oddball spirit in early footage makes this an easy watch for those interested more in the man’s psyche than chess. Either or, it’s likely the most complete commercial document of this story out there; and a wholly excellent piece of film making too.

8/10

Barry – Yawnin’ in the Dawnin’ EP – Review

Barry – Yawnin’ in the Dawnin’ EP – (100% Records)

Release Date: Out Now

Somewhere along the line, Folk became cool again, suddenly beards, banjos and integrity was all you could want from a hip new rock band. Of course, there has never been a drought in quality folk rock; yet in the wake of success attained by Fleet Foxes, Band of Horses and Britain’s Mumford & Sons; who somehow became festival anthem stars overnight, it’s certainly become part of the pop landscape again. So here we have Barry, a trio of brothers united through surname and a clear sense for a good harmony, rocking out their new EP’ Yawnin’ in the Dawnin’.

When it comes down to the key credentials of Americana folk, Barry seem untouchable. They record from their own homebuilt studio barn (yes, a barn), Ben and Pat are ex-US Marines, Ben teaches English and coaches wrestling and Bradford is an audio engineer in training. It is not only to their advantage that these men have lived a life worth singing about but that through their individual skills; they are able to amalgamate in order to create such a record. Yawnin’ in the Dawnin’ kicks off with an a capella recording; at under a minute in run-time the title track is a quaint monologue sung in a traditional old-timey harmonious fashion. It’s a nice enough bookend for the EP and is claimed by the band to be a morning wakeup call sung to them by their father as a child.

What makes Yawnin’ in the Dawnin’ such an attractive listen is the Springsteen-esque lyricism which, like The Boss himself isn’t particularly strong in literal terms but is delivered with such undeniable sincerity that it’s hard not to take note. There are blunders from time to time, which is to be expected and excused with a band just finding their feet. The only negative standout lies with reflective number ‘Love Something Too Much’; which too often fills in cracks with lyrical clichés – “she liked hip-hop on the stereo/ and a rock n’roll kind of night”. Whether biographical or not, with lyrics like “she was my whole world/ she was the best thing/ she was everything to me/ but now she’s got money/ now she’s got fame” it’s hard not to cringe a little.

Flaky writing aside, this is an appraisable collection of songs from a band who know where their strengths lie. The instrumentation is notably impressive, these brothers know how to pick a string; evidently the product of a home taught passion for music. Overall, Yawnin’ in the Dawnin’ is a pleasant subdued affair and a strong indication that these country siblings may just make a killer LP yet.

6/10

For fans of:

Kassidy
Crosby, Stills & Nash
Fleet Foxes
Neil Young

Resident Evil 2 Review – Flex Magazine (Retro Review)

Resident Evil 2 (Playstation) – Capcom Games

Release Date: 21st January 1998

Released barely 2 years into the original Playstation’s lifespan, Resident Evil 2 was and arguably still is one of the landmark gaming experiences of the 1990’s. The original Resident Evil remains the godfather of the Survival Horror genre and in 1996, represented a wholly original and exciting world of possibilities for creating cinematic tension in videogames through ‘new’ 3-D polygonal graphics. While Resident Evil is a classic, the sophomore release raised the bar to dizzying levels thanks to its extensive campaign consisting of multiple scenarios and a beautifully rendered game world. Based two months after the outbreak of the (Zombie) T-Virus in Racoon City’s mountainous region, the virus has bled into the city’s residents; leaving the streets in a derelict state of chaos. Resident Evil 2, in its original form comes on 2 CD’s; each disc is allocated a respective protagonist which the player can choose to begin the narrative with. Leon, a newly assigned Racoon City police officer and Claire Redfield, a student looking for her brother Chris Redfield after his disappearance following the original game. Our protagonists arrive in Racoon City, unbeknown to its state of emergency and coincidently encounter each other questionably fast.

The plot is a weak, dry affair and purely implemented as a means to build the wonderful atmosphere and action around, while the acting is a mild improvement on the barbaric original; it is frequently more laughable than tangible. The central pair naturally begin to work together to find survivors, uncover the truth behind the infection and ultimately escape alive – “welcome to the world of survival horror, good luck” the game wryly states upon each time the player loads a game – a nice touch that makes the game feel like a judgemental entity of your own skill. Resident Evil 2 is played from a third person perspective with a distinctive focus on puzzle solving, exploration and applying survival tactics when approaching combat. The player must be frugal with supplies to survive, with varying difficulty levels dictating the expense of ammo and health dispersed around the games setting.

What sets Resident Evil 2 firmly within its own league is the scenario system. Upon completing the game for the first time with either protagonist, the player is then prompted to start the game again with the opposing disc, thus beginning ‘Scenario B’. The player will then witness how their decisions made in their first play through affected this character and their story. This can be done up to four times, depending on the order of characters chosen. Resident Evil 2 is an endlessly entertaining experience and in its own right is a work of videogame art. The haunting sense of isolation and discovery weaved through its peerless atmosphere leaves it high above any other game in the series since. An absolute classic that remains relevant regardless of generation.

Stephen Malkmus & The Jicks – Mirror Traffic

Stephen Malkmus & The Jicks – Mirror Traffic (Domino Records)

Release Date: 22 August 2011

The total king of off-kilter indie rock returns with his fifth post-Pavement record Mirror Traffic. Following a storming one time only world tour with the reunited Pavement, Malkmus wasted no time making it clear where his priorities lay with future projects. Mirror Traffic, produced by fellow 90’s musical prodigy Beck Hanson, has all the properties of a typical Malkmus record. Lyrically, there is still plenty to engage with and lead single Senator rocks out one of Malkmus’ funniest hooks of his solo career “I know what the senator wants/what the senator wants is a blowjob!” Malkmus’ strongest gift as a songwriter has always lain with his ability to turn the most passive observations into magically tangible and witty lyrics, shortly into the record; he bemoans “I can not do even one sit-up/ sit-ups are so bourgeoisie”, this is the kind of honest lyrical preach that will allow fans to feel right at home with Mirror Traffic.

After the raging, unpredictable (yet still remarkable) guitar jam filler of Real Emotional Trash; it initially feels a little subdued. The jams are still there, albeit more sparsely placed throughout than usual. Malkmus has long since proved he is capable of writing slow paced reflective tunes that maintain an untouchable essence of cool (Fin, Filimore Jive, Stop Breathin, Type Slowly) however, Mirror Traffic just doesn’t strike as sharp as the best of the rest. The albums lack of immediacy may be a blessing however, arguably standing among some of Malkmus’ most emotionally dense work to date. Each listen peels away further layers; provided you focus intently on underlying bite size themes within tracks like Share the Red, No One (I As I Are Be) and Long Hard Book. Forever 28, while  laden with plentiful female backing “oooing”, a pulsing tempo and those signature guitar riffs; is also deceivably one of the darker tracks on offer here lyrically*.

Beck, who sure enough is an alternative hero in his own right takes the studio helm as producer; a credit to which he has accepted recently on records such as Charlotte Gainsbourgh’s IRM and Thurston Moore’s Demolished Thoughts. While IRM essentially sounded like a Beck record with Gainsbourgh on vocals, Mirror Traffic seems totally free of any recognisable Beck-esque imprint. Instrumentally, it’s as wonderfully wobbly as any past Malkmus record, the use of brass, and Pavement’y wah-wah guitar is certainly welcome and the folksy acoustic strings feel suitably placed. This is also marks the first time an external producer has been brought in for a Jicks record, so thankfully the partnership seems to have paid off with Mirror Traffic being an interesting and largely focused affair (though, this is going to be subjective; as many hold preference to Pavement’s Wowee Zowee thanks to it being an unrelenting mess).

At this stage in Stephen Malkmus’ career, it’s a pleasure to still have him so active musically and in such excellent company. Though Pavement as an entity may be scattered once more, here’s hoping their legacy and sound bleeds further into the future as Mirror Traffic is not the sound of man’s final endeavour into song writing.

*To quote the man himself “That song is really about someone who is being a false narrator and everything’s cool but really you’re as scared as shit. It’s saying you’re never above it all it’s always a little bit scary”.

Quoted from an interview with DIY Magazine, available here: http://www.thisisfakediy.co.uk/articles/interviews/stephen-malkmus-music-is-still-important-to-me

Note by author: Pavement are probably my favourite band of all time alongside Radiohead, sorry if this reads like I’m totally biased to the music he used to make.

The Horrors – Skying and WU LYF – Go Tell Fire To The Mountain (Mini-Reviews)

WU LYF – Go Tell Fire to the Mountain (2011 – LYF Records)

 

Who the hell are WU LYF? The Mancunian cult indie 4-piece have made quite a name for themselves over the last 6 months and not just for their music. The band has remained notoriously protective over their publicity, denying interviews and going as far to delete their own Wikipedia page. Their debut LP is proof if any they deserve the hype. Ellery Roberts’s abrasive vocal rasp is not dissimilar to Tom Waits but remains wholly within his own signature. WU LYF’s empowering strain of psych-rock frequently nods to the elevating nature of post-rock outfits like Explosions in the Sky; only more messy with an attractive lack of composure. Their accessibility is questionable, with Roberts’s lyrics often remaining incomprehensible under his own growling vocals. Regardless, their approach to fame deserves applaud, clearly as both remarkable musicians and business savvy artists. For those who take to exploring music, WU LYF offers enough layers you might just get lost.

7/10

The Horrors – Skying (2011 – XL Recordings)

Emerging in 2005 looking like a bunch of extras from the Adams Family, The Horrors made a name for themselves for their outlandish garage rock and ghastly appearance. That was 6 years ago; today The Horrors are clean cut, experimental psych-rock geniuses. After wowing naysayers in 2009 with their sophomore ode to Joy Division; Primary Colours, they are back… and they’ve changed… again. Skying is an inspired, full bodied work that offers an extensive look into the music the band clearly love so much. Mixing everything from 80s Cure-esque melodies to modern dance-punk, they have made a product wholly original while still allowing their inspirations to shine through vividly. Faris Badwan’s baritone melts in with the bands soaring arrangements, rarely wasting a tune to drudgery. Skying may not be what fans were expecting but when have they ever adhered to predictability? It’s arguable that this is just a 10 track love letter to the bands record collection, but who cares; it’s the finest love letter this bunch of Southend lads is likely ever to write.

8/10

Brighton Rock (2010) Review

Brighton Rock (Rowan Joffe, 2010) – Optimum Releasing

One of the most thrilling narrative clichés in film is witnessing a central character’s decent into tyranny. Brighton Rock, Graham Greene’s now classic 1938 novel, originally subtitled ‘an entertainment’, is not alien to the world of the film adaptation having long been considered one of the finest British films ever since its release in 1947. A brutal and thrilling tale of a young merciless gang sociopath named Pinkie; Brighton Rock is captivating in both its representation of youthful gang violence and chilling display of marital entrapment. Pinkie, originally portrayed on film by a charming baby faced Richard Attenborough, is given a totally different essence of attitude by Control star Sam Riley.

Opening with Pinkie witnessing the murder of his boss and father figure, he quickly opts for revenge after promoting himself as head hoodlum. Pinkie brutally murders the perpetrator and in turn unintentionally involves innocent young waitress Rose (the superb Andrea Riseborough). In a sly attempt to silence her from revealing the truth behind his situation, Pinkie charms her into marriage despite his complete disregard for human affection. Pinkie’s queer religious justification of his actions coupled with Rose’s undying faith in Pinkie’s love lasting through heaven and hell leads to a climatic resolution. This is an ending that can be best summarised as a work of infuriating genius and polarization of opinion will no doubt ensue.

A 30 year old actor playing a 17 year old lad is generally hokey business; with such casting no doubt raising cynical eyebrows (remember Alan Ruck in Ferris Bueller’s Day Off?). Thankfully, Riley’s consistently strong screen presence allows the mind to escape such curiosity and simply enjoy his venomous portrayal. This is not so much a remake of Brighton Rock but a reimagining if you will, with first time director Rowan Joffe at the helm, known till now mostly for his work as a screenwriter on 28 Weeks Later and The American. Bestowing a novice with such a beloved franchise is frequently woeful but Joffe is clearly a confident director and one not afraid to extend his interpretation of what made the story so great in the first place. Most prominent in his vision is the exchange of time period, both the original book and film took place in the 1930’s, whereas Joffe opts for a circa 1964 Mods and Rockers Brighton.

This is where things start to become unbalanced, 1964 was the height of Beatlemania and while Joffe has no doubt got his cast’s costumes down beautifully, the depiction of youth around Pinkie feels a little; well, monochrome. Visually, the film is staggeringly attractive thanks to the use of vintage lenses by cinematographer John Mathieson. It’s not here where the problem lies; it’s the characterisation (a deeply naive Catholic girl and an introverted young man terrified of death row, not quite in with the sex, drugs and rock n’roll revolution are they?) and lack of acknowledgement of the revolution going on around them which detracts from an otherwise believable 1960’s backdrop. Positively, this may be due to a pre-conceived nostalgic interpretation of what 1964 was like and the lack of vibrancy corresponds well to the tragic nature of the story, however the lack of iconic indication may leave some cold.

Various set pieces throughout the film are laughably unnecessary, a jarring scooter fuelled takeover of Brighton Pier (Quadrophenia?) and some abrupt rioting spring to mind. Joffe’s Brighton Rock flows best when it behaves subtly, allowing its cast and script to weave the narrative’s conflicting tale. This is a film at odds with itself; Joffe’s 1960’s setting both allows the story to prove its timeless application but simultaneously loses some of its credibility through the frequently cheesy nature of the screenplay. Riley, Riseborough and Helen Mirren as Rose’s nosey boss Ida may do a wonderful job at bringing out the best in this picture, but there are far too many times where the viewer is left feeling like the whole thing is just a tacky repackaging of something once wholly great.

6/10

SBTRKT – SBTRKT Album Review

SBTRKT – SBTRKT (2011) – Young Turks Records

Dubstep has finally entered puberty; fresh waves of talent have begun to emerge proving that it’s more than just for drunken club fiends getting their wob, wob, wob fix. Burial’s 2007 masterpiece Untrue took the fundamental notion of dubstep into the world of atmospherics and in turn gave the genre the propulsion needed to be recognised outside of the dance world. SBTRKT’s (pronounced Subtract) debut follows in a familiar light, like Burial the artist behind the covers masked figure is left unknown, leaving the internet in a frenzy of guessing games and curiosity. Marketing aside, SBTRKT’s debut is a danceable, striking and perfectly crafted journey through a musical plain of electronic brilliance.

SBTRKT employs a range of guest vocalists, among these being Little Dragon, Sampha, Jessie Ware and Roses Gabor. Sampha’s vocals are among the most effective, delivering a creamy R&B vibe perfectly suited to SBTRKT’s strung out electronic arrangements. Like James Blake, SBTRKT embodies singer/songwriter sensibilities only to further prove they do suit such a subversive musical outfit, however sonically SBTRKT is varied and original enough to stand alone in his own domain. The songs all work together to create a cohesive and expertly crafted experience. Lyrically the record is strong, with each track delivering a narrative to a varying degree of success. This is a mature landmark in the dubstep genre and feels like a new peak in the electronic sub-genre, SBTRKT is a talented producer and will no doubt be in great demand following its release (having already provided various remixes for notable artists). With a record that tenderly attends to every musical mood, SBTRKT’s amalgamation of breakbeat, dance, soul and electronica is just begging to be unmasked.

8/10